예이츠의 시세계, 특히 초기시에는 낭만주의와 상징주의가 자리잡고 있으며 그 중심에는 ‘자연’이 자리해 있다. 예이츠에게 있어 자연은 ‘자연에 대한 동경과 모사’와 ‘자연과의 대립 및 의식의 우위’, 즉 자연 친화적 세계와 자연부정의 세계라는 진폭 안에서 인식되었으며 그의 시는 이를 형상화하거나 극복하려는 긴장의 궤적을 보이고 있다고 할 수 있다. 이 글에서는 이같은 예이츠의 자연에 대한 인식과 시세계를 한 축으로 놓고 한국 근대시에 나타난 자연을 살펴보고자 한다. 이를 위해 한국근대시의 완성에 가장 큰 역할을 한 대표적인 시인인 정지용의 시세계에 나타난 자연을 먼저 검토하였다. 그리고 현재 왕성히 활동하고 있는 시인들의 시세계에 나타나 자연을 각각 고찰하였다.

Today, as individuals show their social identities and reflect their being as the members of society with a culture, an art style and communication function are stood out in fashion photographs. Accordingly, the meanings of images into text are expanded in its interpretative width through the acceptor's various terms. This researcher looked into four theories of both positions on the textuality of language and image, and considered the point of discussion on image of each theory through modern fashion photographs. First, the theory which divides language and image as auditory and visual recognitions in the textuality of language and image is limited from the view it focuses on only one side without considering the ambivalent elements of each field. For the textuality in modern fashion photographs, the observer attempts to turn it into text to give meaning to it as the recognition through five senses conforming to the acceptor's condition. Second, the theory dividing language and image into the text of time properties and spacial properties has limitation in the text, for acceptor's experience of the object appears as the structured form in time and space rather than being defined as two things like time and space. Third, the theory classifying the language and image text into conventional taste and natural taste has limitation from the view that image text is hardly an object of consistent classification in ease of recognition by the code accepted in society. Thus, this can't be fundamental approach for the understanding of the text of decoding trend represented in modern fashion photographs. Fourth, accordingly, this researcher focussed on contextual and arbitrary text of fashion photographs through the theory of Nelson Goodman which discusses image text through the differences in textuality. Basic mechanism of perceiving and recognizing and distinguish image is closely related to habit and custom like language. So, each acceptor perceives the image as a text through arbitrary interpretation obtained by individual, empirical, historical, and educational viewpoints. The textuality of modern fashion photographs aims to widen the range of diverse knowledge and understanding, transcending the regulations of simple function of existing fashion photographs. Consequently, this researcher puts forward the opinion of consistent and diverse follow-up studies on instilling meaning into fashion photographs for the understanding de-regulatory and de-constructive through various senses by avoiding only one sense-dependent fixed and regulatory properties of it

The relationships between fashion and architecture have been interactive. Since the fashion has had the role to decide the structure type of urban environment, it is becoming the new sign of space boundary. This study searches the social and cultural characteristics of Nomadism and the relationships among all kinds of changing objects. After then, the module system characteristics are meditated by analyzing the composition method of module system in architecture. Moreover, the study examines the aesthetic values in the fashion and body architecture from artistic aspect. Based on the above discussion, the followings are the characteristics of body architecture as the social structures expressed in modern fashion. The liquidity is the fluid form of dynamic structures. It shows the extended space form which produces the continuity. The transformation is the variable structure by module system and it forms the diversified structural combination. The movement combines the controlling function to be able to regulate and move freely the body related objects. The convergence is the text combination interpenetrated mutually in enlarged space. Through this, the non-linear continuity and the access of the individual factors are shown.

