미술관은 자라나는 학생들에게는 미술작품과의 직접적인 만남으로서 예술적 체험의 장(場)이 되고 학교를 졸업한 일반인에게는 평생교육차원에서 예술적 경험을 확장시킬 수 있는 미술교육적인 공간이다. 미술관교육에 대한 관심은 최근 우리나라의 경제성장과 더불어 문화예술에 대한 관심이 커지고 예술에 대한 체계적인 학습의 필요성이 제기되면서 고조되고 있다. 또한 학교와 사회에서는 주 5일제가 시범적으로 운영되면서 주말을 이용하여 미술문화를 향유하려는 관심이 확대되고 있다. 미술관에 대한 관심은 많은 관람객들이 미술관을 찾게 하며 미술관도 체계적인 미술교육을 필요로 한다. 이러한 미술관 교육의 중심에는 미술관 교육 프로그램이 있으며, 미술관 교육 프로그램은 on line과 off line상의 다양한 프로그램이 존재하지만 그 동안의 우리나라 미술교육이 그러했듯이 표현영역에 많이 치우쳐왔다. 최근 들어 국립현대미술관이나 삼성미술관(Leeum)등에서 다양한 프로그램을 모색하고 있는데, 본 연구는 이러한 프로그램 중 학생들에게 작품을 설명해 주는 도슨트 프로그램에 주목하게 되었다. 현재 우리나라의 대부분의 미술관에서는 도슨트 프로그램이 존재하는데 초․중학생들의 눈높이에 맞춘 교육 프로그램을 거의 찾아보기 드물다. 또한 이러한 프로그램을 진행하기 위해서는 학생들과 소통할 수 있는 교육적인 맥락을 갖춘 도슨트가 필요한데 이러한 학생들의 눈높이에 맞춘 전문 도슨트도 거의 찾아보기 어렵다. 따라서 본 연구는 비교적 교육적인 체계를 잘 갖춘 국립현대미술관의 <미술관은 내 친구>라는 사례연구를 통해 초․중학생의 도슨트 프로그램을 교육적으로 활성화시킬 수 있는 방향을 제시하고자 한다.

In this research, we investigated the newly conceptualizing process about the term 'Hybrid', which implicates novel definitions in various areas. 'Hybrid' has been defined plant-sociologically to be worldwide culture which pursues de-individuality, de-territory and de-area. We investigated why and how 'Hybrid' as a plant-sociological meaning could be related with the development of human culture and furthermore the development of modern culture in the world. For initial basic characterization, we identified the semantical definition of 'Hybrid'. We confirmed that the term 'Hybrid' was being extensively utilized in accordance with the dynamic change of time period. The meaning of 'Hybrid' undergoes a remarkable change from generation and creation of a material to creativity. Secondly, 'Hybrid' as a plant community term includes diverse variables : 'hybrid vigor' vs 'inbreeding depression', 'natural selection' vs 'artificial selection' and 'mutation' vs 'Hardy Weinberg equilibrium in a group' should be considered systematically as well as simultaneously. We found an advanced level of evolution in the appearance of 'Hybrid' and its interaction with others. Finally, we proved that all the creation and uniqueness, things and surroundings, life and death, dominance and recessiveness, natural selection and artificial selection, the steps of evolution and so on, are going together in the time that they characterize the beneficial and complete reversion of modernity. The cultural evolution is a continuity of the biological evolution in the other dimension, and the base of the future evolution should also result from the continuity of the cultural and the biological evolution.

