홋카이도와 주변지역에 대한 유럽인들의 탐사와 지도 작업은 유럽인들의 동해와 한반도 인식에 중요한 역할을 하였다. 본 연구에서는 16세기와 17세기의 서양고지도에 나타난 이 지역의 표현 형태를 논의하였다. 16세기까지는 이 지역에 대한 유럽인의 지리적 인식 수준은 매우 미약하여 일본만 태평양 한 가운데에 표현하는 수준에 머물렀다. Angelis의 지도가 1621년 제작됨으로 홋카이도의 지도 제작은 새로운 전기를 맞이하였다. Dudley는 Angelis의 보고서를 인용하여 홋카이도에 대해 기술하였는데, 한반도와 홋카이도 의 상대적 위치에 대해 비교적 상세하게 기술하였다. 17세기 중반에는 Vries의 탐사 결과 쿠릴 열도의 한 섬을 아메리카와 동일시하게 되는 오류가 발생하였으며, 이는 이후 이 지역의 지도에 엄청난 영향을 미쳤다. 그래서 Vries 이후의 이 지역의 표현 형태를 여섯 가지 범주로 유형화하여 살펴보았다. 또한 Vries의 탐사와는 별도로 지도 오류의 원인을 Kaempfe가 유럽에 가져간 지도를 근거로 하여 살펴보았다.

This study aims to discuss the type and characteristics of primitivism in the modern fashion of the 21st century and, as a research method, the concept of primitivism as well as the transition of the patterns of primitivism expressed in modern art have been considered and reviewed through a variety of references. In particular, an empirical analysis of the works that have been created from 2000 to 2009 has been performed using domestic and overseas fashion and collection magazines. The characteristics of primitivism in modern fashion possess the following types of expression: First, Sensuality can be cited as one of the characteristics, either by using direct or indirect exposure of the human body, a silhouette which fits tightly to the body, or creating the effect of sensual beauty using animal fur or bird feathers. Second, Incantation: Masks symbolizing primitive incantation are used to cover the human face or primitive incantation is incorporated as a theme of hair accessories or fashion trinkets, etc. In addition, such decorations as tattoos and the body colorations of ancient tribes are reproduced in modern fashion by means of body painting, printing or other accessories, emphasizing the image of occult primitiveness. Third, Naturalness can be cited as one of the characteristics. Naturalness is emphasized in modern fashion not through artificial decorations and processing, but rather through different patterns of exposure by which natural purity can be felt or through the use of non-artificial materials which recalls primitive civilization. Forth, Playfulness is expressed in the form of graffiti or abstract letters and paintings, and the character of the play is often expressed by the use of grotesque images based on various distortions and exaggerations of the human body, the utilization of symbols of primitive incantation and body and/or facial painting. Fifth, Lastly ‘folkishness is emphasized. Folk-like objects, facial decorations, exposure of the body and intense color contrasts typically represent the folkish characteristics.

The purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.

이 글은 신라의 江原道 東海岸 및 鬱陵島 진출을 살펴보는데 있다. 이를 위하여 短脚高杯段階로부터 통일신라 초기까지의 유물.유적을 중심으로 살펴보았다. 우선, 필자는 황남동 109호 3.4곽을 4세기 후반~말기, 황남대총 남분을 5세기 3/4분기 訥祗王의 무덤으로 보는 입장에서 고고학적 물질자료를 해석하였다. 그 결과 강원도 동해안의 강릉은 이미 황남동 109호 3.4곽 단계부터 신라의 문화가 나타나며 , 威勢品으로 보나 고분군의 규모로 보나 강릉이 최고의 거점지역이었던 것으로 판단된다. 그리고 부산 복천동 집단을 강릉으로 徙民시켰고, 이들의 후예들을 異斯夫의 울릉도 정벌에 활용하였을 가능성도 제기해 보았다. 이후에도 강릉을 비롯한 강원도 동해안 지역은 지속적으로 경주와 連動하여 橫口式.橫穴式 무덤이 조성되며, 遺物相도 동일한 양상을 보여준다. 반면, 울릉도는 육지에서는 찾아볼 수 없는 특이한 고분이 조성되어 상당히 오랜 기간 동안 지속되고 있다. 울릉도의 고분은 追加葬이라는 횡구식 아이디어를 받아들였으며, 처음에는 屍身을 안치하였지만, 점차 佛敎의 영향으로 火葬을 하고 藏骨容 器를 埋納하는 방식으로 추가장을 하면서 많은 고분이 조영될 필요성이 없어졌다고 생각된다. 그런데 이러한 울릉도식 고분은 6세기 중후반 이후에 갑자기 나타나고 있다. 발굴 자료가 거의 없어 단정할 수 없지만, 그 이전의 선행 묘제가 없는 까닭에 외부로부터의 徙民도 생각해 볼 수 있고, 울릉도 土着人들이 횡구식 묘제를 받아들여 변형시켰다고도 볼 수 있으나 자료의 증가와 검토가 필요하다. 울릉도는 이사부의 정벌 이후 銅冠으로 상징되듯 완전히 新羅化되었고, 원거리에 위치한 섬이라는 특성상 간접지배를 받았다고 보인다. 고고학적 자료로 보건대, 울릉도 고분이 외형상 독특하고, 동일한 고분형식이 지속적으로 유지되며, 횡혈식석실분으로의 변화를 나타내는 예가 없는 점 등에서 알 수 있다. 한편 울릉도와 강원도 동해안에서 6세기 중.후반~7세기에 보이는 고고학적 물질자료들은 뚜렷한 차별성이 보이지 않는다. 이것은 이 시기의 물질문화가 신라의 전체 영역에서 동시에 유행하는 齊一性의 결과로 볼 수 있다.

