S. Freud가 주창한 정신분석(psychoanalysis)은 심층심리학(deep psychology)으로부터 출발되었는데 그 독창성은 무의식을 성적억압과 관련지었다는데 있다. 그러나 성적으로 너무 치우치면서 비판운동과 충동갈등 패러다임을 일부학자들은 수정하려고 하였다. Erich Fromm은 프로이트의 이론을 사회적 문화적 맥락에서 재조명하고 인간을 미리 결정된 본능에 따라 환경에 반응하는 존재가 아니라 스스로 판단하고 선택하며 살아가는 존재로 보았다. 현대 수정주의 이론가 Jacques Lacan은 무의식에 선재하는 언어 욕망, 상상계 등의 개념을 통해 인간의 정신을 설명하고자 했다. 특히 아이는 자아와 언어와 사회로 형성된 3차원의 질서 속에서만 개별성을 획득할 수 있다고 보고 언어가 출현하면 무의식이 구성된다고 말할 수 있는데 무의식을 구성하는 기본 억압이란 언어의 출현 이외에 다른 것이 아니라고 주장했다. 한편 프로이트주의에 대한 비판적 담론은 이성이 인간과 존재하는 것이 최고의 기능성이라고 주장하는 Herbert Marcuse, 현대사회는 사적․성적 실험이 급진적으로 확대되고 있을 뿐만 아니라 자아의 철저한 파편화와 사회 조직의 침투가 시작되고 있다고 하는 Willhelm Rcich, 자기도취적인 자아는 ‘생존주의 문화’의 산물이라고 보고 이러한 유폐된 심성은 가부장적인 가족의 쇠퇴와 연결되어 있음을 예리하게 지적 Christoper Lasch, 정신분석은 성의 고백과 사회 통제의 유지를 위한 억압적인 조처라고 하는 Michel Foucault의 견해 등을 생각해 볼 수 있다.Mikhail Bakhtin은 프로이트의 충동이론이 아무런 근거가 없는 주장이라고 비판하면서 생물학의 심리학화, 주관주의화라고 말하고 유기체의 모든 객관적, 생물학적 형태와 과정은 주관적이고 심리적인 것들 속에 용해되어 버린다고 하며 방법론적으로 볼 때 의식심리학과 본질적으로 차이가 없다고 비판한다. 프로이트주의에 대한 비판적 담론에서 현대적 의미의 정신분석학적 논의는 현대사회의 각 개인들의 무의식적 동기들에서 더 넓은 세계 쪽으로 나아가는 강력한 해석적인 디딤판을 제공한다는 것이다. 이것은 사적 환상이 공적으로 되는 그러한 변형과정을 연구하는 것이고 정신분석학의 개념을 문학, 예술, 문화 등 다양한 영역으로 응용하고 확대함으로써 문화와 억압으로부터의 자유를 찾아야 한다는 것이다. Lacan은 치료가 아니라 욕망의 적극적인 추구를 강조하여 욕망은 인간의 본질이며 대타자의 욕망이고 무의식은 대타자의 담론이라고 정식화한 점에 주목해서 실재가 본질에 앞선다는 명제를 중시해야 할 것이다. 결국 욕망은 이미지를 형상화해서 문화로 탈바꿈하는 노력이 필요하다. 특히 현대인의 성 역할이나 성 이데올로기에 민감하다는 것에 착안하여 페미니즘의 성역할과 정신분석학적 접근은 여성들의 사적인 고통과 개인적인 억압을 낳는 외부적인 사회 조건에 대응 한다는 차원에서 매우 중요하다. 페미니즘과 정신분석 사이의 이론적인 대화는 육아의 분석과 그 문화적인 귀결들에 대한 분석에 특히 중요한 것이었다. 많은 페미니스트들이 보기에 사회적, 성적 억압에 대한 프로이트의 비판은 성적 차이와 젠더 위계의 역학을 이해하는데 결정적으로 중요한 것이다. 이상의 논의에서 인간은 단지 유전자에 의해서만 형성된 존재가 아니라는 것이다. 이는 인간을 단순히 그가 소속되어 있는 사회의 산물이라고 말 할 수 없는 것과 마찬가지이기도 하다. 그러므로 생물학적 결정론으로서의 정신분석학이 해석과 이해를 필요로 하는 인문과학적 요소를 품고 있는 것이다. 인간은 그의 유전자 이상이며, 그 사회 이상인 것이다. 결론적으로 우리에게 전해진 본성을 초월할 수 있는 우리의 핵심적인 인간성을 확인할 필요가 있다. 과학이 주는 풍요로움 속의 인간성 상실과 고독은 인간의 정신과 개성을 존중하는 종교와 예술을 통해서 해소해야 할 것이다. 그 중심에 정신분석이 위지하고 있으며 그 가치를 인정받아야 할 것이다. 정신분석(Psychoanalysis)의 담론(Discourse)은 정신의학(psychiatry)의 영역에만 국한된 것이 아니라 다학제적 접근을 통해 다양한 교류를 넓혀야 할 것이다.