The objective of the study is to analyze expressions of modern fashion in relation to design principle of a science theory, fractal geometry, in order to identify various and multi-layered expressions of fashion. As for methodology, the study interprets principle and characteristics of fractal geometry based on literature review in areas of linguistic, philosophy, sociology and science. The research identifies expressive characteristics of fractal through empirical studies, and applies them to fashion in order to analyze how fractal design principles are reflected in modern fashion in terms of form and significance. Fractal aesthetics pursue order, balance, diversity and openness among disorder and insecurity. They are closely related to the function of modern fashion that works as a multi-layered code, instead of being confined to conventional idea about fashion that “functions” as “wear.”

The purpose of this study is to study the inner meaning and formative with distorted and atypical Informel image, body image expressed in modern fashion. Method of the study is as follow. The study method examined philosophy of art 19th century in order to consider interconnections between social and cultural characteristics of expressionistic abstract art, a form of Informel and changed physical style. Based on this method, the Informel image that appeared in the plastic arts in terms of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Informel images were expressed in any formative characteristics were considered. The results of this study are as follows. Contingencies through the spontaneous act of art to transcend the image of atypical lines formed elements of coincidence, was developed. Liberation was expressed from liberation of physical boundaries and created outward expansion of the free formative. Atypical was organic forms pursuing spontaneous plasticity and diversity, and appeared in the form of distortion and deformation.

In the field of fashion in this modern era, the tendency of diversification has created a variety of hybrid patterns and this tendency is being accelerated simultaneously by the hybrid trend. This research aims to analyze the aesthetic features of hybrid fashion in the modern "Sports Inspired Fashion(SIF)." We analyze fashion in the past 10 years from 2001 S/S to 2010 S/S. We focus on the four largest worldwide collections from New York, Paris, Milano, and London and concentrate on analyzing the contents from 38 volumes of Gap Press magazine. To accomplish our goal of study, we first define the concept of sports-inspired fashion and propose a framework of analysis to study hybrid patterns by reviewing the previous studies on hybrid patterns. Second, we analyze a wide range of sports-inspired fashion examples that have appeared in Gap Press magazines for the past 10 years(those which have been inspired by sports uniforms and training wears). Third, we analyze and classify the hybrid patterns of sports-inspired fashion. The results of our research are as follows. We have collected a total of 534 SIF works from the whole set of 61359 pictures and examined 23 sports fields. In terms of seasonal changes, the SIF works were found the most in the spring collections. Then, we have identified 25 hybrid patterns. The time hybrid pattern comprises more than half of the data(58.2%). The class-culture hybrid patterns comprise 18.8%, while the gender hybrid patterns comprise 18.2%. However, the intercultural hybrid patterns were rarely found, comprising merely 5% of the data. Our analysis confirms that sports and sports wear fashion are changing and developing in truly diverse ways in this modern era. This trend has continued to influence the high fashion in the modern age and is expected to exert a continuous impact on the change of fashion in the future.

This study is about the strife patterns in modern fashion and the characteristics inherent in them. The study was aimed at offering the basic materials to develop the creative design that can show various visual expression effects. In terms of method, the study was led by the analysis of documents; domestic and foreign fashion, collection magazines etc were used to analyze the strife patterns in modern fashion. According to the findings, the study used the rearrangement of the strife patterns at the same intervals, the arrangement of different strife patterns within one single item, the hybrid arrangement of strife patterns and different patterns, and the use of strife patterns for a certain part of clothing for the purse of emphasis or decoration. First, the characteristics inherent in such strife patterns showed clear simplicity using the same repetition of simple lines or the two colors of black and white. Second, strife patterns changed silhouettes by causing optical illusion, and showed the rhythm effects, such as swelling, wave or movement by distorting and controlling lines or forms. Third, based on irregular intervals or multi-strife, the concept of unclear disharmony and inconsistency was shown with the beauty of hybridharmony by blending various strife patterns with each other, or strife patterns with different patterns, and thus expressing composite images.

