The purpose of this study is to review the concept and thinking structure of deconstruction theoretically and thereupon, analyze the visual beauty and wearable comfort of the clothing and further, discuss the aesthetic characteristics and values of the decentering phenomenon in the 21st century fashion. Deconstruction provides for an cognitive framework whereby we could comprehensively review the difficult-to-understand and imprudent creativity unravelling in the name of the post-modernism as well as the ambiguous visual beauty and wearable comfort of our contemporary fashion. In particular, deconstruction refuses such concepts involving the relationship between the conventional clothing and its components as order, symmetry, balance, harmony, perfection and simplicity and instead, attaches some sense of value to such relatively inferior concepts as disorder, asymmetry, unbalance, disharmony, imperfection and complexity, and thus, reflects them in the modes of aesthetic representations to create new aesthetics and expand the expressive potential.

이 논문은 21세기의 국내외 미술관의 양적 팽창 속에서 당면하고 있는 ‘재정 자립’ 문제를 주제로 삼았다. 전 세계적인 신자유주의 체제 내에서 미술관은 경영 혁신과 재정 자립에 대한 요구가 크게 늘어났다. 이러한 상황은 한국의 지역 미술관 운영에 시사하는 바가 크다. 본 연구자는 재정 자립에 대처하고 있는 해외 미술관의 사례를 조사하고, 여기에 경기도 지역의 미술관 현황과 비교해, 한국의 미술관 재정 자립을 위한 최적화된 모델을 제시하고자 한다. 그 모델은 재정 자립의 시대적 흐름을 수용하되, 일천한 미술관 역사의 현황을 감안해 국가나 지자체가 공공성이라는 미술관의 본질을 수렴하는 것이다. 이러한 공공성 개념에 기반을 두고 미술관의 재정 자립도를 늘려 나갈 때 국가 정책과 개별 기관 정책 사이의 적절한 균형점이 도출될 것이고, 문화예술기관의 지나친 상업화와 전문성 부재라는 이중의 덫을 피할 수 있을 것이다.

The German popular music in the 19th century is the music, which is accepted in several citizen groups, on opposite to nobility society. With the emergence of capitalism and change of political situation produced the populace their own music of those life culture and distributed it in music market. But the evidence of independence of the popular music from art music of the aristocratic group is verificated in those antipathy and menace to the music of civil groups and those intention to classification their own music culture to the one of the populace. Eventually the meaning of german popular music in the 19th century is the new musical and cultural approach of the citizen group, who passively accepted and is known of unrefined and simple music, which is expression of emotions of uneducated people. Furthermore, it is important that the german popular music in the 19th century holds the ‘functional sociality’ changing the society than the lack of the artistry which the art music had.

This study focuses on an analysis of the Song cycle Reisebuch aus den österreichischen Alpen(op.62) by Ernst Křenek(1900-1991). When Křenek composed this Song cycle in 1929, the Orchersterlied had become a main genre in the 20th concert program and since Pierrot lunaire, Lied accompanied by a chamber ensemble elevated its position high in vocal music creation. Therefore, the conventional 19th century art song with piano accompaniment tradition had not continued into the 20th century. Křenek completed 31 art songs in his life. And this means a lot in the history of 20th century art song. Another fact that Křenek was of great importance in the history of 20th century art song is that he composed five Song cycles. Among these, four are based on his own poem, and the other one is Reisebuch aus den österreichischen Alpen. Composing Song cycle on his own poem verify the fact that Křenek was a person of a literary turn of mind and he faithfully followed the Song cycle tradition of the 19th century in purpose of unfolding a story based on one theme. Křenek’s Reisebuch aus den österreichischen Alpen consists of 20 pieces(19 songs and an Epilog added later) and is modeled on Wienterreise by F. Schubert. The Romantic inclination appeared in this Song cycle is the use of consistent rhythmic pattern in the song number eight ‘Unser Wein’, the pattern also favored by Schubert’s piano pieces. As Schubert described disenchantment of love in hisWienterreise, the fact that Křenek depicted his own hapless love for his homeland in this Song cycle is also considered to be a reflection of Romantic tendency. Křenek recapitulated the theme of the first song in the song number nineteen ‘Heimkehr’ and this is compared to the construction of Schumann’s Song cycle Frauenliebe und -leben. There are several factors in this Song cycle that continued the 19th century art song tradition, musical aspects of the cycle contain various contents of the 20th century. Twenty songs can be divided into two categories according to musical language: songs in Romantic musical languages are song number one ‘Motiv’, number seven ‘Regentatg’, number eight ‘Unser Wein’; songs in Expressionism musical languages are song number eleven ‘Alpenbewohner’, number twelve ‘Politik’. There are songs with text simply describing apparent impressions of journey such as song number two ‘Verkehr’, number three ‘Kloster in den Alpen’, and number six ‘Friedhof im Gebirgsdorf’. But those which put psychological, moral, social, and political contents into text are song number five ‘Traurige Stunde’, number nine ‘Rückblick’ and number twelve ‘Politik’. The close relationship between text and musical languages are conformed through the analyses.

