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.

The purpose of this study was to understand current food consumption phenomena in the context of Korea's consumption culture and economy. For this purpose, food consumption phenomena and the underlying meaning of consumption culture were investigated. The study indicated that current food consumption phenomena were characterized by increased eating habits away from home, consuming more fast food and processed foods, westernized diet, eager for taste, and overwhelming well-being products, which could result in environmental problems as well as malign physical and mental defects. It was argued that current food consumption phenomena had been mainly affected by the commercial food industry and consumers' cultural consideration. Finally, this paper discussed several approaches to motivate consumers' awareness and how to change their food consumption culture, and further government policy efforts.

This study was conducted on the premise that plan types of the public residential houses proposed after the 1945 implicatively showed the developing process of the modern housing. The formal characteristics created through the developing process were analyzed in Micro-Historically. Moreover, by providing a new viewpoint on the changes of the residential houses that occurred around 1945, we tried to provide the fundamental research background for the research on the developing processes of the future housing cultures. The research pursued mainly on the major spaces that became the modern change indices of housing plan changes from the traditional housings in 1940s to the modern housings such as the master bedrooms(An-Bang), kitchen, the main floored-space(Maru), and the secondary bedroom (Kune-Bang). The major experimental subjects are the 87 public residential plan types designed and supplied by the Korea Housing Cooperation in between 1945 and 1970. The study synthesized the developing process of the public residential houses from the traditional residential houses in 1940s through modern situation and intrusion of foreign housing cultures. Following results were derived from the study: First, various and experimental housing plan types had been proposed as public residential houses since 1945. Among them, the plan having the main floored-space(Maru) were the representative type of public residential houses and various series of houses were constructed based on this type. Second, the main floored-space(Maru) type had continued building connection order of the R-M-R that were used in the traditional houses. On the other hand, with decomposition of connecting ring between the main floored-space(Maru) and the kitchen, rationalization of women circulations and introduction of family-centered spaces had been resolved the demands of modern society. It had greate effect on settlement of the current double-row Maru plan type. Third, in Korea most of plan types for the public residential houses were proposed in between 1945 and 1965. Forth, the location of kitchen and relation between Maru and the master bedroom were arranged visually on the corner and center of the rear row with the micro change characteristics of the public residential houses. In this process, the front row was similar with traditional residential houses but the rear row was differentiated and developed with expansion of Maru and Ondol rooms, increase of closet spaces, and introduction of kitchen that divided spaces for sleeping and eating.

This study examined food sharing characteristics revealed in the modern Korean society by both interpreting phenomena and analyzing literature. Diet was said to be the least influenced by western modernization in Korea. Concerning this matter, one of the important explanations to be considered would be a strong influence of 'the first settlement effect' in culture, as reviewed elsewhere. Sharing food means not only sharing food itself but also sharing communal solidarity. The latter was strongly emphasized in Korean food culture due to his own historical grounding. Some examples revealed in current Korea included sometimes too much generous treat when eating out, even saliva allowed food sharing, too much food provision, and too many restaurants. 'Dutch treat' observed in many occasions of food sharing in Korea was also viewed as a product of historical experience, which was related to the degree of traits of feudalism in modern societies as feudalism was based on a sort of a give and take contract. The association of the degree of traits of feudalism and communal solidarity was explored by comparing so called different meal treat manners between Koreans and Japanese, that is, more generous attitude among the former. The concept of communal solidarity was also examined with respect to Koreans' side dish sharing behaviors which sometimes accompanied seemingly insanitary saliva sharing. In addition, provision of too much food was analyzed by relating this manner to a traditional 'hand over dining table' custom. Traditionally, food on a dining table was not supposed to be only for those sitting on the table. Even though the 'hand over dining table' was no longer well preserved at present time, its cultural traits appeared to be well prevailed in the modern Korean society. Finally, an increase of restaurants as well as an increase of eating out occasions were postulated with respect to the notion that restaurants were the places for ascertaining communal solidarity while sharing foods. The above analyses suggest the importance of the influence of sharing originated from his/her own historical grounding for better understanding of modern Korean food culture.

This study was carry out to investigate the quality comparison of ground Korean native black pork compared with modern genotype pork by different fat addition. The Korean native black pig and modern genotype pig were slaughtered at 75 kg and 105 kg of live weight, and for 240 days and 210 days of feeding periods, respectively. The ground lean pork (M. semimembranosus) mixed with ground fat (10, 20 and 30%, respectively) was stored for 9 days at 4℃. The crude fat increased as fat content increased. The pH of two porks increased significantly during storage. It was lower the Korean native black pork during storage than modern genotype pork. The WHC (water-holding capacity) of Korean native black pork was higher than modern genotype pork. The Korean native black pork maintained black reddish color because it had lower CIE L* value and higher CIE a* value than the modern genotype pork. CIE L, b*, C* and h values increased with increasing fat content in two samples but all CIE color values decreased during storage. TBARS (2-thiobarbituric acid reactive substances), POV (peroxide value) and FOX (ferrous oxidation-xylenol orange) of ground pork during storage were increased as fat content increased. Lipid oxidation of Korean native black pork occurred more rapidly than modern genotype pig. The Korean native black pork tended to contain more saturated fatty acids compared with the modern genotype pork. Especially, stearic acid and total SFA (saturated fatty acid) content had significantly higher in Korean native black pork (p<0.05).