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.

이 논문은 20세기 후반 건축을 선두로 문학, 미술, 철학등 각 예술 분야에 대두된 포스트모더니즘의 미학을 중심으로 동양 현대음악의 시간적 구조를 살펴본 연구이다. 음악에 있어서 포스트모더니즘은 르네상스 이후 서양음악의 불문율로 여겨왔던 "목적 지향적 시간론(goal-oriented notion of time)"을 파기하고, 새로운 시간개념의 도입을 가능케 한 중요한 논리적 배경이 되었다. 특히 동양적 에토스(ethos)에 근거한 동양 현대 작곡가들의 작품들은 흔히 서양적 관점에서 보면 "목적 지향적 시간구조"의 결여로 이해되어져, 서양 예술론을 적용하기보다는 "이국적 정서(exoticism)" 혹은 "오리엔탈리즘"으로 이해되어져 왔다. 그러나 이 새로운 음악적 시간개념은 동-서양 현대작곡가의 작품을 하나의 통일된 예술론으로 이해할 수 있는 중요한 인식변화를 가져왔다. 이 논문을 통하여 필자는 포스트모던 건축학자 로보트 스턴(Robert Stern)의 "전통적 (Traditional) 포스트모더니즘과 분리파적(Schismatic) 포스트모더니즘론," 레오날드 마이어의 "비목적론적 시간론(NOn-teleology)"등을 바탕으로 포스트모더니즘의 한 시간적 특성을 "시간의 해방(the Emancipation of time)"으로 정의하였다. 한편, 동양철학이나 예술에 나타난 시간적 구조는 "순화적 시간(Circular Time)"과 "초월적 시간(Transcendental Time)"으로 구분 짓고, 그 들의 이중적 혹은 다중적 사용-시간의 이중성(Double Perception of Time)을 서양 포스트모더니즘 시간 구조와 비교, 고찰하였다. 필자는 이 논제를 위하여 일본의 도-루 타케미츠(Toru Takemitsu), 한국의 필자 자신, 중국의 탄 둔(Tan Dun)등 극동의 세 작곡가를 선택하여, 그들 작품에 나타난 음악적 시간구조를 분석하였다. 즉, 이 세 동양작곡가들 작품에 나타난 시간적 특성을 중심으로 그들의 창작과정이나 작품, 음악어법 등을 포스트모니즘이라는 새로운 시각으로 재조명하였다.

This study provides a possibility of analysing rhythmic attributes of contemporary music through contour theory.The early idea of pitch contour occured as early as 1948 in the writing ofcomposers such as Toch and Schoenberg Over a decade later, the work of Charles Seeger, Charles Adams, and Micczyslaw Kollinski set forth the theories of contour analysis But, in the music theory, the concept was formalized by Robcrt Morris Michael Friedmann, and Larry Polansky, Elizabeth Marvin and Robert Morris, in particular, have signiflcantly developed the analytical methodology with which to apply the contour thory.contrast to the previous results of contour music analysis, which focused onpitch element, this analysis presumes that the rhytbms also show similar characterTo prove the hypothesis this thesis re-classified the Elizabeth Marvin and Noel Painenr's rhythmic analysis theories and adjusted the result into Stockhousen's In freundschaft. As a result the number of rtythmic characters that continuously appear in contemporary music were found Also, the possibility of defining similarities of ythmic element through various methods by adjusting the theories including inversion and retrograde, that are similar to set theory, was found.The contour theory will be a good example of analysing rhythms in contemporary music that were believed to be inconsistent in the past.

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.

This study aims to discuss the new piano techniques employed by an American composer Henry Cowell, John Cage, and George Crumb in their piano works along with the analysis of their selected piano compositions. From the first half of the twentieth centuries, contemporary composers have been discovering that the piano is capable of producing a constanthy expanding array of new sonorities. Some of these are produced by the manipulation of the strings by plucking, strumming and muting. Also, the use of tone clusters, and the introduction of foreign objects on the strings of piano, and the use of contact microphones placed on the sounding board. These techniques add a new dimension to the total sonority of the piano. The enlarged spectrum of colors has brought not only novelty to piano music, but also a fundamental change in the concept of piano sound. The origins of some of these non-traditional techniques can be traced historically. American composers have had a significant role in these new developments. Many composers such as Charles Ives, Henry Cowell, and John Cage, George Crumb found that the piano is capable of producing a diversified new sound and unusual timbres. All of these composers, if in varying degrees, manifest a marked experimental strain. They share an interest in exploring new musical terrain and an urge to break free from what they perceivede as the outworn artistic heritage of western cultures, to rejuvenate an old and exhausted tradition with something fresh and youthful.