지도는 인간의 시야를 초월한 범위의 지표 상태를 과학적 근거에 의해 제작한 것으로, 지도제작에 관한 기술은 측지학, 지리학, 측량공학, 인쇄공학 등을 배경으로 하는 지도학을 근거로 광범위한 과학기술의 분야와 밀접한 관계가 있다. 지도학이란 지도제작에 관한 과학ㆍ기술ㆍ예술ㆍ지도이용 등에 대한 학술분야를 총칭하는 것으로, 광의적으로는 측량ㆍ지도편집ㆍ지도제도ㆍ지도인쇄 등의 모든 공정을 대상으로 하고, 협의적으로는 지도편집 이하의 공정을 대상으로 한다. 본고는 근현대 한국을 중심으로한 지도제작 기술 가운데 제도기법의 변천에 대해 지도제작 현장에서의 경험을 바탕으로 한 연구 결과이다.

This research aims at a critical discourse on the relation between the concepts of the uncanny and posthistoire , on the basis of descriptions in The Architectural Uncanny (1992) by Anthony Vidler. For the purpose, Histories of the Immediate Present (2008), another book by Vidler that discusses posthistoire philosophy to which he is not positive, is also investigated along with the former thesis; and various publications related to the themes by the influential writers such as Freud, Lyotard, Vattimo, and Habermas are referred to, too. Firstly, this paper will illustrate an essential understanding of the uncanny, an outgrowth of the sublime, and the history of posthistoire respectively; and then analyse contexts where the posthistoire was mentioned in The Architectural Uncanny. In the 'Introduction' and 'Losing Face' chapters of the book, this paper argues, the two concepts are connected by the notions of 'repetition' and 'losing the classical facade' as well as the uncanny as 'a metaphor for a fundamentally unlivable modern condition'. Though Vidler's recognition of posthistoire in the two chapters are differently interpreted, each as 'the emptiness of capitalism' and 'the decomposition of representation', both can be understood in terms of 'modernity' that is 'still open'. If modernity is 'an unfinished project' as maintained by Habermas, who Vidler relies on, we need to continue innovative experiments and internal investigations in architectural creation beyond the categories of modernism and postmodernism.

근대 유럽 지도에 나타난 한국 관련 지리정보는 중국이 ｢황여전람도(皇輿全覽圖)｣를 발간하고 이 지도가 당빌에 의해유럽에 번역‧소개되면서 질적·양적으로 증가하게 된다. 이후 18세기말부터 프랑스, 영국 및 러시아 등에 의한 해안 및 수로조사결과가 반영되면서 한반도 모양을 비롯한 지리정보의 양과 질이 풍부해지는 계기가 된다. 특히 서양 탐사선에 의한 해안선 및도서지역 탐사는 선박의 국적에 따라 그 나라 언어로 지명을 부여하는 것으로 분석되었다. 초기에 중국어 발음으로 표기되던 우리나라와 관련된 지명은 김대건 신부에 의해 한국어 발음의 프랑스어로 제작된 ｢조선전도｣가 유럽으로 전파된 시점을 기해각국의 지도에 반영되기 시작한 것으로 보이며 이는 1872년의 스틸러의 지도에서 대부분 우리나라 발음으로 지명이 표기된 사실을 통해 확인할 수 있다. 영어식 표현의 확산은 일본주재 외교관이었던 어네스트 사토우와 ｢한반도 산맥도｣를 저술한 고토분지로의역할이 컸던 것으로 확인된다.

This paper focuses on analyzing the modern warfare and weapon systems supported by improved GPS informations. The GPS capability was investigated through the real experimental test for verifying the most recent GPS features under its modernization processing. And then it was verified that such capabilities, accuracy and availability, of a typical L1, C/A code GPS receiver are equivalent to the military receiver's ones. It was also sure that the influence of GPS improved informations on NCW(Network-Centric Warfare), PGM(Precision Guided Munition) and C4SIR(Command, Control, Communications, Computers, Intelligence, Surveillance and Reconnaissance) should be increased and the modern warfare may be strongly dependent on GNSS informations.

In this paper, through the relevant syntactic structure and semantic comparison of Chinese and Korean Studies on Modern Chinese function words “De(的)”, “De(的)” was investigated whether has the character of aspect. Through the investigation discovery, Korean language in common and difference on time. In the concrete analysis, this paper also uses Chomsky Government and Binding Theory theory and Barriers theory, analyzes the tree diagram “De(的)” sentence, and through the investigation of the verb “De(的)” analysis, comparison of Chinese and Korean “De(的)” aspect feature. The results are as follows:

Studies of the Chinese neologisms zōngjiào 宗教 and zhéxué 哲學 have been pursued along etymological and historical lines, focusing on works of particular intellectuals that employed these terms. I argue that these methods are limited in their explanatory power to indicate how these words become dominant terms representing new academic disciplines in 20th century China. There is a need to demonstrate how the these terms invoked new interests shaping East Asian intellectuals’ identities in differing 19th and 20th century cultural contexts. A dialectical cultural transformation is involved, as well as institutionalization processes reflecting the values associated with these neologisms. These Chinese words become dominant terms precisely because there was a new set of experiences which older terms could not articulate. Zōngjiào and zhéxué, therefore, not only emerged from external cultural sources, but also represented a new mentality among Chinese intellectuals involved in modern transformations of post-traditional Chinese cultures.

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.