日本近代美術史上での大正期新興美術運動の意義のひとつは, 術家が?滑の美術の領域を超えて演劇, ダンス, 建築, 文芸といったさまざまな分野に果敢に進出し, 美術と他分野を合一した特異な美術表現を行ない, 美術の領域を大幅に擴大したという点に求められる. 美術と舞台の領域をまたぐ「人形座」もまた, この運動と密接なかかわりを持った. 人形座は伊藤熹朔(1899~1964)とその妻智子, 熹朔の弟の千田是也（本名·伊藤挑夫, 1904~1994）らを中心に, 1920年代の東京で活動した新興人形劇のグル─プである. これまで注目されることがなかったが, 新興美術運動にかかわる美術家が積極的に參加したことで, 日本に新興人形劇を勃興させたことや, この運動とさまざまな接点を持っていた点で, 美術史の視点から考察することに意義が認められる. 本發表では, 最初に, 活動の要となった1923年10月の試演會, 1926年9月の第一回公演會, 1927年7月の臨時公演會`─`以上の公演會の槪要とそのとき上演された作品`─`順にメ─テルリンク作「アグラヴェ─ヌとセリセット」, K.A.ウィットフォ─ゲル作「誰が一番馬鹿だ?」, 小山內?作「三つの願ひ」と「人形」のあらましを確認する. つづいて上演作品の內容が象침主義からプロレタリア, さらに一般大衆化へという揀化を見せたことに注目し, 上演툭時の社뀜的, 文化的環境を踏まえながら人形座が公演會ごとに目指した人形劇について浮き彫りにする. そして最後に人形座同人だった美術家の人形座以外での美術活動に注目しつつ 人形座と大正期新興美術運動とのつながりを明らかにし, さらに「美術の領域としての舞台」という視点を導入することによって, 人形座がこの美術運動におけるひとつの活動袴式であったことを浮き上がらせる.

지아장커에게 중요한 것은 바로 우리들의 삶이다. 변화 속에서도 우리는 계속 생활해야 하고 살아가야만 하기 때문에, 그는 인간문제에 대해 초지일관 관심을 기울이는 것이다. 그의 영화는 대변화하는 시대를 따라가지 못하고 역사의 잔해물로 전락해버린, 남겨진 자들의 대한 안타까움과 슬픔을 기록하고 있다. 그는 살아갈 수밖에 없는 인간의 무늬를 섬세한 시선으로 포착하고 있는 것이다. ≪삼협호인(三峽好人)≫도 상징성 짙은 장면들의 연속을 통해 대변화의 역사 속에 놓여진 사람들의 문제에 대해서 말하고 있다.

丁來東(1903~1983)이 북경에서 그러했듯이 상해에서도 수많은 한인들이 몸소 겪은 상해 체험이나 상해 상상을 바탕으로 상해 관련 글을 써왔고, 지금도 다양한 장르로 상해 관련 글들이 생산되고 있다. 최독견은 상해 대학 생활 시절 학비 500원을 소매치기 당하고 절망하며 밥을 굶으면서도 그에 대한 ‘반동’으로 ‘로맨티시즘’에 지배되어 ‘벽파’라는 필명으로 ≪동아일보≫에 시를 투고하여 위안을 받았으며, 또 영어 단시를 쓰기도 하고 로맨틱 소설 <유린>을 발표하였으니, 그는 상해에서 이미 작가 수업을 닦은 셈이다. 당시 그는 도쿠토미 로카(德富蘆花: 1868~1927)의 ≪불여귀≫(1898)나 李光洙(1892~?)의 ≪무정≫보다도 “훨씬 눈물 나고 재미있는 소설을 써보겠다고 구상을 하던 때”였으며, 이러한 포부는 나중에 다소 흥행에 성공하는 ≪僧房悲曲≫으로 이어진다.

The Fagus Factory at Alfeld on the Leine in Germany, which was built in 1911 and 1914, is a well-known and very important object in the history of modern architecture. Alan Colquhoun mentioned that it is "prophetic of the 'objective' (sachlich) Modern Movement of the 1920s". Vittrio M. Lampugnani evaluated it as "a Pioneer building of the architectural Realism". Most of historian of architecture explain that these achievements were accomplished mainly by the master architect Walter Gropius and sometimes by his co-worker Adolf Meyer. Through investigating the background in the planning stage and the process of design it is to try to find out what is truly happened during the project time. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; who or which elements have influence on the Fagus Factory? and what kind of problems can be caused by the digested architectural history?