This article chronicles key shifts in intellectual property regimes in the twentieth century as they related to the commercialization of academic research. The institutionalization and growth of scientific research in the research university in the twentieth century and the increasing awareness of its potential to promote technology innovation and economic growth posited an important question of the ownership of knowledge created in the academic setting, where knowledge was traditionally regarded as a common property among academic researchers. This paper shows the ownership of academic knowledge emerged as a key public policy and legal issue in the latter half of the twentieth century for academic researchers and government officials who pursue the commercialization of academic knowledge for private gain and public benefit. The resulting institutionalization of patent management in the research university and shifts in federal patent policy in turn opened a new legal avenue for the establishment of the private ownership of academic knowledge and the expansion of intellectual property rights in academia, especially in the area of biological and biomedical research. Reflecting upon historical shifts in intellectual property regimes in the twentieth century, this paper suggests recent controversies regarding ownership of biological knowledge and profit sharing in developing counties are linked to critical issues pertinent to the welfare of indigenous population, utilization of new natural resources, and sustainable development for humanity.

종교개혁 시대에 개혁가들이 선교에 대한 분명한 인식을 가지고 있었으나 실제적인 선교를 거의 수행하지는 못하였다. 그러나 그 본질과 실체에 대해서 심각한 오해를 받은 나머지 한 때 이단적 취급을 받았고 급진적 종교개혁의 일원으로 간주되었던 재세례파는 오히려 종교개혁 시대에 선교의 선봉장 역할을 감당하였다. 재세례파는 종교 개혁가들이 교회 개혁에 몰두한 나머지 선교 사역의 실천적인 영역이 미진했을 때에, 재세례파는 모든 신자가 다 선교사라는 의식을 가지고 선교 사역에 매진하였다. 그들은 말로만 복음을 전파할 뿐만 아니라 제자도의 실천을 통한 신실한 섬김의 삶을 통하여 복음을 증거하였다. 그리하여 당대에 가장 많은 선교사를 배출하였으며 개신교와 가톨릭을 합친 것 보다 압도적으로 많은 수의 개종자를 얻었다. 재세례파는 개신교 선교의 최초의 개척자였다. 재세례파의 이러한 놀랄만한 선교적 사역의 성과가 있었음에도 불구하고 그동안 선교의 역사에서는 재세례파의 선교가 정식으로 다루어지지 않았다. 금세기에 들어서 재세례파에 대한 연구가 그 어느 때보다 활발해지고 있다. 재세례파의 본질이 산상수훈을 통한 제자도의 실천과 성경적인 교회의 본질인 공동체성의 회복에 있음을 인식하기 시작한 마당에 16세기 종교개혁시대의 선교에 선봉에 섰던 재세례파의 선교적 교회의 실체와 의미를 재조명할 필요가 있다. 그리하여 종교개혁 시대의 선교에 대한 균형 잡힌 연구가 이루어져야 할 것이다.

영국의 의회혁명 기간 중에 분리주의자의 한 갈래로 나온 퀘이커리즘은 사제나 종교적 의식을 거부하고 여성의 발언을 허용했던 급진적 종파였다. 퀘이커들이 신봉한 내면의 빛은 그리스도로부터 나온 것으로 여겼기에, 교회에서 여성의 발언 역시 내면의 빛에 기초한 예언으로 간주되었다. 이 논문은 퀘이커리즘의 초창기에 쓰여진 여성들의 소책자를 중심으로 여성의 발언권에 대한 옹호를 살펴보고자 한다. 소책자들은 퀘이커리즘에 반대하는 이들에게 자신들의 교리의 정당함을 알리는 동시에 여성들의 발언권에 대한 옹호를 펴고 있다. 소책자는 공통적으로 여성의 발언을 옹호하기 위해 자신을 예언자의 위치에 놓으며, 성경의 구절을 들어 교회의 관습으로 내려온 여성에 대한 침묵의 강요를 반박한다. 발언권에서 남녀의 차별을 없애는 데 주력한 나머지 개인으로서의 여성의 고유한 목소리를 부각시키지 못했다는 문제점은 지적할 수 있으나, 퀘이커 여성들의 소책자는 남성의 전유물로 여겨졌던 문학에서 여성 작가의 활동이 시작되던 17세기의 상황과 궤를 같이 하여 다루어볼 가치가 있다.