세계의 글로벌화가 신속하게 진행됨에 따라, 환경과 자원적인 측면에서 또 정신적 사회적 측면에서 많은 문제를 야기했다. 이에 사람들은 이러한 경제발전의 중시에서 벗어나 문화적 측면의 중시로 관심을 돌리게 되었다. 그래서 문화발전전략문제는 이제 세계적 관심의 이슈로 되었다. 문화전략은 “인문가치적 이성”을 원칙으로 하여, 화합․심미형․지속발전형․문화계승형․안전형 사회를 구축하는 힘써야한다. 이러한 문화발전전략으로 창출하려는 문화발전 모델은 서구 문화 위주로 발전해온 근대적 모델에서 벗어나, 중국 문화 속에 내재해 있는 유가문화에서 찾아야 한다.

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Siméon Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin’s genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin’s paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin’s educational series, this paper argues that the significance of Chardin’s painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a ‘toilette’ in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother’s warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children’s innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child’s personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin’s series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois’s moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

21st century post digital society orients co-existence, fusion, and blurring boundary than conflict, differentiation, and boundary, and makes a try liberal combination of various different objects. Furthermore, radical development of science and digital equipments offer technical possibility that could combine various fields. Hence, many different departments demolish their boundary, and combine for development of multi-functional and complex shape’s products. For job-nomads, fashion attempts to combine with architecture, furniture, daily necessities, and digital equipments spontaneously. This paper aims at consideration about the blurring phenomena expressed in complex fashion space of 21st century throughout empirical fashion photographs analysis, which show combination among fashion and various different fields. Blurring boundary phenomena of complex fashion space are classified with 4 parts as follows as: 1) furniturizing, 2) wearable dwelling, 3) lumiduct, 4) becoming fashion. Each parts are examined 8 aesthetical characteristics such as movement and lightness, hyper-link and openness, immateriality and inter-activeness, and diversity and ambiguity. 21st century fashion has changed more simple and light, and creates new form throughout combination with many other fields, and enlarges its function and sphere. I think this paper would help certificating practical use of fashion space as multiple and complex space, and makes contribution to forecast about fashion development of the future and offer inspiration about creative and innovative fashion design.

Hakbongjongtaek(The head house of Uisong Kim family, 鶴峯宗宅), firstly built in the early 17th century, was moved to its neighboring place in the late 18th century. The man who led the relocation(移建) of the house was the eldest grandson of the family, Jong-soo, Kim. He made an overall plan and also participated in building the house. There remain four Gados(family paintings, 家圖) related to the relocation plan. This paper aims to make an analysis of these Gados, and through the analysis, to find what was the essential point of the relocation plan and how the point was represented in the paintings. The result of analysis is as follows: 1. The main focus of relocation plan was the form of Anchae(the inner house). Anchae was designed as asymmetrical form, and restricted to four kan. Only Andaechung needed to be 6 kan size for religious ceremonies. 2. For the design of Sarangchae, the displacement of large Sarangbang and small Sarangbang was an important issue. There were two ways of layout: parallel type and facing type. The latter was chosen. 3. The representation and techniques of Gado is quite concrete, in spite of differences among them. The expression of doors, windows, attic and kitchen was based on the understanding of space. Also the spatial division, which was expressed line on the grid, was based on the scaled ruler. As we've seen before, painting the relocation plan was a kind of endeavors to make the housing type as a realization of Garye. Also, we can find out that the role of the eldest grandson of the family was quite important to carry out the plan. As well as, it was meaningful to examine Sadaebu (the aristocrat of Chosun)'s perception of housing.

