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.

한반도와 주변 수역의 이름에 대한 논의는 국제적인 관심사가 되고 있다. 이러한 논의의 과정에서 유럽에서 제작된 다양한 지도상에 나타나는 수역의 명칭에 대한 연구는 다수 진행되었으나, 실제 어떤 자료가 각 국가들의 지명에 대한 입장에 영향을 미쳤는지는 파악되지 않았다. 본 연구에서는 영국의 국립기록보존관이 소장하고 있는 1920년대 이전에 간행된 한국과 한반도 주변 지역에 대한 지도 자료들을 조사하였다. 해당 자료들은 영국 정부의 공문서로 남은 자료들로 당시 영국정부가 직접 제작하거나, 수집한 지도 자료들로 구성되어있다. 여기에는 영국전쟁성의 자료가 포함되어 있으며 이에 대해서는 별도로 다루었다. 당시 영국 정부는 항해와 군사적인 목적으로 보았을 때 실용적인 자료들, 그리고 근대 지도학적인 관점으로 보았을 때 가치가 있다고 추정되어진 자료들을 주로 수집한 것으로 나타났다. 즉, 19세기 중반 이후에 간행되고, 경위선과 삼각점과 같은 근대 측량의 기법에 가까우며, 위치 정보가 명확히 드러나 있는 자료들이 주류를 이루고 있다. 영국 정부 자체가 생산한 한국에 관한 자료들은 중국과 일본에 주재하던 영국군 무관들에 의해서 수집, 제작되었으며, 일본이 제작한 지도들이 상당한 영향을 준 것으로 볼 수 있다. 한국에 대한 전면적인 근대적인 방식의 측량이 한국의 국권 상실 이후 이뤄진 것을 감안한다면, 지리적 좌표 등에 대한 사항은 불가피한 면이 있다고 보여진다. 그러나 앞서 논의한 것과 마찬가지로 당시의 지리정보에 대한 정의에는 당시의 근대적 사고가 배경에 깔려 있음을 유의해야 할 것이다. 당시 영국 정부 기관과 지도 제작자들은 지도에 표기하기 위한 지명을 확인하기 위하여 일본에서 획득된 정보들을 수합한 지명 요록을 사용하였다. 특히 영국 외교관인 어네스트 사토우, 일본인 곤도 마코토, 고토 분지로의 한국 관련 지명의 정리가 당시 서양 국가들의 한반도와 인근 지역 지명의 표기에 상당한 영향을 준 것으로 나타났다.

본 연구는 20세기 초기의 서양 흔들의자를 분석하여 조형적, 실용적 관점에서 양식적 특징을 학문적 으로 규명하고, 오늘날 우리나라 흔들의자의 설계 및 제작의 기초자료를 제공하는 것에 목적이 있다. 20 세기 전반의 서양 흔들의자(1925~1945년 제작)는 형태가 기능을 따라야 한다는 단순한 기능주의의 이념을 적극적으로 표현하였다. 원목을 활용한 흔들의자는 표면장식을 배제하였고, 강철관 프레임의 흔들의자는 검정색 가죽의 업홀스터리를 즐겨 사용하면서 노출된 구조미를 대담하게 표현하였다. 또 강철관을 통하여 가구의 경량화가 이루어졌고 곡선미 있는 새로운 양식이 출현하였다. 근대 흔들의자의 구조는 양식과 기능적 이유에서 모두 중요하게 되었다. 디자이너들은 강철관과 목재 프레임의 노출된 구조를 통합성 및 합리성과 결부 시켜 디자인의 평등주의 스타일을 만들어냈다. 특히 이 시기에는 밝고 대담한 색상의 업홀스터리와 목재 프레임으로 구성된 흔들의자가 근대적 특징의 단순한 형태로 다양하게 표현되었 다.

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 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