본 연구의 목적은 19세기 후반부에 발행된 프랑스 󰡔통계 그래픽 앨범󰡕에 수록된 지도의 지도학적 특성을 살펴보는 것이다. 이를 위해 먼저 이 지도집의 제작 배경을 고찰하였는데, 당시의 사회공학과 통계그래픽의 발달이 지도집의 제작에 영향을 미친 것을 확인하였다. 둘째, 지도의 주제를 살펴본 결과, 국토개발을 위한 교통망 건설 타당성 분석을 위한 교통주제도가 많았다. 셋째, 단계구분도의 데이터 분류를 위해서는 등간분류와 자연분류를 채택하였으며, 동일계열의 색상을 이용한 명도배열과 황색과 적색의 분기배열을 사용하여 배색하였다. 넷째, 유선도는 선의 너비를 교통물량의 데이터와 비례하게 제작하였는데, 데이터의 명목적 차이는 색상과 질감을 사용하여 구분하였다. 다섯째, 도형표현도의 경우는 4개 이상의 변수를 표현하는 다변량지도가 많은데, 이로 인해 지도를 이해하는 데 어려움이 있음을 확인하였다. 여섯째, 시공간축소와 비용공간 축소의 표현을 위하여 카토그램을 사용하였다.

This paper studies how the continuity and uniformity are achieved in the 16th century polyphony through the imitation technique and cadential formula. Usually imitation technique is needed for the beginning and cadence for closing in the polyphony texture but these two are overlapped in inner cadences thus producing meshed opening and ending in progressions. Cadence is a device for bringing a pause or a close in a section. In spite of that inner cadences should produce a double effect of termination and continuity before the final cadence in order to show coherence. In this sense intensity is important in inner cadences. Imitation is a tool for repetition. Imitation in perfect interval according to hexachord system confrims the fact that “a melody” is repeated by several voices in different register. Sharing a melody denotes uniformity while voices beginning in various time difference represent continuous flow of time. Imitation happens at the beginning of a phrase but it overlaps with the cadence of the previous phrase creating a continuity naturally between two phrases.

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

Capriccio which has emersed in Italy of the 18th century is a new genre of the landscape painting. This genre represents reality, but it is very artificial product correspondingly its concept and character. It's birth place is distributed on various regions in Italy, but the main stage was Rome. Till the middle of the 18th century Rome was the Holy city of the Grand tour, the home of the Neo-Classicism and furthermore the field where archaeology and art history began to be instituted. On such historical situation the Capriccio came out and was recognized as the best popular genre in the visual art. It was favor of the art collection with the antiquity together and reflected the consciousness of the contemporary to the ancient. This study will examine the phenomena in the newly-developed archaeology and with few representative works of Giovanni Paolo Pannini as central term consider the Capriccio and the archaeological connotation. The systematical and institutional archeology which appeared at the age of the Enlightenment, on the contrary to the critical theories at the same time against capriccio, because it was regarded by them as paradoxical and too much sensitive, utilized it as a theoretical method very actively. Some among Historians and archaeologists did it, especially Francesco Bianchini distinguished the capriccio from simple imagination and made it a capacity of the knowledge. And through it he wanted to find out the historical truth. The visual art was influenced and encouraged by such attitude of the archaeology. However it's output spreaded out in various courses. While Giovanni Battista Piranesi, the best known Capriccist of the 18th century, tried to revive the antique through the epical value and his own imagination, Pannini gave priority to the strict historical research. In the such context Panni succeed Giovanni Battista Nolli who made the great map of the city Rome. Their Capriccio profited motive and was inspired by the historians and archaeologists such as Bianchini and Muratori. The Capriccio reflects not only the academic and popular interest for the antique, but also influenced on the upcoming scientific archaeology vice versa. It caused by their reasonable Interpretation and restoration of the antique through the visual medium. Finally as archaeological landscape Pannini's Capriccio is a historical case, in that the Capriccio applied the theoretical method of the archaeology to make art. It served as a momentum for the connotation to the archaeological thought.

