The Buinpilji is a book of food and clothes which was published in 1915 by Binghugak, Lee. The food part of Buinpilji is as follows: (1) The staple food are 2 kinds of Bab, Juk, and Guksoo. (2) The side dishes are 7 kinds of Kimchi, 4 kinds of Tang and Marunchan, 3 kinds of Jim, Jockgall, and Po, 2 kinds of Namul, Jon, Kui, and Jockpyun, and 1 kinds of Son, Shinsonro, Pokkum, Hoe, and Sundae. (3) There are also 10 kinds of Dock, 13 kinds of Kwajungryu, and 8 kinds of Umchungryu. (4) There are 14 different kinds of wine. (5) For seasoning there are 6 kinds of soybean sauce and oils and 1 kinds of vinegar. (6) There are 177 ways of preparing the ingredient 18 kinds of cutting terms, 22 heating terms. 29 expressions of taste can be found in the book.

본 논문은 드미트리 쇼스타코비치의 오페라 ≪므첸스크군의 맥베스 부인≫을 둘러싼 형 식주의 논쟁에서 벗어나 음악사회학적 해석을 바탕으로 이 작품에 녹아있는 당시의 사회상 과 사회성, 그리고 쇼스타코비치의 작곡의도를 연구한다. 오페라 ≪맥베스 부인≫은 스탈린 정권 당시의 정치사회에 던지고 싶었던 쇼스타코비치의 비판과 메시지를 오페라에 담고 있 다. 무엇보다 레스코프의 서민적, 이야기적 성격의 글에서 그 당시 민중의 삶을 파악할 수 있 었으며, 쇼스타코비치의 시대 또한 그의 시대와 크게 다르지 않아 많은 요소들에서 유사성을 가지고 있었음을 확인한다. 이러한 민중들의 삶을 바탕으로 작곡가는 카테리나의 인물을 통 해 당시 여성에 대한 가치관과 정치적, 사회적 배경의 내막들을 조소, 풍자하면서 작곡가 특 유의 음악적 기법을 가미해 그로테스크한 오페라를 완성시켰다. 그의 음악과 오페라의 내용 이 당시 러시아 대중들에게 사랑받을 수 있었던 것은 바로 이 오페라가 지닌 사회성이 청중 들에게 수용될 수 있었기 때문이다.

The literary achievements T. S. Eliot, as a poet, critic and publisher, had made with The Criterion (1922-1939), mostly a quarterly journal, at Faber & Faber, are supposed to be a good example by which we can examine the process of human studies in terms of production, consumption, and distribution of poetry. Lady Rothermere was a patron of the arts, including Eliot’s publishing activities for the commentary journal of The Criterion, yet she was not happy working with him for a long time. The response of Lady Rothermere to the first publication of The Criterion, by Eliot as publisher in October 1922, was critically and cynically ‘dull’; Ezra Pound considered such a comment by Lady Rothermere on Eliot’s works “intentionally offensive” in a letter to Eliot in 1922. Lady Rothermere pursued entertainment in cheap and vulgar literature for the public, different from Eliot, who wanted to publish an elite journal, intellectual and sincere in literary commentary, on his own. Nonetheless, the contribution of Lady Rothermere on Eliot’s works in The Criterion casts a great shadow, by supporting human studies and by the promoting popularity of humanities, into the early literary history of the 20th century. As a matter of fact, Lady Rothermere turned out to be an essential patron for Eliot’s literary activities in the 1920s, yet her active passion and involvement in Eliot’s publication of The Criterion appeared to be a considerable threat to his literary life in poetry and criticism.

