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.

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.

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.

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’.

In the 20th century, Christian churches and mission agencies had a great revival and missionary movement. The revival movement made an huge impact on Christian believers to repent of their sins and to commit themselves into the missionary works. The mission mind that was coming out of revivalism must be a power to transform the churches and societies in order to evangelize their family members, friends, relatives, and even those who were in the physical and spiritual needs through all over the world. From the viewpoint of sociological stands, the 20th century revivalism tends to deny the theory of secularization. Even though the society of the 20th century became more secular than the previous century, the churches and mission minds could not be weaken by the secularization process. However, from the economic and political standpoints, it was negatively evaluated, because it should be closely connected with Western capitalism and American right wing sides. Lastly, from the socio-cultural aspects, it had a crisis of destruction threatened by the popular cultures and multi-cultures. In conclusion, revivalism and Christian missions have to go together. The missionary works should firstly recover the power and enthusiasm from the Holy Spirit. The missions, however, should not be royal only to a specific culture and nation but to the archy type of Christianity in the biblical first church. The major task of Christian missions should be the recovery of enthusiasm experienced in the biblical first church and the application to the all nations and people.

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

The Chinese reports of the 1930s always show propaganda characteristics. First, at the that times the Chinese reports had a clear aim; second, the reports recorded social facts, and a turbulent situation provided right chance for the propaganda; third, the reports really knew how to grasp anopportune moment to pass on their idea . The last , the reports mastered a good propaganda ways.

The purpose of this study was to offer the basic data that are necessary for us to seek for the concretized direction of the Korean physical education in the 21st century by comparing the purposes and characteristics of physical education of Korea with th

In the early twentieth century, many eastern European composers show the pervasive absorption of structural melodic characters of folk sources into more abstract contemporary music idioms. Pitch structure in that century music has become more explicit in recent analytic writings. Scriabin derived his compositional materials from more abstract sources that were identical to those found in the folk sources. Scriabin moved towards an increasingly systematic handing of pitch set constructions. This paper proposes a theoretical model for a study of collection in post tonal music. It is the aim of this paper to focus on collection in Scriabin's Op. 58, Feuillet d'album(1909). His output is often split into three periods. : Op. 1-29, Op. 30-57, and Op. 58-74. Op. 53-58 pieces are of primary importance in Scriabin's transition to atonality. It is precisely between the second and third periods that something very important happened in Scriabin's musical mind. In particu]ar, his Op. 58 was written while Scriabin was composing Prometheus. The composition employs 6-34 : in a sense the piece is a study of the properties of 6-34, with which Scriabin wad the preoccupied. The most famous variety of this chord is known as the Mystic, or also as the Prometheus as it is ubiquitous in that work. It should be emphasized that Scriabin's small pieces stand in a special relationship to his larger works. Thus the links between his last are strong, as will be seen in the course of this paper.

It is the purpose of this study to document the decline of voice leading concept for the twentieth-century tonality.In this essay I shall try to show how Shostakovich achieves a sense of unity through the association of interval structures made up of linear melodic patterns and of the voice leading provided by accompanimental harmonic figures.Some twentieth-century music seems to invite the use of traditional analysis.Lots of music by Stravinsky, Bartok, Berg, and even Schoenberg has a kind of tonal sound, at least in certain passage. But on closer inspection, we generally find that tonal theory has little to tell us about most twentieth-century music. When twentieth-century composers create a tonal sound, they usually do so by using non tonal means. And for a piece to be tonal, it must have two things: functional harmony and traditional voice leading. But, a piece is not tonal, does not mean it can't have pitch or pitch-class centers. All tonal music is centric, but not allcentric music is tonal.Post-tonal voice leading models are 3 patterns. The first has its bases in the theories of Heinrich Schenker. The second has its the pitch-class set of Allen Forte and others. The third has its bases in recent theoretical work by David Lewin. The prolongational analysis identifies some tones as structural and others as embellishing. Associational analyses linear projections of harmonic type from musical surface. Transformational model shifts our attention from the chords themselves operations, transformations, that connect them.Nowadays, many composers are again exploring the possibilities of synthesis of tonal and atonal procedures. The time is ripe to approach voice leading techniquesanalytically.