This study investigated women's magazines and women's food consumption stories of the 1950/s. That is, it attempted to comprehend the connection between the public and private aspects of food consumption as discussed in the 1950's. The public aspect of culture was investigated using the women's magazine "Yeo-won" which reflected the social and intellectual hegemony of the time. The private aspects of culture were investigated by reviewing the daily life of women though in-depth interviews. Mass media reflected the social and intellectual hegemony and indicated that a cultivated woman who supported western food was a wise mother and a good wife, and that a woman who consumed flour-based food was a reasonable and modern consumer, ahead of her time The admiration for the U.S. and its advanced civilization through free handouts of flour and powdered milk accelerated the consumption of industrialized flour-based foods such as noodles, hardtack, and steamed bread. This lead to the rigid traditional food-eating habits of boiled rice, and side dishes changed to flour-based and processed foods. That is, food represented a cultural identity.

최근 문학 담론으로써의 탈식민주의 이론은 실천적 의미에서 텍스트 해석의 전략에 중요한 영향력을 행사하고 있다. 더불어 탈식민주의는 식민 경험을 했던 국가 안에서 문화적 맥락으로써 식민 담론을 전복한다는 의미에서도 중요한 의의를 가진다. 작가에게 이러한 의식은 글쓰기에서 탈식민 공간과 주체적 정체성을 형성하게 만들어 주는 동기를 제공한다. 이러한 측면에서 본 논문은 정전적 글읽기로 대변되었던 예이츠의 텍스트를 탈식민주의 전략 중의 하나인 탈정전적 글 읽기로 다시 조명해보기로 한다.

In 21st century, subordinated relationship of fashion from the body has been disappearing, and fashion is understood as variable and creative field. This research aims at analysis about the relationship between the body and fashion depending on the theories about the authority and the desire. So, this utilizes between theoretical study and empirical analysis. For concentrated study, research period limits from 2000 to the present time 2010. Contemporary body and fashion have being changed into various forms and values, become complex and de-territory. Especially, body is symbol of ambivalence eroticism that gives point to sexual property, and the object of fetishism and machine having a desire. This study's purpose draw a parallel with between the limits of contemporary body that couldn’t be rid of the capital and desire, and the liberty of fashion that escape from the body’s influence has being changed independent and fluid space. This research's results are as follow as; contemporary de-territory fashion is expressed as 1) symbol of the object and physical material property, 2) self-transcendental instrument fashion, 3) independent spatial molding, 4) de-centering fashion.

This paper inquired into the discourses on material culture in the latter half of Ming dynasty, which including Gao Lian's Eight Discourses on the Art of Living, Xiang Yuanbian's Nine Records from a Banana-shaded Window, Wen Zhenheng's Treatise on Superfluous Things, Tu Lung's Desultory Remarks on Furnishing the Abode of the Retired Scholar, Zhang Yingwen's Pure and Arcane Collecting. The discourses by Jiangnan intellectuals were compiled during the years 1590 to 1630 and dealt with their classification of and the way of seeing material world. Gao Lian and Xiang Yuanbian were rich merchants who cultivated cultural attainments necessary to be a literatus and tried to enter into elite society, Tu Lung passed Jinshi examination as a son of merchant, became an official, and succeeded to enter into elite society. On the other hand, Wen Zhenheng and Zhang Yingwen were members of elite society. Their discourses on material culture can be viewed on the one hand as rich merchant's cultural effort to try to enter into elite society, on the other hand as elite group's cultural capital on which they sought ways to differentiate themselves.

