The tasks of writing history is to reconstruct the past in order to understand the present condition and to envision the future. Modern architectural histories in the west have assumed this role, from Winckelmann to Giedion. Likewise, history of Korean modern architecture has to serve this purpose. However, existing histories of Korean modern architecture simply list up stylistic changes from western eclectic architecture to modernism without any historical narratives explaining the transition from Korean traditional architecture to modern architecture. History of Korean modern architecture has simply been understood as a unilateral process of transplantation of western architecture into Korea. This paper points out two major problems underlying this kind of historiography of Korean modern architecture. The one is formalistic approach which sees history of modern architecture mainly as a process of formal and stylistic changes. The other is humanistic approach which sees modern architects as agents of history. This paper argues that this kind of history writings has limitations since modernity of Korean architecture is fundamentally different from that of the west. and that specific tasks that Korean modern architectural history has to address are then two folds;(re)connecting the past architectural tradition to the present and forming self-identity of Korean architecture.

‘的’ is the most frequently used word. This paper is a study of the Tense-Aspect [时体] mark ‘的’. And it can be defined as follows. First, The Tense-Aspect [时体] mark ‘的’ is tenses and Aspect is present both in the transition period like English. Tense-Aspect [时体] mark ‘的’ has both the past tense and the certain aspect. Second, The ‘的’ is positioned between the center verb of the predicate and the object, and role to emphasize, and shows the certain aspect more clearly. Third, I contend that The ‘的’ in the structure ‘是 + VP + 的 + NP’ is also Tense-Aspect [时体] mark ‘的’. In that structure, ‘是’ is the adverb and it is not the center verb of the predicate. ‘的’ is Tense-Aspect [时体] mark.

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

The purpose of this study is to identify ways of remodeling from the traditional hanok to the modern local governmental facility in 1910s. Analysing architectural drawings in the National Archives of Korea, 58 hanok remodeling cases of 52 facilities were verified like the provincial office, county office, county court from 1907 to 1910s. Using hanok as the local governmental building, exterior walls were all changed to the scaled-wooden wall like one of western-wooden building in 1910s and the western-style entrance was set. Change of the plan caused by remodeling interior walls had an intention of the centralized closed plan. Remodeled semi-outer corridor using the space of the eave became changed to the inner corridor with expansion of space. Expansion of hanok for spatial demand was in three ways. First was the expansion towards the eave space, second was direct extension from hanok, and last was the use of external corridor to the new building. Using the eave space was simple but had limitation of space, it was planed with other expansion ways. The way of direct extension was usually used than the one with the corridor, because it was more economical way.

In the domain of Korean arts history, the studies on the beginning of the Korean modern arts have been insufficient so far. But there have been attempted to deal with this issue in the various fields of Korean arts. But the field of crafts, compared to the fields of painting or architecture hasn't given us good results about this. This study aims at analyzing the beginning of modernization and the modernity of the ceramic crafts that appeared since the period of transition into modern era. In the late period of the Chosun dynasty, various ceramics used by royal class were intensively produced especially in Bunwon(分院) that was operated by government and the ceramics for the general public's daily life were produced actively in local kilns. But various foreign ceramics that were imported due to the opening of ports after the Treaty of Ganghwa-Island(江華島) in 1876 and the privatization of Bunwon in 1884 caused the traditional way of making ceramics to change a lot. And modern techniques of producing ceramics were imported from the West and experts from various countries were invited. Especially, in the period of Japanese colonial morden system of ceramic production was imported from Japan. From the end of 19th century to the early 20th century, the ceramic process and the distribution changed much, these aspects indicate the modernity of the Korean ceramics. This paper examined the progression of the aspects of the Korean ceramics that had undergone change since the late period of the Chosun in order to determine the period, the modernity of Korean ceramics began and established. The period of emerging modern ceramics were divided into two periods on the basis of the analysis of the system of manufacturing ceramics and the government policy in the late 19th century. The first period began when the Chosun opened her ports to foreign powers. After the reformation of systemin the late period of the Chosun, the opening of ports conclusively led to the different framework of the manufacture system that was new to the Chosun. And, in the period of the Great Korean Empire that succeeded the Chosun dynasty around the time of the privatization of Bunwon, modern factories research and education institute for ceramics were established foreign experts with technical skills came into Korea. However, Japan occupied Korea forcedly 5 years after they set up resident-general office in Korea, this caused the modernization. Japan adopted various policies in favor of them and made the manufacturing of the Chosun white porcelain declined fast. Partially the modern technique was adopted making vessels which changed the supply and demand of ceramics. Therefore, the period of Japanese occupation, of Korea when Korea faced the new modernization without voluntary agreement, can be classified as the second period of modernization. Especially in the period of about 40 years since 1910, the year when Japan began to occupy Korea, there were a lot of changes in the ceramic industry. So this period can be considered as a very important period of modernization. In the period of the opening of ports, the aspects of manufacture and the supply and demand of Korean modern ceramics began to change and the privatization of Bunwon caused the manufacture system to change rapidly. And through the period of Japanese occupation of Korea after the period of the Great Korean Empire, the modernization was pushed ahead forcedly without voluntary agreement. Therefore, it is required that the characteristics of the modernity of this period be analyzed by paying attention to the change of situation and system of Korea.

