자나방과(Geometridae), 가지나방아과(Ennominae)에 속하는 줄마디가지나방(Chiasmia cinerearia)은 중부지방의 회화나무 가로수 및 조경수를 가해하는 대표적인 수목 해충이다. 본 연구의 결과 줄마디가지나방은 주로 잎 위에 250∼300개의 알을 무더기로 산란하였으며, 유충은 총 5령기를 거쳐 용화되었다. 성충은 5월 초순과 7월 말경에 2회 우화하였으며, 1세대 경과일수는 약 48일로 조사되었다. 유충의 몸길이는 25∼ 30 mm 정도이며 연녹색을 띠고 복부의 옆선은 황색이었다. 성충의 날개편 길이는 30∼35 mm 정도이며 회갈색을 띠며 앞날개 외횡선을 중심 으로 4각형의 무늬가 무리지어 있는 것이 특징이다.

본 연구는 이탈리아 전후 아방가르드 ‘아르테 포베라(Arte Povera)’의 일원으로 활동 하여 주목을 받았던 미켈란젤로 피스톨레토(Michelangelo Pistoletto, 1933- )의 거울 회 화(Mirror Paintings)에 대한 연구이다. 거울 회화는 피스톨레토에게 명성을 가져다 준 작업이지만 아르테 포베라에 관한 집 단적 연구에 통합되면서 개별적이고 집중적인 연구가 이루어지지 못한 측면이 있다. 그 러나 거울처럼 보이는 스테인리스 스틸에 실크스크린 된 사진 이미지의 단순한 작업처 럼 보이는 거울 회화는 2차원 평면과 3차원의 공간, 실제와 모방 혹은 가상, 회화와 사 진, 과거와 현재, 자아와 타자 등의 미술사에서 오랫동안 고민되어 온 문제들과 복잡하 게 얽혀있다. 본 연구는 피스톨레토의 거울 회화를 ‘공간’과 ‘정체성’의 개념에 중심을 두고 검토하 였다. 거울 회화는 2차원 평면과 3차원의 공간의 문제와 직접 관련된다. 작가의 모국인 이탈리아는 16세기 르네상스 전성기에 발명된 원근법으로 시각예술에서의 공간에 관한 탐구가 이루어졌던 지역이다. 그린버그의 형식주의 모더니즘 담론 이후로 많은 예술가 들이 실재의 모방이나 대상의 재현의 문제를 떠나 감정과 정신성, 매체와 관련된 문제들 에 집중하였다. 그러나 피스톨레토는 이탈리아 르네상스의 원근법의 공간과 재현의 문 제를 지속적으로 인식하고 있었으며, 그 고민의 결과물로과 같은 거울 회화를 제작하게 된 것이다. 거울 회화는 회화 평면과 실제 공간을 넘어 거울에 반사되는 제 3의 공간 문제까지 도 언급하면서 가상 공간으로까지 확장되는 논의를 이끌어낸다. 이러한 공간의 확장은 개인을 넘어 사회의 공간으로 연결되며, ‘자아와 타자의 관계’ 혹은 ‘소통’과 같은 지금까 지도 계속 논의되는 동시대적 주제를 생각하게 한다.

This study, with focus on my artworks, aims to examine the 'pictorial expression of mind.' What is mind and how should I control it are the core content of my works. This study looked into mind which is expressed throughout my works. And it argued that the painting realized by senses - senses as the moving and flow of mind, - come from mind. It is to consider the relation between painting and mind by examining the senses for expressing the invisible inner side. I, in the art pieces, used a gem to express mind metaphorically and expressed it with senses. And I presented the birth and polishing process of a gem to express the flow and asceticism of my mind in the works. Such mind, in other words, is ‘one mind,’ ‘mind considered as the only true being,’ ‘unconsciousness,’ and ‘innate pure mind’ which all are based on my Buddhist belief. Realizing being unconscious and becoming one's true self is attaining a happy medium that avoids extremes; it means being completely empty. In this way, one can 'become his or her true self' can be possible through mind control. Regaining one's own innate pure mind and coming to have a peace of mind is enlightenment and nirvana- the process is the Zen meditation. I consider the process of artworks as the process of such enlightenment and regard it in the same light as Zen meditation. In addition, the cause of all phenomena is unconsciousness and painting is the manifestation of such unconsciousness. Thus, painting is like 'all things are made from the mind.' Such sense is the very first physical experience through which one can understand the world as it is - I intend to realize this in paintings. This painting, completed by such sense, can be the existence ‘just being as it is.’ This is the same as the true state in Buddhism meaning the true nature of all existence. Therefore, the painting expressed through senses is just as it is and the true being of an existence. For this reason, I intend to realize the actuality through senses in my artworks. The characteristic of my works is the combination of the photographic realism and expressionism. Some of the former's attributes include photographical image use and close-up; the latter includes some characteristics in expression. Having these attributes, my works can be defined as simulacre, a new existence. I also intended to extract rare images by enlarging the details of objects through close-up filming. The effect of such close-up brings an emphasis on the theme and presents new images - such features are expressed through already experienced fact.