In San Francisco, two new museums were recently built in 1995 and 2005. The one is San Francisco Museum of Modern Art designed by Mario Botta and the other is De Young Museum designed by Jacques Herzog & Pierre de Meuron. The urban settings for the museums are compared with each other and theories of the architects are evolved on different branches in the modernist trends. The theories and settings are followed by the representation in the forms, facades, interior spaces and towers. SFMOMA is located on the SoMa area, which was recently developed into a cultural urban core with Moscone Center and Buena Yerba Garden. De Young Museum was rebuilt in the old museum site in the Golden Gate Park. The one is on the context of urban artefacts and the other on the context of natural artefacts. To Botta, the museum in today's city plays a role analogous to that of the cathedral of yesterday. It is a place of common encounter and confrontation. The volume of SFMOMA which is geometrical and symmetric with double pylons. The frontality on the street and public green open space and the axiality of SFMOMA runs through the Buena Yerba Garden over Buena Yerba Center for the Arts are reminded us of an urban core with a religious monument and a city square. The staircase with grandiose design in the atrium seems to work as an altar with lighting from skylight above enhancing the liturgical ambiance. De Young Museum is shaped in a rectangle with long narrow courtyards. Three bands of volumes are juxtaposed and the nature flows into the museum corridors and galleries. The tower is distorted so as to be aligned to the street grids of the surrounding area. The copper panel of De Young Museum and natural context evoke 곧 modern concept of "machine in the garden". The two museums from different pedigrees of Modern Architecture are now major landmarks of SF and urban expressions for the 21st century.

동사복사 구문은 중국어의 다른 구문과는 분명히 다른 통사적 특징을 갖는 구문이다. 이에 본 논문은 동사복사 구문의 통사적 특징을 명확히 규명함으로써 동사복사 구문의 정의와 범위를 보다 더 분명히 하고자 한다.<BR> 동사복사 구문은 동사복사 구조가 술어가 되는 구문으로 통사형식은 (S)+V1+O1+V2+C+(O2) 이다. 이러한 통사형식을 갖는 동사복사 구문은 연동 구문의 일종이라 할 수 있다. 그러나 일반적인 연동 구문과는 달리 동사복사 구문의 V1과 V2가 반드시 동형의 동사이어야 한다는 차이가 있다 문법화 과정이나 정보구조의 관점에서 보면, O1은 동사복사 구문 생성에 있어 중요한 역할을 하며 문장에 반드시 출현해야 하는 성분이다. V1과 O1은 이합사로 충당될 수도 있다. 그러나 V1과 O1에 위치하는 성분이 동사성이면서 V2와 부분적으로 동형인 경우는 동사복사 구문이라 할 수 없다. C(보어)도 문장에 반드시 출현해야 하는 강제성 성분으로 C가 없는 구문은 동사복사 구문이 아니다. 결과보어, 정태 보어, 정도보어, 시량보어 등이 C가 될 수 있다. 반면에 S와 O2는 비강제성 성분으로 문장에 출현할 수도 있고 출현하지 않을 수도 있다.<BR> 동사복사 구문은 확장 형식을 가질 수 있다. 즉 O1과 V2 사이에 시간부사나 어기부사가 위치할 수 있다. 이러한 확장 형식의 동사복사 구문은 관련 부사가 있는 긴축문과 유사한 형식을 갖는다. 그러나 긴축문은 복문으로 동사복사 구문이 아니다.

20세기와 함께 시작된 근대는 한반도에 상당한 충격과 함께 급격한 변화를 요구하였다.특히 ‘근대 국민 국가 건설’의 명제 앞에 수많은 시행착오와 갈등이 예고되었다.이를 위해서는 무엇보다 국민의 각성과 계몽이 필요하였으며,여기에 표기 체계의 전환이 시급한 문제로 대두하였다.즉 ‘한문(漢文)’으로 대표되던 사대부(士大夫)중심의 질서체계는 ‘한글’을 통해 근대 지식을 공유하는 방식으로 재편될 필요가 있었다.이 과정에서 ‘문장(文章)․진문(眞文)’의 지위를 점하던 문자 체계는 ‘한자․한문’으로 격하되고 폐기될 위기에 처하였다. 하지만 이는 일순간에 역사 속으로 사라질 수 없었다.대신 한문은 근대 학문 제도 안에서 교과서를 통해 교육되는 교과의 하나로 위상이 변경되었다.그 변화의 과정은 상당히 지난했는데,근대 언론매체의 한자․한문 연재란을 통해서도 이러한 문자 체계 변모의 한 과정을 볼 수 있다.이점에서 일본인 다케우치(竹內錄之助)가 1913년부터 4년간 발행한 新文界 에 연재된 한자․한문 연재는 주목을 요한다.근대의 표징인 ‘잡지’라는 매체는 대중성과 함께 공공성을 지니기 때문이다. 신문계 에는 樂齋權寧瑀의 虛字소개,厚齋生朴麟宗의 ｢漢字의 字解｣와 함께 배재학교 교사였던 姜邁의 ｢漢文新講話｣가 한자․한문 교육을 위해 연재되었다.특히 강매는 한문을 근대 어문 문법 체계의 형식으로 소개하고,이후 漢文法提要 로 출간하고 있다.본고는 언론매체인 신문계 를 통해 한자․한문 분야가 근대 학문의 하나로 자리 잡기 시작하는 한 양상을 살펴보았다.