The present study examined the import routes of distilled rice liquor soju and how soju developed among the royal family and the upper classes using celadon inscribed with poetry related to alcohol beverages in the 12th century, Maebyeong style vases inscribed with government office name in charge of alcohol beverages of the royal family in the 14th century during the Koryo Dynasty. Distilled rice liquor was imported from the southwestern region to Koryo by Arabian merchants through direct and indirect routes in the Yuen Dynasty during the age of King Chungsuk and King Chunghye in around the 14th century. As soju was added to existing takju and cheongju, the three major types of alcohol beverages were completed during the late Koryo Dynasty. Celadon pitcher inscribed with poetry shows the delicate sentimentalism, aristocratic prosperity, and poetic sentiment. In particular, it is valuable in that it reflects Koryo people's mind, view of nature, and attitude toward alcohol beverages, and their inner world was also described with celadon patterns. Maebyeong style vases Yangonseo, Saonseo, Deokcheongo, Euiseonggo and Saseonseo, which are real celadon antiques inscribed with government office name, were used for rice liquor preservation. In particular, Maebyeong style vase 〈Euljimyeong Saonseo, 1345〉 has the exact year of creation, so it is a historically important celadon in research not only on alcohol food culture but also on art history. This shows that alcohol beverages were important foods that there were controlled and stored in celadon by the government offices for the royal family's related alcohol ceremonies. Through celadon inscribed with poetry and government office name displaying Koryo people's unique imagination and cultural consciousness, we can read their mind and lifestyle based on historical and social alcohol food culture in the Koryo Dynasty.

The purpose of this study is to explore historical and cultural backgrounds of early twentieth century in Paris, France and examine musical characteristics of selected songs of Les Six through analysis. This study investigates songs of Les Six, which possess valuable learning aspects technically and musically and present artistic aesthetics of early twentieth century France, but have not been studied suffciently as an appropriate twentieth century French repertoire for singers, teachers, and music researchers. Les Six was a group of talented and young composers gatering under Erik Satie (1866-1925) and Jean Cocteau (1889-1963) pursuing true French music that was independent from German Romantic and Debussy's impressionism. Also, Les Six has been recognized as representing composers of contemporary French music in the early of twentieth century. The study briefly examine the cultural and historical background of early twentieth century France and the formation and aesthetics of the group of six composers, Georges Auric(1899-1983), Loise Durey(1888-1979), Arthur Honegger(1892-1955), Darius Milhaud(1892-1974), Francis Poulenc(1899-1963) and Germaine Tailleferre(1892-1983). The selected songs of "Les Six" present a unique style such as neo-classical simplicity, embracement of tradition and modern qualities, and integration of characteristics of popular music, refined and controlled expression, and suble relationships between text and music.

The purpose of this study is ultimately subjected to the Orientalism, even though this deals with some positive effects in the realm of art and architecture as the scope of study, because through which the relationship between two different cultures will be discussed. That is to say, this research focused not only on how the presentation of ‘avant-garde’ visual art, which is explained as formal ‘purity’ and ‘abstraction’ as the characteristics of modern arts, could be made in the transition to the 20th's World, but also on what is the role and meaning of Eastern thoughts, which is popular in that time, for the new philosophical background of the artistic revolution. As a result, this study found that a lot of ‘avant-garde’ architects such as F. L. Wright, M. Mahony in Prairie School and L. Sullivan, D. Burnham, J. Root in Chicago School, and Lauweriks, H. P. Berlage who introduced Wright's works into the Europe, had possessed the ‘Universal Philosophy’ including Unitarianism, Transcendentalism, Deism, and Theosophy which are all influenced by Oriental religions and thoughts through historic western philosophers, although it is generally well-known that W. Kandinsky and P. Mondrian were belong to that. Furthermore, they gave attention to the Oriental religions and thoughts in that time, eventually made a historical progressive process of unification of thoughts between East and West. In a word, the new universalism was the philosophical background that made the artist's idea and presentation on ‘from Being into Becoming’.