≪검은 회화들≫은 고야가 1819년부터 1823년 사이 마드리드 외곽에 있던 “귀머거리의 집”에 그린 14점의 벽화를 칭한다. 이 그림들은 1874년부터 1878년 사이 쿠벨스에 의해 캔버스로 옮겨졌고, 1889년부터 프라도미술관에 걸려있다. 필자는 고야가 1790년대 중반 계몽주의에 대한 회의와 스페인의 권력변화와 연결시킨 마녀, 악마, 신화, 종교재판과 같은 주제들을 가지고 벽화들에서는 그가 다시 앓은 중병에 따른 죽음에 대한 공포, 그의 늙음과 그의 동반자의 젊음 사이의 갈등, 다시 변한 스페인 정국을 피해 스페인을 떠나야 할 시점의 회한과 체념 등으로 뒤섞인 그의 심리상태를 표현한 것으로 해석했다. 미술가가 미술을 ‘치료사’로 보고 자신과 세계와의 갈등을 표현한 것은 고야와 낭만주의자들에게서 맹아가 발견되는 현대미술의 특징들 중의 하나다.

This study investigates faculty and students’ perceptions of English conversation courses in the General English Program (GEP) at a university. A total of 437 students completed the survey and interviews were conducted with 8 of them. Three Native English Speaker (NS) instructors participated in the study by submitting reflective journals and being interviewed. Qualitative as well as quantitative data collection methods were employed to offer a better understanding of the current status of English conversation courses taught by NS instructors. Results about the five research questions are as follows. First, students were satisfied with the courses overall, although it varied across classes taught by each NS instructor. Second, students’ satisfaction with the courses also varied depending on their self-assessment of English proficiency. Third, the results of the stepwise regression analysis showed that NS instructors’ qualifications and attitude were the best predictor of students’ satisfaction with the courses. Fourth, NS instructors expressed dissatisfaction with the current textbooks and administrative support from the university. Fifth, the lack of understanding of both students and Korean culture caused critical classroom management issues, which, in turn, led to students’ negative perceptions of the courses. The findings provide practical implications of this GEP curriculum at the university.

This study will analyze the problems of the backward (obsolete) textbook contents and the stereotyped (imprisoned) teaching methods in classroom implemented by the Korean universities who teach advanced Mandarin conversation lesson in this digital era, and then put forward one possible solution called the model of “Flipped Learning”(“Flipped Classroom” is also included), which could teach advanced Mandarin conversation lesson by flexibly using Internet E-books. The existing education’s paradigm is discarded by teachers and students, and the textbooks’ role is changing rapidly and dramatically along with the education spread and knowledge diffusion via Internet. Through the flexible usage of the latest Internet E-books, not only the politics, economics, cultures, media and press of Chinese modern society could be known, but also our young generation (post 90s, post 00s)’s thought and vision. In a “Flipped Classroom” which gives conversation lesson, it could be expected that weak study will and motivation could be stimulated; uninterested and dull lessons could be inverted into spirit-lifting ones which contain endless lively activities; and those students who used to learn passively could maximize their ability to solve problems all by themselves in their learning process.

본 논문은 초등학교 고학년을 대상으로 전통회화기법을 활용 한 옻칠교육을 통해 전통의 올바른 계승과 창의적 사고력 및 표현력 향상을 위하여 전통회화 교육에 대한 현황을 분석하고, 옻칠교육의 효과를 검증하고자 하였다. 첫째, 전통회화 교육에 대한 현황 분석을 위하여 교육과정 분 석과 학생을 대상으로 실시한 설문 결과에서 나타난 전통회화 교육의 문제점은 전통표현의 답습과 감상에 치우진 소극적인 수업 형태, 실제 수업에서 전통회화 영역의 낮은 비중 및 학생 들의 전통회화에 대한 인식의 변화가 시급하였다. 둘째, 전통회화기법을 활용한 옻칠교육은 전통회화의 특징을 해치지 않으면서 창의적 표현이 가능한 기법을 응용하여 초등 학생을 대상으로 적용하였다. 이는 새로운 표현기법과 전통 표 현기법의 장르별 통합 형태이며 연구한 기법 및 재료를 바탕으 로 실제 수업에 적용하여 수업자료를 제작하였다. 전통회화 기법을 활용한 옻칠교육의 교육적 효과는 다음과 같 다. 첫째, 다양한 기법과 재료를 통해 창의적인 사고력과 표현력이 향상되었다. 자유로운 기법과 재료의 활용은 창의적 사고력 향 상을 돕고 새로운 표현기법과 전통 표현기법의 통합적인 응용 을 통해 자신의 의도를 보다 효과적으로 표현 할 수 있는 표현력이 향상되었다. 둘째, 표현력 향상은 미술의 타 영역 표현에서도 전통회화의 재료와 기법을 응용 할 수 있을 것으로 기대된다. 또한 학생들 이 즐겁게 수업에 참여할 수 있는 흥미 유발에도 도움이 되었 다. 셋째, 전통회화기법을 활용한 옻칠교육은 초등학생들이 옻칠화 에 대한 관심과 흥미가 높아졌다.

