This study tries to analyze the development of architectural technologies appeared in several tall buildings and large spatial structures from 1955 to 1999 in Korea. We suppose that these buildings represent the development of technology in Korean modern architecture. By the detailed analysis of these buildings, we can arrive at a conclusion as such; During the years 1955-1999, there existed a great changement in the eighties. We can find this fact very well in the domain of structural system and curtain wall system. In large spatial structures, the structural-system of shell and steel truss dome was replaced by that of space frame, space truss and cable truss with membrane. In tall building, the structural system of rigid frame and shear wall was replaced by tubular system, core and outrigger system. Korean architects introduced the aluminum curtain wall in the sixties, but its low technological level caused many problems in reality. Therefore, precast concrete curtain wall appeared from seventies as the main method for an outer wall in tall building. With the augmentation of height after 1980, PC curtain wall was replaced by the aluminum curtain wall of unit type and structural glass wall system. These systems help to stress the transparency in a tall building.

Many cultural heritages for the modern ages in Korea are becoming lost rapidly as a result of subsequent technological innovation and changes in industrial structures and other reasons. But they are indispensable for an understanding of history, tradition culture of Korea, and form the basis for development and advancement of future culture at the same time. Therefore, this study is aimed to review the protection of cultural heritage in Japan, establishing the protection policies in Korea. In Japan, The Advisory Committee for the Preservation and Utilization of Modern Cultural heritage was organized by The Agency for Cultural Affairs. And this classified modern cultural heritage into four fields, as like; (1)monuments, (2)buildings, (3)fine arts and historical heritage, and (4)life, culture, and technology to pursue concrete research and study. The next step is tarrying out investigations to identify these cultural heritages, which were once the backbone of Japanese modernization and are now in the process of being lost, in an effort to preserve them as cultural heritage of the Japanese modernization period. The investigation will have conducted on an about eight year scheme starting with 1996. And it's will ask all local boards of education(of the prefectures, cities, towns, and villages throughout the country) to supply all related records or documents available and to cooperate in field studies. So now, many cultural heritages for the modern ages in Japan have been designated as Important Cultural Properties, Registered Tangible Cultural Properties, Monuments, etc. And they have been prepared various tax policy(ex, reduction of the real estate tax). Also, that's examples are not only one by one but magnified with protection of large-scale construction associated with region. In addition, magnified with region's activities. In conclusion, in the process, protection has been extended to a broader variety of cultural properties and much consideration has been given to the methods of protection in Japan.

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art Sacré Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art Sacré Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).

Main theme of this study is the acceptance phase of western architectural culture in modern east-north asia through a series of actual survey and typological analysis of existing church buildings in modern Korea. China. Japan. For this study, 126 modern church buildings of Korea, China, Japan are selected. Also, main subject of this study has deal with the side of culture - thought which background of christianity acceptance and acceptance mind of acceptance main-body, culture adaptation and transformation based on characteristic culturalization of Korea, China, Japan. Especially, I would consistently tried to see the acceptance phase of western architectural culture according to differential acceptance mind of acceptance main-body based on characteristic culturalization of three countries. Conclusively, in the point of view of western architectural culture acceptance phase, it could be said that Korean church architecture had characterized as a blending phase of the two eclectic architectural culture. And in the case of china, as a coexistance phase of the two architectural culture with more western style-oriented. On the other hand, Japanese church architecture had characterized as a syncretism phase of the both traditional and western architectural culture, though it is eclectic style-oriented. Therefore, it is thought that different acceptance mind of western culture had main factors caused of differential acceptance phase, when the two architectural culture, the traditional and the western, encounters.

The purpose of this paper is to suggest a model of teaching German poetry on the basis of the theory of literary communication. This paper uses the poems of Rainer Maria Rilke as the main text of the study. The paper shows that a model of teaching through a new media of “ intemet" needs students’ active participation, and that such a model is effective to develop the students' creativity in appreciating poetry.