본 글에서는 지아장커 영화중에서 우리가 살아가고 있는 세계를 축소시킨 영화 <세계>를 중심으로 그 속에 던져져 있는 많은 영화적 기호들, 이미지들을 중심으로 푸코와 부르디외가 말한 권력의 양태들이 어떻게 반영되고 있으며 또 어떻게 해석해야 할지를 고민하면서 이에 대한 답을 찾아가는 과정으로 될 것이다. 본 글에서 지아장커의 영화 속에서 권력을 장악한 자가 누구냐에 따라 권력의 선과 악이 정해지는 것을 발견할 수 있었다. 또한 그의 영화 속에서 ‘차이의 정치’를 발견하였다. 차이의 대상이 인위적인 정치의 장치로 형성되는 것에 비판을 가하여야 함에 있어 감독은 조용한 외침을 보여주었다. 왜냐하면 권력관이 없는 차이의 정치는 공허한 외침이나 강자에게 시혜를 구걸하는 것과 다르지 않기 때문이며, 정치를 이야기하면서 권력을 말하지 않는 것은 제대로 된 비판의 자세가 아니기 때문이다. 그리고 어떠한 현상에 추상적 비판을 가하는 것은 연약한 은둔자적인 태도이기 때문이다.

本題以崔述的《考信錄》諸書爲文獻資料來考察有關音樂考證部分, 主 要觀點在其中有無文化談論的要素和特色. 崔述的有關樂論的考證, 多有文 化談論的色彩, 可分爲本體論的談論和功用論的談論兩部分. 崔述的考證指 向點就根據儒家的音樂觀, 但是他太注重禮樂的政治社會文化的機能, 甚至 於連神話領域的樂論也連接到儒家思想, 一面看起來, 理論上本無問題, 而 筆者個人認爲難面有臆測之欠. 雖然如此, 在音樂的本質性性格和形成過程 上的段階的進展等問題上, 崔述非常努力解釋歷代學者們不能解決的問題以 及曲解的地方. 功用論的談論上亦是寓有創見, 但一方强調音樂的社會功用 性, 有點疏忽音樂自體的純粹性, 爲人感情的自然發露等原形質的槪念, 反 而表面上强調儀式化的音樂到底支配士大夫和一般人的意識, 崔述就鼓吹見 禮知政、聞樂知德, 審樂知政、觀風審音的功用性由此成爲中國傳統音樂文 化思想的主要思想基礎. 總而言之, 崔述不陷於疑古史學的朔漠無味的考證方法, 自己堅持着純 粹的科學的思維和苦心實踐, 平素强烈希望能闡明孔子所達道的正經美學, 終於他的《考信錄》可以說是其精神所歸, 代表的他的寶貴的知的所産. 雖 然崔述自己缺乏傳統音樂上的專門知識和經驗, 但是他一直不離傳統禮樂思 想和孔子所說的｢游於藝｣的文藝精神, ｢聞樂知德｣的社會功用性, 明其理, 達其致, 大膽糾正俗世學人的曲經誤謬, 欲振作儒家學風. 筆者發見在《考信錄》當中有很多文化談論的考證事例, 崔述能夠應用 字句解釋, 文獻比較, 論理辨證, 文化批評等多樣多彩的硏究方法來創造出 一面科學的, 一面人文的文化考證. 崔述的文化談論的考證事例, 關鍵就在 它可以說是具體表明他的疑古釋古參古的學術思想, 成其客觀和主觀的和諧, 實踐尙古信古復古的學問理想. 傳統中國文化上音樂就是最有代表性的文化遺産, 中國的色彩和民族性 的反映度已達其頂點, 在21世紀西歐音樂澎湃的文化環境下依然維持着對抗 的氣象. 換句話說, 誰也不能否認中國的傳統音樂是中國文化的審美基礎, 思想的核心. 活在18世紀的崔述已經認識度中國傳統音樂的存在價値, 努力 成章, 幸虧到今天中國傳統音樂決不息其氣運, 在中國人的意識形態和生活 空間上繼續發揚其順其自然的美德使命.