The term ‘modern’, in broader sense, refers to the concepts like modernity,modernization, modernism and the like, which came from Westernization impling therecognition of indigenous culture as being inferior to Western culture by comparison alongwith the expanded influences of the Empire of Japan. These concepts, however, ratherthan evolving from Western standards, came into being as a form of civilization led byJapan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came tocreate eastern way of modernism, as a new East Asian trend mainly revealed in Chinawhich was against colonization after Japan’s invasion and conquest of Manchuria.Therefore, Eastern‘modern’unlike Western one could be understood in the widespreadterminology,‘Modern(摩登)’in Shanghai, reflecting consciousness like‘Fashion’or‘Trend’in female images on a variety of visual media. By 1930s it was the most notablethat‘modern’was accepted as something similar with‘Fashion’, or‘Trend’in socio-cultural contexts. These atmosphere had led commercial arts to enable to communicatewith the public in a great deal of supports and success in Shanghai which was widelyregarded as the citadel for the inflow of Western culture, among which transformations infemale images were remarkable as a representative form of culture. It is also remarkablethat‘historical modernity’transforming from the feudal age to modern society wasconsidered a synchronic modernity, and nationalism was regarded as a sort of beingmodern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way ofexpressions showing what was modern through commercial artistic productions, wereeasily noticed in visual media as an outlet of modern women’s inner desire revealing theirpursuit for new mode of life in metropolitan cities. As a characteristic of the time creating anew code of visual female images, it is notable that there existed another form of‘modern’satisfying socio-cultural needs of the general public seeking for being‘modern’.

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

Since he was a leading figure in nineteenth century architecture, Viollet-le-Duc's architectural theory is crucial to the foundation of modern architecture. He has been called a Gothic Revivalist, a Structural Rationalist and a Positivist. The first title was perhaps due to his vigorous restoration of Gothic works such as $N\hat{o}tre$ Dame, but he did not adore the Gothic style just for itself. Rather, he hoped to deduce some principles from the style. So how did he manage this? In his book "Entretiens sur l'Architecture (Lectures on Architecture), published between 1864 and 1872, he mentions using Descartes' four rules for reaching architectural certainty in contrast with the chaotic situation during that modernising period. Furthermore Viollet-le-Duc's theory can be seen as a serious attempt to translates Descartes' philosophical rules into systems of architectural speculation. Descartes' four rules of doubt are anchored in mathematical propositions, and without mathematical distinctions, none of these rules are valid. In other word, mathematics for Viollet is the yardstick of judgement between distinctness and indistinctness. Many architectural problems arise from this view. In this paper, the validities of applying Descartes' method of doubt to architectural discourse will be discussed in order to address the question:-Did Viollet-le-Duc clearly grasp Cartesian method by which memory was erased from the world?

The main objective of this study is to analyze characteristics on the somatotype of modern adult women In order to standardize of products. The sample for this work chosen from data which were collected and measured by Size Korea during two years(2003~2004). In order to analyze feature of the somatotype of modern adult women, analysis was peformed in 1,371 subjects(645 twenties women, 725 thirties women) about 21 body parts such as height(4 parts), width(3 parts), thickness(3 parts), circumference(7 parts), length(3 parts) and body weight. According to the result of analysis, it was found that the twenties group was near in slender somatotype, whereas the thirties group was near in fat somatotype compared to standard somatotype.

The well-established Universal Powder Press UPP, designed by the Swiss press manufacturer Osterwalder AG in Lyss, went through a major improvement process. The result is a high efficient production machine with state-of-the-art technology. It will be shown the technical design, some process engineering as well as the influence of PRP - =Part-Related-Programming, first published in 1994 - on the set-up time. This development has enabled Osterwalder to round off their range of presses, the mechanical-hydraulic KPP as well as the hydraulic CA-NC II and UPP, to an attractive offer ranging from 120 kN up to 10'000 kN.