Surveying the literature of architecture since the nineteenth century, one can identify two dominant but problematic attitudes, among several, that pursue the task of defining what modern architecture is and should be. The first is the search for meaning and the second is the pursuit of form. This study, following Michel Foucault, asserts that the dual formation of meaning and form is a historical product of modernity and belies architecture's uncritical dependence on language since the nineteenth century. This study is a critique and historical analysis of this pernicious reliance, and constitutes a first step towards thinking of alternative relations between 'words and architecture' in the modern world. In reconstructing this problematic, the paper has called on Foucault's seminal The Order of Things. The study follows his construction of the Renaissance, the Classical and the Modern episteme, and in brief fashion, reconstructs the relation between language and architecture in each episteme. In analysing the Modern, the study focuses on Hegel's Lectures on Aesthetics. Hegel placed architecture in a genre hierarchy within which architecture, because of its material basis, was fundamentally limited in its ability to express the Spirit. For Hegel it was, among the arts, poetic language, and beyond art, the language of philosophy, through which the Absolute Spirit could be atttained. Much of post-nineteenth century architecture has remained within the shadow of Hegel, where architecture's materiality is perceived to be a burden, and in order to secure its relevance in modern society, architecture was deemed to pursue the role of language. As the most recent and sophisticated example of architecture's pursuit of form, the paper analyses the work of Peter Eisenman. Though Eisenman's theoretical writings are replete with post-Hegelian rhetoric, his architecture remains dependent upon the model of language, albeit a structuralist one. The paper concludes that ultimately, the pursuit of meaning and form is unable to face the crucial issue of value in modernity. While the former decides to easily what it is, the latter evades the issue itself. The second installment of this ongoing study will pursue a third possibility alluded to by Foucault, where language remains silent, pointing only to its 'ponderous' material existence.

The threads of this thesis are several theoretical issues of modern urban ideals. Modern architects and urban designers conceived their individual artifacts, which assumed to be laid out on the new settings totally different from the existing urban fabrics derived from inherently medieval ones. In the discussion of modern ideal society, the Industrial Revolution and the Enlightenment was a pivotal point. Innovations in technology and expanded living territories since the double revolution have been critical factors in the evolution of new ideas of urbanism. The tremendous success in science and technology led a way to the 'science-fiction' environment as a destined apocalyptic world. The dream, whether it was socialist or in any other believes, to a pastoral utopia beyond the capitalist society was represented through the ideal cities, which were modern versions of arcadia in the other approaches. Two sides of revolutionary ideas are presented as a futurist city and a garden city, which are on the separate notions but co-existed or overlapped in a single urban project such as in Le Corbusier urban schemes or even Tchumi's recent work, Parc de la Villette. Urban ideas in the twentieth century are based on urban naturalism, the notion of which was consistant from abbe Laugier to Le Corbusier, as well as machine aesthetics interpreted in terms of archeological research and modern technology.

This paper starts with the hypothesis that Irish literature should be different from English literature in theme, feeling and the technique of expression. The differences the writer has found so far are as follows: the search for the father-omphalos, the personification of nature, the recognition of sex as an origin of creation, the search for aesthetics of darkness, the attachment to silence, the spirit of wandering, the cyclic view of the world and dramatic self-awareness, etc. Since the end of the 19th century, the Irish writers’ strong attachment to their own tradition has been expressed as their reaction to a sense of lack as reflected in terms such as “center,” “omphalos,” and “search for father.” This phenomenon accounts for the birth of Irish national literature. From Oscar Wilde and Bernard Show in the 19th century to the recent poet, Seamus Heaney, they tried to deanglicize and create their own literature. But through this process, they have not neglected the chance to become a master of the international literature, by using the language of enemy. And each writer has a peculiar method of deanglicizing. For example, Oscar Wilde and Bernard Show who contributed to cosmopolitanism of modern Irish literature attacked and illuminated the English audiences by the reversing play-role. Understanding the enhanced nationalism, W.B. Yeats and other revivalists of Irish literature integrated English culture and tradition into the nationalistic movement. This is why their works were called “the cracked glass of the servants.” J. Joyce and other modernists, in a genuine sense, sought for their original nationality and to do this, they tried to recognize the picture of themselves as paralysis. From the establishment of the Irish Republic to the recent, strong nationalism and internationalism, as it has grown as one of the European countries, have been reconciled. Modern Irish literature has succeeded in regaining its own tradition and reaching top as one of the international literatures, getting through the five phases. During the first phase it showed the spirit to reverse the English cultural system and value by preempting the role of the English. The second phase is the period when they stimulated the national feeling and praised national heros. At the third phase modernists including Joyce, Kinsella, and Clarke attacked the nationalism of the second phase, saying that it was like a bubble full of the imagination the English wanted, and they exposed the realistic viewpoint of Irish life to their literary works. The fourth phase shows the reconciliation between parochialism of P. Kavanagh and cosmopolitanism of J. Montague. The fifth phase shows that with the enforcing of nationalism caused by the Ulster Trouble, harmony of nationalism and internationalism has been sought. The most important element that has led modern Irish literature to the top level is the spirit of omphalos through their confidence in their own culture and the sense of lack, and thereby the attachment to losses in language, land and tradition. Besides these, modern Irish writers haveoriented from the early period the Irish Republic towards an international country. The harmony of regionalism and cosmopolitanism, as well as that of individual interests and community interests, has led the Irish Republic to become one of the best postcolonial countries and cultural models.