This study examines the background, motivation and purpose of the creation of Hunminjeongeum, which previous research has not poured much attention. The study makes multiple categorization with regard to the motivation and purposes revealed in the preface written by King Sejong. It divides the intention of Hunminjeongeum into two parts: politics-society (p-s) and language-culture(l-c). As for the background fact of p-s, I mentioned the needs of edification and, for the l-c part, I mentioned contradictory relation between the spoken language and the written language through Chinese writing and Idu(吏讀). Motivation and purposes are again divided into a main part and a secondary part. For the main side of p-s factor, I dealt with the efficiency of edification policy and edification purpose. This part also embraces the laws and ordinances regarding agricultural knowledge. And for the l-c factor, I mentioned the problems in the distribution of documents and in the communication with lower classes through Chinese writing and Idu. The secondary part is also divided into p-s and l-c factors. The minor section regarding the motivation and purposes of p-s factor is the disorder of the earlier period of the Joseon dynasty and the justification of the dynasty. For the minor section regarding the motivation and purposes of l-c factor is the confusion of the Chinese pronunciation. Through this classification, this study aims to help to grasp the true meaning and process of the creation of Hunminjeongeum.

The Sociolinguistic Journal of Korea 14(2). Since the IMF crisis devastated Korea, the tide of globalization has changed every aspect of Korean society. This overwhelming trend of ‘globalization' has been affecting the educational sector, especially in terms of the 'English-learning boom' in Korea. This phenomenon has been criticized by educators because the excessive and reckless expenditure on ‘English-learning' in the private sector has been yielding far-reaching and undesirable effects on society. This paper aims at focusing on the issue of the ‘English-learning boom' of Korea, by analyzing it in terms of a critical discourse analysis. It takes the perspective of post-colonial discourse analysis by criticizing neo-liberalism and social-Darwinism, which are whimpering around Korea with the ideology of globalization. To do so, this paper takes two examples of the ‘English-learning' fever in Korean society: the boom of ‘English village' construction and the anxiety over ‘early exposure to English'. Regarding these two examples, this paper attempts to analyze them in the lens of ‘social symbolization of discourse,' which could explicate the trajectory of how social discourses are idealized, symbolized, represented, and reproduced. This paper argues that the ‘English-learning boom' of Korea is a product of complicated construction of social discourse, which is strongly influenced by the neoliberal ideology of linguistic and cultural imperialism.

This paper examines the ways in which Yeats constructs and idealizes his Anglo-Irish Identity. After bitter disputes over Synge's plays he realized the insoluble opposition between the Irish Catholic and the Anglo-Irish, which meant his failure to unify Ireland through his Celtic Romanticism. He needed to make a new poetics to justify his predicament and to form a new identity. He creates, in his essays and poems, the identity and tradition of the Anglo-Irish from Burke through Swift, Goldsmith, Parnell to Synge and Yeats, the intellectuals who tried to enlighten the native Irish people only to fail and be isolated from them. According to Yeats, the reason the Anglo-Irish intellectuals had to meet the same fate in Ireland is due to the ignorance and sectarian hate of native Catholic Irish people. Although the Anglo-Irish always become victims, their defeat is considered by Yeats to be inescapable and even worthier than success in the reality where ignorance prevails. This is the discourse of tragic heroism. Yeats constructed the identity that is based on the dichotomy between the few Anglo-Irish and the Irish people, by which he attributes culture to the one, and nature to the other. Here culture is supposed to be superior to nature and that sense of superiority rests on the ability to culturalize nature. Yeats connected the culture with breeding which means being cultivated by discipline and education. In writing, it was through his poetics of mask, what he called “the sense of style,” that he could overcome his rage and hate to the mass and futhermore transform them to the higher virtues such as reason, manners and beauty. As the poems dealing with the Anglo-Irish big house and the Thoor Ballylee show, in their tradition what they have inherited is a heroic spirit of overcoming and transforming the adversity each generation has faced. Some critics have asserted Yeats shows de-mystifying recognition when he reveals his ancestors' illicit and unjust violence to the native Irish in the past. But we have to note that it finally leads to justifying his Anglo-Irish violence, for he thought it had been transformed by their overcoming spirit and efforts into order and culture whereas the violence of the Irish mass resulted into disorder and chaos. David Lloyd's opinion needs to be reconsidered in this regard. He praised Yeats's de-mystifying insights in some later poems and asserted, borrowing Paul de Man's terms, his writing is allegorical rather than symbolic. But in the poems he cited Yeats seems to be more interested in heroicizing and idealizing his Anglo-Irish identity and tradition. Yeats's Anglo-Irish identity should be understood as an response to the changed reality and is formed by his peculiar writing or representation.