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by ‘Bauhaus syashin(Bauhaus Photographies)’ at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as ‘Bauhaus syashin(bauahustofografie)’ in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as ‘Bauhaus Syashin(Bauhaus Photographies)’ used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it ‘Bauhaus style’. ‘Bauhaus style’ is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of ‘Bauhaus Photographies’ in his article in 1985 as well. This study considers the historical background for the mistake of the term of ‘Bauhaus Syashin(Bauhaus Photographies)’ in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of ‘Bauhaus syashin(Bauhaus Photographies)’ in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich Wölfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which Wölfflin directly dealt. As for the theoretical literature review, I used Wölfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

现代汉语里有很多词汇构成同义或近义关系。本文对动词里具有同义或近义关系的词项进行对比分析而找出它在句法和语义上的规律。本文主要从词义․句法的角度做了对比分析，先从“CCL语料库”里找出一些有关“走”和“去”的例句，然后分析其义素并且探讨它在句法上的分布特征。探讨动词“去”和“走”之后，发现“去”属于二价动词，横跨了起点和终点两个领域，主要是指“施事从所处的地点到达终点”，但意义的重点在于“终点”，而“走”主要是指“施事走动或经过某处”，其意义的重点在于“起点”，正好是跟“去”相对的。

개화기의 민사재판은 그 이전과 달리 행정과 사법의 분리, 민사와 형사의 분리, 사법기관인 재판소의 등장 등이 그 특색이다. 민사 재판제도의 실제 운용은 재판소구성법의 등장이 가장 큰 특징이다. 또한 실제 운용면에서 형식적인 면과 실질적인 면으로 구분할 수 있으며, 형식적으로 원심재판소 및 상급심 재판소의 실제 운용, 문서주의, 관할제도의 정비, 궐석재판의 등장, 법원의 인적 물적 구성의 전문화가 특징이다. 내용적인 면에서는 기판력의 확보와 강제집행력의 확보가 이루어졌다. 민사판결문을 통해 법사회사적, 생활사적 특징 및 민사재판에 필요한 법리를 파악할 수 있으며, 무엇보다 개화기 당시의 민사재판의 준거법은 大明律》 및 《大典會通》 이었음을 알 수 있다. 개화기의 민사재판은 전근대시대에서 근대로 이행하던 시기로 전통법제와 현대의 법제의 ‘징검다리’역할을 하고 있었다.

The purpose of this study is to research the conspicuous consumption characteristic expressed in the modern fashion. The conspicuous consumptions are classified with 2 parts as follows as: 1. The motive of conspicuous consumption, 2. The effect of conspicuous consumption. And the motive of conspicuous consumption is 1) conspicuous consumption, 2) conformity consumption, 3) compensatory consumption. The effect of conspicuous consumption is 1) veblen effect, 2) bandwagon effect, 3) snob effect. The veblen effect is caused either by the belief that higher price means higher quality, or by the desire for conspicuous consumption to be seen as buying an expensive, prestige item. The bandwagon effect is people tend to follow the crowd without examining the merits of a particular thing. The snob effect refers to the desire to own unusual, expensive or unique goods. The conspicuous consumption has produced conflicting results of the homogeneous imitation and the different scarcity. Consequently conspicuous consumption characteristic expressed in the modern fashion refers to the conformable imitation and the different scarcity. The conformable imitation is pursuit of first lady look and imitation. The different scarcity refers to the desire to own exclusive or unique goods. The unique value is pursuit of limited edition and art mode.

Focuses on discussing the shapes, characteristics and constructions of the traditional ondol in northern China,totapthereasons for its forming characteristics. After comparing China's traditional ondol culture with modern living space, we want to show the relationships of dimensional processing patterns appearing at different historical times.