It is defined that digital evidence is all valuable information as evidence that is preserved and delivered in digital form, the salient traits of its character is independent from a storage, invisible, unreadable etc., it must be solved authenticity, reliability, best evidence for the purpose of its admissibility.In our criminal procedure law, the evidence is classified into two types, statements and objects, objects as evidence are composed of documents and things, it could be included statements by a person or not in documents as evidence. In essence digital evidence is regarded as documents evidence so hearsay-rule is applicable to it.To acquire admissibility of digital evidence made by a person it is important that the person acknowledges his digitals documents produced by him-self according to the criminal procedure law art. 313① in a court but the opinion that only the acknowledgement by a writer can give admissibility of digital evidence is very dangerous in criminal procedure because it may make valuable evidences useless things.In the revised criminal procedure law new solution is imposed in it. Even though a person deny its contents in a report said by him-self for example “I didn’t talk like that in a report”, prosecutor could prove that a report made by a investigator is credible and exact in the objective way including recording video-tape etc., the admissibility of a report evidence can be achieved recognition.This revised purpose must be regraded as a new basis in evidence law totally, even if a person deny his digital document made by him-self for example “I didn't make digital document like that”, prosecutor could prove that a digital document is made by him-self in the objective way including analysis meta-data etc., “it is you who made this digital document”, the admissibility of a digital document evidence could be achieved recognition. if to prove who made a digital document evidence end in failure, its admissibility have to be reviewed again according to criminal procedure law art. 315, valuable digital evidence must not go into the dumper easily.Anyone talking about evidence in criminal procedure cannot help but mention digital information that is essential in it by progress of scientific technology.Much to our regret, there is not at all rule for the purpose of admissibility of digital evidence in present criminal procedure law, as a result many opinions and judicial decisions consider requisites of admissibility of digital document as one of admissibility of non-digital document but an intrinsic attribute of digital evidence is profoundly different from one of traditional evidence.Ultimately I think that criminal procedure law must be revised referring to foreign country’ law to acquire admissibility of digital evidence although a person deny a digital document that is made by him-self, if prosecutor could be successful in pr○○f, “it is written by him-self”, in other words witness or suspect, the digital evidence shall be useful.I wish to be collected g○○d thoughts to prevent that valuable digital evidence may be discharged by only one statement of a wicked-person.

The technique of dramatic monologue which affords writers an objective and ironic distance from the speaker was a useful method to Robert Browning and T. S. Eliot who tried to overcome the problem of excessive pursuit of subjective vision of the Romantic poets, their immediate predecessors. In “The Metaphysical Poets,” Eliot denies any direct influence from and continuity with the Romantic and Victorian poets and finds his inspiration in the works of Metaphysical poets and French Symbolist poets. In a review on John Middleton Murry's Cinnamon and Angelica, however, he recommends Browning to the modern poets, including himself, as a pattern to follow. Eliot's contradictory attitude toward Browning stems, I think, from the fact that his ambition to become a modern poet of the Twentieth Century sometimes overshadowed his acknowledgement of Browning as one of his masters. But it is hardly possible to deny that he knew Browning very well and his early works show a close affinity to the works of Browning, more than those of any other poet. “My Last Duchess,” Browning's masterpiece of dramatic monologue, and Eliot's “The Love Song of J. Alfred Prufrock” share many characteristics; both are written in dramatic monologue, and both are studies of the latent violence and danger of solipsistic self-love. Both Browning's Duke and Eliot's Prufrock are paranoiacs who are imprisoned within their sick self-consciousness. They suffer from their impossible desire for woman, and they reveal their hidden violent nature when their desire for woman is thwarted. As the Duke shows his sadistic character when he transforms his Duchess who was beyond his control into an artifact, the same violence of Prufrock turns against himself and becomes a masochistic one. In this sense Prufrock can be regarded as a modern Duke of Browning, who wallows in the mire of “etherized” self-consciousness. The paranoiac self-consciousness proves itself a hell both to the Duke and Prufrock. “The Love Song of J. Alfred Prufrock” is a good example in which Eliot faithfully followed his own advice to the modern poets, that is “to distill the dramatic essences [of Browning], if we can, and infuse them into some other liquor.”