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of ‘Korean Modernism in Art’, which flourished in 1970s followed ‘Informal Art Movement’ in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of ‘Korean Modernism in Art’, while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as ‘Korean Modernism in Art’, and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of ‘Korean Modernism in Art’ especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

This study focuses on constructing discourstics utilizing the methodology of linguistic analysis. Discourstics is a theory which analyses meaning and signification through context and discourse. This th∞ry originated from reflections on dichotomy, universalism, reductionism, and how we think of those characteristics as being part of diversity. The integrated study of discourstics is one area of linguistics that main1y deals with the construction of language. 1n discourstics, construction of the process of becoming discourse is examined. 1n view of this, ’text’ is a discourse unit within linguistics, ’statement’ is a pait of the text, ’arrangement (agencement)’ is the method of constructing statements. Contextualization and formation for processing and analyses of discourses are necessary. Contextualizing is the construction of context of the text through which the text becomes concrete. There are three paradigms: the value paradigm, the theme p따adigm， and the subjectivity p따adigm. Mea띠ng is constructed through contextualization and formation. This shows how the context is comprehended and how the meaning of communication through statements and discourse is significant. The effect of discourse strategy results in various signification. Therefore, discourstics is suggested to be an effective tool in analyzing the diversity and complexity of language in a social context.

This paper is trying to read the text with the current theory decolonialism. To this, The writer adopted the text Seamus Heaney's early poetry Death of a Naturalist. Seamus Heaney is known to be the most important poet since W. B. Yeats as a winner of Nobel Prize for Literature in 1995. I assume that a growing interest among readers reflects this prevailing enthusiasm for his work. His method and idea owe more to decolonial attitude more than that of naturalist or romantist. This seems to be an attractive factor to draw a reader's attention. In fact, his poetry has the proper qualities to absorb the devotees of 'decolonialism' still dominant in dealing with the poetry. Decolonialism as a literary theory is becoming an influential textual strategy rather than remaining as one of the academic master discourse. So far, the established textual reading theories have been closely related to logocentrism, and they failed to be acknowledge as objective way of reading. For this reason, the decolonialism has an important implication in the sense that it subverts the colonial ideology within the context of colonized society, and at the same time, reconstructs counter-discourse to find out self-identity and decolonized space. Meanwhile, Heaney have been witnessed historical moments of the death of his mother land, Ireland as well as of the Irish people, as the history of Ireland manifests. In doing so, the Irish people broke the cycle of imperial situation. The consciousness of them became consciousness of the nation. By way of this historical experience of authentic decolonization, Heaney's aesthetics became, more and more, politicized against the crisis which the repressive force of imperialism caused to occur. Under this traumatic disasters of Ireland, Heaney's poetic quest makes him and practical struggle against the colonial power in a poetic way. The main subject of his poetry is to find out his Irish identity with the past tradition and its continuity. The subject is linked with the question to find out the Celtic identity between the past and the present which is dominated by colonialism. To regard this, this paper analyses Heaney's text focusing on the decolonialism expressed by his poetry. I try to examine the process of his poetic writings and its attitude against English colonialism. To do this, My major interest is in his Celtic myth and language employed in his poetry. And I attempt to search for the true Irishness which Heaney makes every effort to materialize the reality of Ireland in his poetry. To conclude, the decolonial discourse and its textual strategy has an tactics and also has an important implications that lay bare the dominant ideology hidden by the seemingly impersonal intention of colonialism.