In this study, we evaluated the chemical and physical properties of structural steel, which is the most basic material for steel structures and reinforcement concrete structures in modern period. We theorized the technical data for the research of technical history of modern heritage structures by analyzing the product system and its quality control of structural steel used in modern historical heritages. The results of this study are as follow; first, the rounded bars were used in most of modern heritage structures. But in the case of Waegwan railroad bridge, the deformed bars were used in spit of not using in Japan after the great earthquake of Kantou. Second, the structural steel was good in terms of quality control, but It has brittle properties because it was not manufactured by heat treatment process.

본 논문은 아일랜드 현대극에서 볼 수 있는 여성 재현의 문제를 그레고리 부인, 앤 데브린 그리고 남성 극작가인 스튜어트 파커의 작품 읽기를 통해 살펴보고, 그것의 의미를 다루고 있다. 20세기 아일랜드 연극은 여성과 젠더 문제에 있어 흥미롭고 논쟁적인 문화적 공간이 되어 왔다. 이점에서, 하나의 이상적 수사로서 여성의 재현 문제를 따져보는 것은 아일랜드 문화를 이해하는 데 있어 중요한 의미를 지니고 있다. 논문의 학술적 의의는 아일랜드 연극에 담긴 여성의 목소리, 말 그리고 몸을 해석하고 의미를 드러내 보이는 하나의 방법론을 제공하는데 있다.

Siheyuan, is the traditional Chinese courtyard style building, has a long history, and is an extremely important historical and cultural heritage. It carries the folk culture of old Beijing and the history of the old Beijing. Therefore, its cultural connotation should be maintained. With the growing number of skyscrapers, construction industrialization replacing traditional construction technology today, hutongs and Siheyuan have lost their luster, most of the traditional Siheyuan have become shabby, inner vitality and old form that were the social mechanism are rotting away. Just relying onprotection and repair Siheyun is far from a healthy survival. Instead development and innovation is needed for a vibrant sustainable preservation of Siheyuan. In order to make Siheyuan more comfortable, more vibrant and to achieve its sustainable development, it should be combined with modern materials and construction technology.

This study explores a possibility to expend the scope of Traditional Korean-style ** ** House, or Hanok through including North Korea's Modem Korean-style building. As Korean traditional architecture is gaining more attention, we should think over how contemporary Hanok should be and establish the concept of Hanok for future generations to come. In order to do that, the traditional Hanok design techniques should be understood. Based on this, the appropriate Hanok Design and construction techniques for contemporary buildings could be found out. This study, therefore, aims at finding basic data of design techniques which can be applied to modern Hanok in South Korea and provi%Bng clues for the future Hanok design through studying Korean-style modern buildings in North Korea.

Lilies are of great economic important floweringplant that belongs to the genus Lilium can be grown underdiverse climatic conditions. During the last decade the lilyhas gained popularity worldwide among cut flowers and pot-ted flowering plants. Seeing the great recognition of lilies ininternational flower trade, several breeding approacheshave been adopted on different Lilium sections/groups andmore than 10,000 lily cultivars have been bred. Innovativebreeding strategies and advancement in molecular and bio-technology techniques have made the assortment of liliesdramatically. Different DNA marker approaches have greatpotential to increase the precision and efficiency of conven-tional lily breeding via marker-assisted selection (MAS) anddifferent breeders used it for Lilium crop improvement. Inthis review, different approaches and techniques that lilybreeders have employed to develop novel cultivars are dis-cussed. It is imperative to recognize that there must be anenhanced integration and synchronization in different lilyobjective oriented breeding programs, so that current issues,barriers etc. can be well identified with their appropriatesolutions.