Japanism represents a Japanese sense presented in Collections by many world-class western designers who are inspired by Japanese Kimonos. This study analyzes how the traditional Japanese costumes were applied to the modern clothing and the mix and match style appeared at the Japanism fashion based on the Fashion Collections during the three years from the spring of 2006 to the winter of 2008. The analysis was performed based on preceding studies, literature, fashion magazines such as Vogue, Elle, Marie Claire, and the Collections during the three years. The results of this study on Japanism covers: the application of Kimono design, Kimono sleeves, Kimono neck line to coats, jackets, one-pieces, and blouses; the application of traditional geometrical patterns, flower patterns, and natural patterns. These patterns were presented by print, dyeing, and embroidery; lastly, the employment, utilization, function, and adjustment of Obi(belt) to Japanese style clothing and also to modern clothing. Japanism fashion presented sportism, feminism, and eroticism by using mix and match. This analysis can contribute to the application of the ethnic clothing to modern clothing

본 계획은 김제시를 중심으로 하는 테마 파크를 디자인한 것이다. 이곳은 전라북도 김제시 적산면에 위치해 있고 면적은 약 120,000㎡이다. 농경 테마파크가 지니고 있는 정체성, 이용자를 위한 문화와 지역 관광, 토지의 효율적 이용과 실효성,그리고 친환경적인 디자인등 몇 가지 중요한 기준을 고려하여 본 테마파크를 계획하였다. 이 테마파크는 즐거움을 제공하고휴식, 체험과 놀이를 하는 다양한 장소이다. 김제의 근대 역사를 소개하는 이 공원의 정체성은 탐사지역, 출입지역, 상업지역,휴식과 놀이지역, 전시지역이라는 5가지 공간으로 나누어진다. 각각의 장소는 “근대 김제지방의 농경역사”에 관한 테마를갖고 있으며 공간의 연속적인 측면에서 긴밀히 연결되어 있다. 이 지역은 다양한 집합체와 다채로운 행사를 위한 상징적공간으로서 김제의 문화와 관광 기능을 할 수 있다.

最近对话题进行语法分析，而话题分析仍然以话语语用范畴为纲。这主要是与话题所表现的主观性密切关系的。所以本文脱离以往的由命题为中心的意义分析，去考察在句子意义中的「主观性」。其实，这个‘主观性’可以说属于已往语法研究中的语气范畴，本来语气围绕着整个句子而表现出来的。不过，我认为语气意义是一种主观意义，应该从句子成分或者语法成分当中存在着其起作用的因素。例如汉语的句首成分可以说是一种说话者心理的直接渗透的地方。原来副词在句首从当状语一般称为语气副词，这就是和主观性表现有关的。话题的‘句首性’也可以表现主观性，所以话题化也是一种主观化的表现形式。 因而一般独立句子而存在的句首成分可以归纳为话题化的结晶体。汉语中可以充当话题功能的都在句首成分，可把大主语、句首状语、插入语和一些条件性的词语等归纳为话题。已往的研究从客观的角度考察了话题所表达的句法功能和意义，所以忽略了话题所表现的主观性。因此在话题的研究中句法功能以外，还考虑主观性意义，这样才可能正确分析话题结构。

现代汉语的被动句可分为有标志被动句与无标志被动句。其中无标志被 动句与null subject主题句，在形式方面结构非常相似。因此，它们的分类 及分析方法上有很多错误。为了补充形式上的解释，本稿采取认知语言学的 观点来解释被动句的制约条件，进而来区分无标志被动句与null subject主 题句。按词汇概念，被动句的‘相(aspect)’和无标志被动句的事件可分别分析 为下面的意义结构。[[[xACT]CAUSE[BECOME[y<STATE>]]]CAUSE[BECOME[y<AF FECTED>]]] → [[do'[∅<manner>(y)]]CAUSE[BECOME[y<AFFECT ED>]]]。这个结构说明的最大的特征就是被影响论项(而不是受事论项)的存 在。而加上‘相(aspect)’的特征的话，可以表现为[y<RES-STATE=∅[[do' [∅<manner>(y)]]CAUSE[BECOME[y<AFFECTED>]]]>]。如果句子符 合这些制约条件，它可以分确定为无标志被动句。