It is generally accepted in Yeats criticism that Crazy Jane series poems in his Words for Music Perhaps are the poet’s Mad Songs originated from his obsession with sexual passion in his old age. And a number of critics have found Crazy Jane poems to be a work of heroic tragedy. But there is no tragedy for Crazy Jane, nor can she be tragic in herself. Even if she is a crazy old witch, cursing a moralizing Bishop, she can be seen as a poetic persona for Yeats to criticize his contemporary Ireland culture. As an ex-Senator of “sixty-year-old smiling public man” Yeats would not be at ease in criticizing on his country’s agonizing preoccupations with its “Irishness.” However, Yeats had a long career of attacking his contemporary Ireland. So for Yeats in Ireland’s 1920s and 30s self definition processes, it would be natural to publish his opposing views on the several censorship laws and general trends towards cultural exclusions in which the Catholic social teachings dominated the major discussions on sexual and gender questions, excluding the other secular arguments. Yeats had always been fascinated by the unity of the opposites. His Crazy Jane represents Yeats’s concept on unity-in metaphysical meaning and in cultural level as well- through her arguments on love and body. Crazy Jane suggests that the energy of bodily desire is essential element in life and it may be originated from the interplay of the dirty and the pure, the sacred and the secular, and then it can urge human being make the greatest effort to affirm the physical fullness of reality. His contemporary Ireland Catholicism, in his view, excludes the body and soul. So in individual and in nation as well, “nothing can be sole or whole that has not been rent” for Yeats.

The purpose of this thesis is to explore W. B. Yeats’ poetic representation from the perspective of an approach which has arrested critical attention in recent development of contemporary critical theories. In most of its previous readings, Yeats has been generally considered as a romantist, occultist, and even modernist. However, this paper regards Yeats as a decolonialist living in a colonial society, and attempts to locate Yeats’s position in the context of decolonialists view including Frantz Fanon, Edward Said, and Gayatri Spivak. Decolonialism as a literary theory is becoming an influential textual strategy rather than remaining as one of the academic master discourses. So far, the established textual reading theories have been closely related to logocentrism, and they failed to be acknowledged as an objective way of reading. For this reason, the decolonialism has an important implication in the sense that it subverts the colonial ideology within the context of colonized society, and at the same time, reconstructs counter-discourse to find out self-identity and decolonized space. Yeats lived in Ireland from birth to death. During his lifetime, Ireland was under the colonial rule by England. At that time, under the influence of the Irish armed struggle in 1916, Yeats had eye-witnessed historical moments of the death of his mother land, Ireland as well as of the Irish people, as the history of Ireland manifests. In doing so, the Irish people broke the cycle of imperial situation. The consciousness of them became consciousness of the nation. The nationalists claimed the independence of their Ireland. By way of this historical experience of authentic decolonialization, Yeats’s aesthetics became, more and more, politicized against the crisis which the repressive force of imperialism caused. In this traumatic disasters of Ireland, Yeats’s poetic quest makes him struggle against the colonial power in a poetic way. In this regard, this thesis analyses Yeats’s text from the perspective of decolnialism. To begin with, focusing on the decolonization expressed by Yeats’s text, I tries to examine the process of his poetical writings and his attitude against colonialism. To this do, my major interest is in his myth and language employed in his poetry. And I attempt to search for the true Irishness in which Yeats makes every effort to materialize the reality of Ireland in his poetry. To sum up, the decolonial discourse and its textual strategy have important implications that lay bare the dominant ideology hidden in the seemingly impersonal intention of imperiali’sm.

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his <Archeology du savoir>. The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

이 연구의 목적은 기독교 채식주의 전통에 대한 역사적 연구에 기초하여 기독교 채식주의의 본질을 이해하고, 그 전통에 내포된 사회윤리적 담론을 고찰하는 것이다. 기독교의 식생활 관행에서 육식 금지의 전통은 수도사들의 금욕주의적인 삶에서 구체화되기 시작했다. 이런 관행은 수도원의 주요 규례가 되었고, 사순절, 사계제일 등과 같은 전례에 의해 강조되면서 기독교 신앙 전통으로 유지되었다. 그러나 분파주의자들의 엄격한 육식 금지의 관행, 수도원 금욕주의의 완화, 종교개혁자들의 수도원 관행 비판 등의 요소들로 인해 기독교 신앙 전통에서 육식 금지의 식사 관행은 계승되지 못했다. 그럼에도 불구하고 육식 금지를 근간으로 하는 기독교의 채식주의 전통은 동물 복지와 사회 질서유지의 차원에서 사회윤리적 담론을 포함하고 있으며, 현대 사회에 서 이러한 기독교 식생활 관행을 성찰하는 것은 의미가 있다. 특별히 채식이 기후변화의 위기를 해결할 수 있는 대안적인 식단으로 강조되고 있는 21세기에, 기독교는 채식주의 전통에 내포된 생태윤리적인 담론을 성찰하여, 그 실천 적 지혜를 계승할 필요가 있음을 제안한다.