21 세기의 사회변화는 인류 구성원들에게 자기주도적 학습능력， 창의적 문제해결력 및 테크놀로지 활용 능력 등과 같이 새로운 핵심역량을 요구하고 있다.APEC 회원국의 교육관련 전문가들은 21 세기 핵심역량으로서 평생학습(life longlearning), 문제 해 결 력 (problem solving), 자기 관리 (self-management) , 팀 워 크(teamwork) 등으로 정의하였다. 본 연구는 회원국의 차세대들이 성공적인 삶을영위하기 위해 필요한 핵심적인 능력이 무엇이고 또 그 능력을 어떻게 개발할 수있는가에 대한 교육공동체 차원의 고민과 논의를 정리하여 제시하였다. 특히 교육협력체로서의 회원국들이 교육과제들을 함께 해결하고 협력하는 방안에 대해고찰하였다. 21 세기 접어들면서 APEC 교육협력사업을 통해 선도적 역할을 수행해 온 우리나라의 활동 현황과 21 세기 핵심역량 개발을 위해 회원국과 협력하고또 이에 대한 국내의 대응 전략 등을 탐색해 보았다.

2008년에 개최되었던 APEC EDNET 에서는 제 4차 교육장관회의에서 다룰 의제로 ' 21 세기 핵심역량과 기술 성취’로 정하고， 회원국들의 공통적인 의견을 모아 앞으로 관심을 가지고 진행하여야 할 교육 의제에 대하여 심도 있는 논의를 진행하였다. 수학과 과학 영역은 APEC 회원국들이 관심을 가지고 국가적 차원에서 투자하고 교육 정책을 지속적으로 강화해야 한다는 측면에서 가장 중요하게 논의되고 있는 영역 중 하나로，APEC 회원국들 간에도 수학과 과학 영역의 중요성에 대해서는 일치된 견해를 가지고있다. 이에， 본 연구에서는 첫째， APEC 교육 협력과 관련하여 우리나라 수학·과학 영역에서 중점 추진하고 있는 분야를 제시하고，둘째，APEC 에서 논의 된 사항을 중심으로향후 수학·과학 영역에서 추진하여야 할 주요 과제에 대하여 구체적으로 논의하였으며，셋째，APEC 교육 협력을 위한 최근의 수학·과학 교육 정책 방향을 제시하였다. 마지막으로，우리나라의 교육 현황을 비추어 앞으로 우리나라에서 취할 수 있는 전략과 대책을제시하고，특별히 APEC 수학·과학 교육 정책의 향후 방향에 대한 논의와 시사점을 제안하였다.

본 논문은 朝鮮 正祖 16年(1792)에 刊行된 『生生字譜』를 對象으로 삼아 이에 反映된 當時의 漢字 빈도 狀況과 그것이 漢字 頻度 硏究史에서 가지는 의의에 대해 논의하고자 기획되었다. 形·音·義 외에 漢字의 第4要素라 불리는 “글자의 빈도(字頻)”는 해당 글자의 실제 사용 능력을 나타내 준다는 의미에서 漢字의 字頻硏究는 漢字 그 자체는 물론 漢字의 應用硏究에도 중요한 의의를 가진다. 이를 위해 본 논문에서는 『生生字譜』에 수록된 1만4천9백82개의 字種을 대상으로 하여 (1) 한자빈도 연구사에서 가지는 『生生字譜』의 가치, (2) 『生生字譜』에 대한 간단한 소개, (3) 『生生字譜』와 18세기 후반 朝鮮時代의 文獻用 漢字頻度, (4) 고빈도 상위 50한자의 속성 분석과 빈도 비교 등에 논의했다. 특히 (3)에서는 『生生字譜』에 수록된 부수별 자종과 주조 수량, 빈도별 글자례, 收錄字의 累積 計頻度, 收錄字의 頻度 等級 分類 등에 대해 논의했고, (4)에서는 고빈도 상위 50한자를 추출하여 이들의 품사, 선진시대 각종 역대 문헌 자료, 동한시대 실물 자료, 위진남북조 석각문자 등과의 빈도 비교를 통해 『生生字譜』가 가지는 빈도의 의의에 대해 논의했다. 다만, 『生生字譜』에 기록된 주조량이 어떤 방식에 의해 조사되고 63등급에 의해 분류되었는지, 당시의 다른 “字譜”들과의 차별성은 무엇인지에 대해서는 지속적인 연구가 필요하다.