Stroke is the most basic element in modern Chinese character structure unit, normalization and standardization of stroke cannot only be essential to literacy teaching, and writing, retrieval and computer processing of Chinese characters, but can further improve normalization and standardization levels of Chinese characters. However, there are lots of disputes about many issues of stroke in academia, and contents about stroke in modern Chinese teaching materials in colleges and universities are inconsistent. Ten representative teaching materials of Modern Chinese are selected in this article to take strokes in these teaching materials as study object for comparison and analysis of classification, names and sequence of strokes, so as to give suggestion to normalization and standardization of strokes. The teaching materials involved in this article include: Modern Chinese (the 4th revised edition) written by Huang Borong and Liao Xudong in 2007, referred to as “Huang and Liao‟s Version”; Modern Chinese written by Hu Yushu in 1992, referred to as “Hu‟s Version”; New Modern Chinese written by Zhang Bin in 2002, referred to as “Zhang‟s Version 1”; Modern Chinese written by Zhang Zhigong in 1982, referred to as “Zhang‟s Version 2”; Introduction to Modern Chinese written by Shao Jingmin in 2001, referred to as “Shao‟s Version”; Modern Chinese written by modern Chinese teaching and research office of Department of Chinese Language and Literature of Peking University in 2000, referred to as “Bei‟s Version”; Modern Chinese Character Outline written by Su Peicheng in 2001, referred to as “Su‟s Version”; Modern Chinese Tutorial written by Xing Fuyi① in 1986, referred to as “Xing's Version"; Modern Chinese written by Zhou Yimin in 2006, referred to as “Zhou's Version”; Modern Chinese written by Ma Guorong in 1990, referred to as “Ma's Version”.

This paper investigates the influence of chronophotography on twentieth-century modern art. Etienne-Jules Marey, nineteenth-century French physiologist, invented chronophotography to analyze the locomotion of animals. Although Marey’s experiments with photography were resulted from his scientific intention to investigate movements, his chronophotography has a substantial impact on twentieth-century art. First of all, French academic artists had corrected the leg positions of galloping horses by referring to photographic records provided by Marey and Eadweard Muybridge. However, scientific instantaneous photography was not well received by the art world. It had to counter fierce criticism from the artists, Auguste Rodin in particular, and writers who believed in artistic conventions. Since Marey’s death, a number of artists have reevaluated the significance of his photography and adopted it in expressing their individual visions of modernity. František Kupka in Puteaux Group was one of the first avant-garde artists who were deeply influenced by Marey’s photography. Marcel Duchamp referred to Marey’s chronophotography, which introduced him to the idea of mechanization as an alternative to a sensible beauty. Italian Futurists also used Marey’s photography as their visual reference to express the dynamic sensation of the passage of time. Giacomo Balla was familiar with Marey’s photography and directly influenced by his chronophotography. While taking Marey’s image as a model, Anton Bragaglia tried to overcome the limit of his instantaneous photography by stressing the continuous trajectory of movement, with which to address photodynamism. Despite its strong impact, Marey’s photography encountered stiff resistance from the art world, which valued the conventions in art over the novelty in technology. It should be noted that Umberto Boccioni criticized Bragaglia’s active use of photography because Boccioni did not accept photography as art medium. The apparent conflicts and ambivalence in accepting Marey’s photography by the Futurists, who promoted the idea of dynamism, show the complex relationship between art and science, art and photography.

본 연구에서는 현대조직이론 중 MBO, TQM, 학습조직이론(learning organization Theory), 정치경제이론(Political Economy Theory), 제도이론(institutional theory), 상황이론(Contingency Theory)과 관련된 1991년부터 2013년 사이에 발간된 연구와 서적 중 현대조직이론을 대상으로 한 연구와 현대조직이론을 사회복지기관에 적용한 연구 등 총 16편을 분석을 하였다. 문헌 분석을 통해 사회복지조직의 특수성을 고려한 사회복지현장에 적용 가능한 실천적 과제로서 현대조직이론 교육의 필요성, 사회복지조직의 특수성을 반영한 MBO와 TQM구축, IT시스템 도입 및 활성화 방안, 학습조직으로서의 사회복지조직의 변화의 필요성에 대해 논의 되었다.

본문에서 사용하는“한자 구조”는 한자 자형의 전체 혹은 부분의 사이에 있는 조합의 관계와 방식을 지칭한다. 이는 두 가지를 동시에 포함하는데, 첫 번째는 한자의 구조이고, 두 번째는 자형의 구조이다. 중국의 현대 학자들은 한자의 구조에 대해 깊이 있는 연구를 진행하여 몇 가지 이론으로 나뉘고 있는데, ‘字根构字学说’과 한자 결구와 관련된 ‘현재 한자학’ 연구, ‘자소 결구학’ 연구, ‘기초 한자 이론 ’연구, ‘한자 구형학’ 연구, ‘자원학’ 연구 등이다. 본문은 이 중 네 가지 학문적 연구의 성과를 소개한다.

예이츠와 엘리엇은, 비록 동시대 작가들이지만, 다른 시인들로 간주된다. 그러나 우리는 문학적 차이를 간과해서는 안 된다. 엘리엇은 현대인과 사회를 현실적으로 다루고 있으며, 이것은 여러 학자들에 의해 많이 논의 되고 있다. 본 논문은 이점을 예이츠의 것과 비교하고자 한다. 왜냐하면 예이츠도 어떤 면에서는 엘리엇과 비슷하게 이 주제를 다루고 있기 때문이다. 두 작가의 인간관은 정신적 불모성, 불안, 맹목성, 공허함으로 특징지어진다.