The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the 16th and the 18th century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the 16th and the 18th century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the 18th century Europe exposed underwear more frequently and decisively than movies set in the 16th and 17th centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

This study intended to analyze the grunge look as a mode of expression and as a characteristic of the fashion of the 21st century, arguing that the look expressed not only an outward appearance or sub-culture but also a change in our attitude and spirit about contemporary fashion. In the study, I carried out an empirical analysis focused on the collection from 2001S/S to 2010F/W and a literature review. In my results, I classified the grunge look into the following categories: 1. mix and match layering; 2. patchwork, collages, and assemblage using all objects as well as clothing materials; and 3. distressing techniques, such as bleaching and dyeing, unweaving, and tears and holes. I also classified the characteristics of grunge into the following categories: 1. conspicuous destitution, which is intentionally expressed by skillful techniques and craftsmanship, indicating that modern people want to attract attention and be distinguished from others, which reflects an attitude of superiority through ironic fashion choices; 2. high lighting the dissolution of decoration, where destruction, poverty and recombination shown in the grunge look emerged as an artificial and intentional ugly aesthetic in contrast to the existing elegant and sophisticated image; and 3. satire and playfulness, as grunge expresses alienation and conflict in modern society through satire and sarcasm, not attacking or avoiding, but through playful and sarcastic engagement so as to decrease poverty and give temporary freedom.

심포니 콘체르탄테는 고전시대의 전성기인 18세기 후반에 등장한 기악음악으로 두 명 이상의 독주자와 오케스트라를 위한 다 악장 구성의 작품이다. 이 장르는 공공음악회가 활성화되어 있었던 프랑스의 파리를 중심으로 1770년경부터 발달하였으며, 초기 작곡가들은 프랑스의 작곡가들과 만하임 악파들이였다. 이 장르는 관현악 작품에서도 독주자들의 화려한 연주 기교를 보고 싶었던 당시 청중들의 취향이 반영되어진 것으로, 거의 대부분이 큰 음악회장에서 연주되었다. 따라서 당대 뛰어난 기술을 가진 연주자들과 활발한 활동을 하던 당대의 작곡가들은 파리를 중심으로 활동하였고 작품을 출판하였다.본 논문에서는 고전의 협주곡에 비하여 상대적으로 낮은 관심을 받고 있는 심포니 콘체르탄테에 관한 첫 번째 연구로, 먼저 18세기와 19세기의 이론서에서 나타나는 용어의 정의와 그 쓰임새에 관하여 살펴보고, 심포니 콘체르탄테 장르의 창시자로 알려진 프랑스 작곡가 다보의 작품과, 가장 많은 심포니 콘체르탄테를 남긴 작곡가 깜비니의 심포니 콘체르탄테 작품을 선정하여 그 첫 번째 악장을 분석하여 그 특징을 살펴보고, 또한 동 시대에 작곡된 모차르트의 심포니 콘체르탄테 작품도 분석하여 그 구조적 특징을 비교하여 본다. 이러한 분석적 비교를 통하여 고전을 대표하는 비엔나 악파 모차르트의 작품과 프랑스 작곡가들 작품 사이에서 발견되는 특징은 무엇이며, 공통점과 차이점을 구분하여 악곡 장르에 대한 보다 명확한 설명을 제공하는 것이 이 논문의 목적이다.

Research method of 3‐syllables chinese word in 21st century has the following characteristics：the comprehensive description and in‐depth explanations are combined with each other, the same ‐time and along‐time study are mutually permitted, the qualitative and quantitative analysis are combined research thought of these changes breaks new ground for theoretical and applicational research on 3‐syllables word.