음악은 형식과 내용으로 이루어져 있다. 다른 예술과 다른 점은 음악의 재료로 사용되는 소리는 그 자체로는 어떤 의미를 가지고 있지 않지만, 그 소리에 질서가 부과되었을 때는 그 자체로 사람의 마음을 움직인다는 점이다. 문학이나 미술의 경우 어느 정도 사람의 해독 과정을 기다리는 것이나 음악의 경우는 해독 과정이 가지는 의미가 상대적으로 작다. 음악은 어떤 예술보다 직접적인 성향을 지니고 있는 것이다. 어떤 곡이 사회에 던져졌을 때 그것은 어떻게 이해되어야 할 것인가? 다음과 같은 것들이 고려되어야 할 것이다. 그 음악이 어떤 용도로, 어디로부터 어디에 나타났는가, 또 그 음악은 어떤 의도를 가지고 작곡되었는가, 그 음악의 내적 형식은 어떠한가, 그 음악 자체가 가지고 있는 상징적 의미는 무엇인가, 그 음악이 나온 시대는 언제이며 그것의 현재적 의미는 무엇인가 등이 고려되어야 할 요소라고 할 수 있다. 이 글에서는 현대 한국의 수난곡에 대하여 이와 같은 고찰을 시도하려 한다. 우선 위의 모든 내용을 다루지는 못하고, 수난곡의 형식적, 종교적, 음악적 의미에 대하여 현대 한국으로 상황을 제한하여 거시적 관점에서 논의하기로 한다. 수난곡이 종교 음악이므로 기독교 교리와의 관련성을 무시할 수 없다. 수난곡의 의미에 대하여 논의할 때 기독교 교리가 언급될 것은 당연한 것이다. 모든 논의에 앞서 수난곡의 기원과 종류, 그리고 과거의 수난곡의 의미에 대하여 간략히 논의하도록 한다.

This study was considered to theoretical establishment. Through European Artistic History Consideration. The paper analysed the characteristic of modern floral art based on the era classification. The environmental floral art has been developed since American started to press the naturalization on 17 century. Based on the styles of cone of Byzantine and S styles of Baroque, the formative floral art has been expended since. To report the expressive floral art, the paper has chosen two different methods. One is external method can classify into the mix and match expression, the natural expression and ethnic expression. Particularly, the classic Georgian and Victoria expression had been a source of the mix and match expression. And the ethnic expression has developed from the old Egyptian which displayed the national character by the three primary colors (red, yellow and blue). The other one is internal expression. The internal expression has divided into the realistic and the abstract expression. The realistic expression has progressed after the Rome era which used the natural material like fresh flower bouquet. The abstract expression is more artificial method in the consideration of color and vagina. The fusion style floral art has developed under the influence of Victorian era which created floral art mixed with the variety of material such as shell, feather, wax and fabric. The effect of floral art has also recognised inc. emotional, decoration, environmental, and educational effect.

일반인의 식사대용이나 노약자의 영양공급용 기능성 영양균형선식을 제조하고 그의 품질특성을 조사하였다. 영양학적 성분은 탄수화물의 함량이 가장 높았으며, 단백질함량은 일반선식이 로 영양균형선식의 보다 상대적으로 높은 함량을 나타내었다. 주된 유리당으로 sucrose 함량은 영양균형선식이 226.91 mg/100 g으로 일반 선식 74.82 mg/100 g 보다 높은 함유량이었다. 주요 유기산으로는 malic acid의 경우는 일반선식과 영양균형선식

This paper explores automatons in T. S. Eliot's city looking in particular at its cultural homogeneity and lifelessness. Eliot defines tradition as the whole matrix of communal life and experience throughout generations. Individual ways of feeling and acting are constructed within the tradition of a community entailing unconscious communality and cultural diversity. Therefore Eliot's ideal community aims for a decentralization under the central direction, which leads to resistance against abstract individualism and capitalistic totalitarianism. Eliot envisions modern metropolis as the seat where cultural diversity and organic participatory are absorbed into money economy. The centripetal power of capitalism renders the present mechanical, lifeless and disenchanted. What appears in urban centers is the individuals not with intimate contact but with the cold comfort of machine connections.