This study focuses on Portraits of the Wyatt Family of John Everett Millais (1829-1896) who was active in England during Victorian Age. Portraits of the Wyatt Family refers to both James Wyatt and his Granddaughter, Mary Wyatt (1849) and Eliza Wyatt and her Daughter, Sarah Wyatt (1850), and these paintings were done for his patron James Wyatt in the early stage of Pre-Raphaelites Brotherhood (P.R.B.). In the 19th century, the British Academy of painting did not move forward from just imitating the works of the past, paying the best tribute to Raphael and Michelangelo and pursuing Joshua Reynolds’s Discourses on Art of 18th century. In criticizing such a stream, P.R.B. came up to the surface in 1848 initiated by Millais, William Holman Hunt, and Dante Gabriel Rossetti with an emphasis on recovering sincerity in painting. In Portraits of the Wyatt Family, it contains various features. In this paper, these specific features are divided into two parts: detailed expression and expression of distorted perspective. It seems that P.R.B.’s belief that thorough observation on small details opens to a window to find the truth in them played as a source to enable detailed depiction. And Portraits of the Wyatt Family distorted the perspective of the high Renaissance traditional perspective. Distorted perspective makes viewers to look at the painting with the same perspective, which suggests a new approach of seeing the picture, not separating the center and periphery in the painting. This study shows that ‘images-within-images’ of the Portraits of the Wyatt Family function reversely from those in traditional art and they are directly reflecting the ideology attached to women in the mid-nineteenth century of Britain. In this paper, it analyzes that ‘images-within-images’ have two different characters at the same time. Thus, this study is significant in that this approach provides a chance to explore the implications in wider extent, instead of just seeing Portraits of the Wyatt Family as family pictures. This study interprets the Portraits of the Wyatt Family in line with the characteristics of P.R.B.. Therefore capturing various hidden meanings from the Portraits of the Wyatt Family and allowing better understanding of the work.

Historian Eric J. Hobsbawm once said “the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation.” It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, “a mold called the past continuously forms the present or at least thought to be.” It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20th- century Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of “Informel” which was identifed as the turning point towards “modern art” in the Korean art history as well as the following “experimental art.” My belief is that the art history of Korea has to be reassessed from , a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of “severance”; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typifed history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal infuence to which the artist belongs.

9세기는 불교조각의 지역적 차이와 민중화가 가속화된 시대였다. 본고에서는 2009～12년에 사천성문물고고연구원 등과 공동조사를 실시했던 천불암 마애 중에 9세기에 유행했던 미타정인을 취한 아미타상과 성승상에 주목했다. 불공이 한역한 밀교경궤에 설해진 미타정인상(像)은 협강에서 17건이 확인되나 그 안에서 밀교적인 성격은 찾아볼 수 없고, 삼불 혹은 사불병좌감에서 종래의 전법륜인상을 대신하여 아미타불 형식으로 등장하고 있다. 한편, 돈황벽화에서는 9세기에도 미타정인의 작례를 찾아볼 수 없기에 지역 간의 차이를 엿 볼 수있다. 천불암의 중심구(区)인 제91호감은 승가・보지・만회라는 삼성승상으로, 9세기에 일본 승려 엔닌이 같은 주제의 단감상을 가져왔다는 사료를 가지고 유추하면, 특히 수난구제(水難救済)와 행로안전(行路安全)이라는 이점을 바라고 청의강 기슭의 낭떠러지에 이를 조각했다고 간주된다. 현세이익적인 영험력에 대한 민중의 요청에 응했던 이러한 조상 주제의 유행은 그 배경에 토번이나 남조의 침공이 반복되었던 9세기 사천지역의 사회적 불안이 깔려있는 것이다.