Jeongrimsaji as temple remains of Baekje Sabi period, its re-excavation has been carried three times in full scale. As a result, the buildings in left and right of lecture hall was largely identified in 3 forms. First, layout of small buildings in left and right of lecture hall. Second, layput of corridor in left and right of lecture hall. Third, layout of construction site in the north of corridor in left and right of lecture hall. Above second is included into remains of Gorye, the third is included into remains of Baekje - the remains were almost ruined then. The first form and third form in above is different each other in size of buildings, form of layout, and location. It is important to investigate these points: the time of constructing the buildings; what position have the use and function of the buildings in the temple? ; transition process of layout of the Buddhist temple. In this context, of temple remains in Baekje during the 5~7th century, the cases where construction sites in left and right of lecture hall and construction site in the north of corridor are identified, have been reviewed. Based on this review, the use and function of buildings, their transition process were investigated. The survey results show that small buildings in left and right of lecture hall existed in the middle and later period of the 6th century. During the later 6th century ~ the 7th century, construction site in narrow and long square shape was located in left and right of lecture hall instead of small buildings in the north of corridor. Therefore, it is identified that the aforementioned thing is earlier stage and the latter thing is later stage.

This thesis is the study about architectural sculpture in american art since late20th century focusing on works of Robert Smithson and Nancy Holt. Archtecturalsculpture is postmodernist sculpture looked like architecture and architecture;s scalebeing in actual space. Architectural sculpture installed in actual space have site-specific. RobertSmithson and Nancy Holt made large scale outdoor sculpture imbued with theirsurrounding. Their works evolved out of their site with consideration given to thetopography, built environment, and local materials, along with the psychology,sociology, and history of each place.It is possible that art can be integrated into society. It can be place to rest.Architectural sculpture fused with its environment can give social meanings andfunctions to the public. Architectural sculpture has interior space which inspired byshelter. Achitectural sculpture was informed by a counter cultural urge to carryoutside the precincts of the art world. it was also influenced by feminism. Feministsclaimed that it was natural for women sculptors to be attracted to image of shelter.Lucy Lippard suggested that the biological and sexual roots of “sheter sculpture”, asshe labeled it, were in the female body. Architertural sculpture is ecological. they concerned about environmental preservation. In particular, Smithson maintains that art could mediate between theecologist and the industrialist so he set up sculpture as land reclamation. Theconcept of sculpture as land reclamation was presented in some earthworks ofRobert Smithson’s Spiral Jetty, Broken Circle, and Spiral Hill in Emmen, Holland.Smithson’s intent in those works was to focus on the process of entropy. Smithsonbegan to think directly of land reclamation art and made attempts to work withmining companies and quarry owners. He thought that art should not be consideredas merely a luxury but should work within the process of actual production andreclamation.

Research method of 3‐syllables chinese word in 21st century has the following characteristics：the comprehensive description and in‐depth explanations are combined with each other, the same ‐time and along‐time study are mutually permitted, the qualitative and quantitative analysis are combined research thought of these changes breaks new ground for theoretical and applicational research on 3‐syllables word.

The 21st century is the age when a sensational image has more explanatory power and can deliver a more powerful message than a message consisting of logical thinking. Powerful visual images create a big impact on many people throughout the world, overcoming linguistic barriers and even replacing language as a means of communication. In the fashion field, the concept and power of visual images within the new multimedia of the 21st century are becoming increasingly important. In recent years, other than the above methods, videos, movies and animation features have been produced directly to enhance visual effects and attempts are increasing to use these new tools as communication methods. This study focuses on animation contents that have been used in the fashion industry to overcome prejudice of luxury international brands that feature images that emphasize value, quality and heritage. The purpose of this study is to focus on the specific character of fashion animation in order to overview the concept of 21st video fashion communication and to show how the collection concept that includes color and detail places an emphasis on visual images. Analysis of previous research, theoretical research through literature and case study on Prada fashion animation led to the following conclusion. The common features of two different Prada fashion animation show that both animation have the following features in common : realism, dramatic impact and convergence for expression methods, and creativeness, hybrid and a happy ending for contents. Beginning with this study, I believe that various angles of interest and concern about communication in the fashion world, which is a social and cultural phenomenon that changes rapidly, can be will be looked at and learned from.

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.