In T. S. Eliot's early poetic works, from his juvenilia to The Waste Land, the style changes are remarkable. The coherent, homogeneous, hypotactic, linear, logical style turns into the fragmented, heterogeneous, illogical, incoherent, paratactic style. Many literary critics have reviewed the diverse literary influences as well as philosophical, artistic, political, and social influences on his poems, but they have not taken into consideration one important factor: his writing tool. A writing tool is not merely a tool to record one's thought, but it can function as “a precondition of production that contributes to our thinking prior to any conscious reaction” (Friedrich Kittler, Gramophone, Film, Typewriter 214). In his early career, Eliot replaced the traditional writing tools of pen and ink with a modern mechanical writing tool, typewriter. These two writing tools are closely related with two distinct ratios of human senses and two different kinds of cultures. Handwriting requires the hand's collaboration with the eye that guides the hand through each movement and constantly attending to the creation of each letter. When the visual technology of handwriting is emphasized, it transforms fragmented and heterogeneous reality into “homogeneity, uniformity, and continuity” (Marshall McLuhan Understanding Media 87). However, typewriting that depends on blind and tactile technologies does not require the use of the eye in the act of composition. When the eye does not have to participate in the typewriting act, there is a radical change of the ratio of human senses in the moment of composition. On making tremendous impacts on modern human consciousness, and on the ways in which modern human beings perceive reality, think, and produce discourse, typewriting produces fragmented and disruptive writings, in which illogical thinking, heterogeneity, multi-formity, and discontinuity are prominent. Thus, I suggest that a new poetics of fragmentation and disruption in modernist works would be profitably reconsidered with respect to the typewriting technologies that dissociate the eye from the writing acts.

Young-Bo, Shim. 2000. An Analysis of Contemporary Russian Lexical Words as Cultural Semantic Units. Studies in Modern Grammar 21, 115-147. The discordance of a word meaning in two languages usually occurs due to the difference in the nature and in the cultural characteristics of each people. Therefore, research in terms of non-conceptional semantic units is needed for scholastic reasons as well as for foreign language learning. In particular, an exact analysis and classification of the words with tendency to a tinge of culture which do not have perfect synonyms in translation may essentially be necessary for the proper translation of skillful and sophisticated Russian language, which has experienced a lot of changes in its language system during the complications of the collapse of socialism from seventies through nineties. The purpose of this study is to present the cultural analysis of non-translation words (non-equivalent words) found in modern Russian literature based on the theoretical approach of the Russian lexical words. The major three subjects of the research are established for achieving the purpose of this research: Characteristic analysis and theoretical approach of contemporary Russian lexical words as cultural semantic units; Classification and analysis of nonequivalent words presented in the work of Yuri Trifonof; The analysis of linguistic and local research value in nonequivalent words.

Park Sang-soo. 1997. Verb Raising in Early Modern English. Studies in Modern Grammatical Theories 11: 17-38. From the viewpoint of the history of English, the Early Modern English period, especially from about 1500-1600, is characterized by the complete loss of inflectional system, the disappearance of overt verb-raising consequent on the change of the verb feature of tense from strong to weak, and the emergence of modal verbs including dummy verb do. The erosion of inflectional ending system made the overt verb-raising impossible which is necessary for the checking of subject-verb agreement in the functional category of T or AGR. The change of verb feature of tense in the late 16th century is closely related to the loss of agreement system by 1500. During the Early Modern English period of the 16th century, the verb feature of tense was either strong or weak. This means that both the overt verb-raising and do-support are allowed in this transitional stage of tense feature. When the verb feature of tense becomes weak, the overt verb-raising from the verb position of lexical category to T was suppressed. The change of verbal system implies the agreement of formal features between subject and finite verb is checked off not through the overt verb-raising at the level of syntax but through the covert verb-raising at the level of logical form or through the operation of do-support. From the end of the l6th century do-support was forbidden in an affirmative sentence, but it became obligatory in a negative sentence or an interrogative sentence. We can explain such grammatical operation using the economy principle of `last resort` in the Minimalist Program. This change, of course, resulted from the weak verb feature of tense and the impossibility of the overt verb-raising. The dummy verb do originated from the development of the raising verb do in the Middle English period. The raising verb do was reanalyzed as a functional element of tense carrier from the late 16th century.