This study analyzed M. Kagel(1931‐2008)’s Anagrama(1957‐58) and G. Ligeti(1923‐2006)’s Aventures(1962) to present the diversity in the creation of vocal music during the latter half of the 20th Century. The point for the analysis of music was set through the analysis of vocal music by Kagel and Ligeti when the concept of ‘sound composition’, ‘language composition’, ‘vocal composition’ and others apply, and through the pieces of the composers who lived in the same era when it comes to the changes during the latter half of the 20th Century. Among Kagel’s numerous vocal music pieces, there were not many pieces that placed the ‘emphasis of the Phonetic aspect’ at the front without text. At best, they are Phonophonie, Hallelujah für Stimmen and Die Mutation. Ligeti’s compositional tendency in vocal music is slightly different from that of Kagel’s. Ligeti’s Aventures and Nouvelles Aventures, pieces based on the synthesis of the voice originated in actual diverse languages are the vocal music pieces of the 1960s that realize experimental thinking towards ‘stage piece’ from very early on. After this piece, Ligeti did not continue on this tendency. Along with Clocks and Clouds that uses the consonants and voiced vowels, 13 each, that follow the international phonetics’ phonetic notation and the mix of these instead of the text conform with Syntactics, and other pieces that used text such as Requiem, Lux aeterna, Drei Phantasien nach Friedrich Hölderlin, Nonsense Madrigals confirm this. Analysis of Kagel’s Anagrama shows that the composer did not set music to text. Instead, it was shown clearly that it was handled musically regardless of the contents of the text. Besides the conclusion that non‐semantics was realized or that another meaning was formed compared to the Latin phrase that serves as the basis of this piece, it includes the contents that could lead to yet another conclusion. Not only was basic Latin text used as Phonetic material, but it is possible to verify the conclusion that it embraces the meaning of linking to drama through analysis. Analysis of the Aventures composed of the Phonetic text that Ligeti himself explained in person according to E. Dieth and H. F. Wendt’s pronunciation presents diverse methods that can be defined as ‘vocal composition’ and verified the matters concerning ‘toning of the voice’(tone melody). Moreover, ‘musical gestures’ (crying, laughing, whispering, yelling, sigh and others) presented directly on the music note can be re‐appreciated with the opera‐like parody or caricature expression.

The aim of this study was to establish the identity of Korean traditional food based on the recorded food preferences during the period of the Chosun Dynasty. Our primary source in this regard was the invaluable, historical document called the "Miam's diary." This important document reveals details of such food preferences from October 1567 to September 1568. By analyzing the income-expenditure trends of virtually every household, this diary was used to describe a vivid traditional food preference of the people during that period. A detailed analysis of the diary reveals the summary of families' characteristics in the 16th century. First, it records the fact that expenditure on food was mainly based on stipend and gifts received. The type of food preferred by the people was diverse in nature; for it included rice, bean, chicken, pheasant, and seafood. However, there were dried or pickled forms too so as to prevent them from undergoing decay. Second, it throws light on the fact that people expended food mainly as a salary for servants. People utilized the income from selling such food items to purchase goods and land. They also used the same either to donate for a funeral or wedding purpose. Third, it records the fact that day-to-day purchase of groceries was mostly based on gift(s) for someone close to them such as a neighbor, colleague, relative, or student. Further, such gifts included small groceries, food items, and clothes. Fourth, based on the data available in the diary, it seemed likely that the gentry families laid emphasis on the customary formalities of a family dating back to as early as the late 16th century. Finally, the document also records the fact that noblemen of the Chosun Dynasty had a notion that they had to extend warmth and affection by presenting generous gifts to their guests at home. Noblemen during that period were very particular in welcoming their guests as they believed that this approach alone would testify their status as noblemen.

Gimlyong-sa temple has played an important role of Buddhist culture in Gyeongsangdo Provinces(嶺南地域) in the late Joseon Dynasty as the 31st head temple(本山) in the Japanese occupation. There are lots of architectural documentary records remained nevertheless, most of cultural heritages are destroyed by fire in 1997. There were 85 articles in five kinds of books which contained historical achievements of Gimlyong-sa temple and hermitages(Daeseongam(大成庵), Hwajangam(華藏庵), Yangjinam(養眞庵), Geum seondae(金仙臺), Dosoram(兜率 庵), Myeongjeogam(明寂庵)). It is possible to understand the five situational peculiarities in the 17∼19th century. At the first, they were compiled in 1914 to around 1930 by Kwon Sangro(權相老) to clarify the historical facts. Second, confirmed the formation process of the foundation narrative. Third, the meaning of Seolseondang(設禪堂), Manseru(萬歲樓) and Hyangnojeon(香爐殿) were recorded, it is possible to look at the concept of people at that time. Fourth, the great masters portraits were enshrined in hermitages, not in Gimlyong-sa temple. It means that a hermitage is not for only self-discipline or living but assembly of religious orders(門派). Fifth, Chimgye(枕溪), the great Buddhist clergy and carpenter of Gimlyong-sa, was nationwide active worker in 19th century because he was also in a charge of investment manager for construction.