중부지방 회화나무 가로수 및 조경수에 발생하여 피해를 주고 있는 줄마디가지 나방(Chiasmia cinerearia)은 분류학적으로 자나방과(Geometridae) 가지나방아 과(Ennominae)에 속한다. 줄마디가지나방은 주로 잎 위에 250∼300개의 알을 무 더기로 산란하였으며, 유충은 총 5령기를 거쳐 용화되었다. 성충은 6월중순과 8월 경에 2회 우화하였으며, 1세대 경과일수는 약 48일로 조사되었다. 유충의 몸길이 는 25∼30mm정도로 연녹색을 띠고 복부의 옆선은 황색이었다. 성충의 날개편 길 이는 36mm정도로 회갈색을 띠며 앞날개 외횡선을 중심으로 4각형의 무늬가 무리 지어 있는 것이 특징이다.

The purpose of the present study is to learn about English conversation instructors, in particular, to find out (1) who they are; (2) how they cooperate with English teachers at schools; and (3) what needs they have to serve better as English teaching staff at schools. An online survey was administered to all English conversation instructors at elementary and secondary schools in Korea. Around 4,630 English conversation instructors- 2,920 at elementary schools and 1,710 at secondary schools- participated in the study. The collected data were analyzed: (1) to describe the characteristics of English conversation instructors; (2) to examine how they are sharing teaching duties with English teachers; and (3) to assess the needs for their competency development. The needs of English conversation instructors were analyzed by calculating the gap between the current competence and the expected competence. The difference of English conversation instructors competence development needs at the elementary level and at the secondary level were then further analyzed through Analysis of Variance. The results of this study can be used as basic data to establish the training system for English conversation instructors’ competence development.

전근대기 중국과 한국의 회화세계 속에는 드러나거나 내재된 문학 적 내용이 많은데, 이러한 회화작품들은 다시 문학의 창작과 감상에 영향을 주게 된다. 시문이 조형이미지로 표현되는 거대한 흐름 속에 서 시문-회화-시문-회화 순으로 넘나드는 수용(受容)의 역사가 일어 났고 이가 지속되는 가운데, 회화로 그려진 조형이미지가 영향력을 발휘하여 시문의 이미지를 변화시키고 시문의 감상을 지배하게 되었 던 경우를 말한다. 이 글은 시(詩)·화(畵) 제작의 상호영향에 있어서 회화의 조형이미 지가 시문의 우위에서 작동했던 대표적인 예로 당나라 왕유(王維, 701-761)의 ‘망천(輞川)’ 별장에 관련된 시문과 그림의 수용사를 살폈 다. 왕유가 망천장을 시와 그림으로 표현하였고, 왕유의 시화작업은 시·화 상통의 가장 대표적 예로 송대부터 추앙되었다. 조선시대에도 망천은 끊임없는 시·화의 주제였다. ‘망천’은 실재하는 특정한 곳이고, 왕유의 시문은 글자가 바뀌지 않고 전달되었지만 이를 그린 회화의 조형이미지에서 역사적 혹은 지역적 변화가 발생하면서, 망천의 이미 지 자체에 변화가 일게 된다. 특히 중국 명대의 부화해지는 문화 속 에서 망천 조형이미지는 지나치게 소박하게 변화한다. 달라진 조형이 미지는 망천의 상상이미지를 지배하고 시의 제작의 실제 내용에도 영향을 주게 된다. 망천을 그린 조선의 회화작품에는 조선의 풍경이 삽입되어 변화했 고, 이러한 변화된 이미지는 조선의 문인들에게 상상된 망천의 이미 지를 알려준다. 현전하는 조선후기 이방운의 망천도 몇 점은 좋은 예 이다. 조선시대 회화로 구현된 망천의 이미지는 왕유의 망천을 표방 하면서 그 시절 은거산수의 이상을 보여주는 보편적 이미지로 작동 하였다.

This study focuses on Portraits of the Wyatt Family of John Everett Millais (1829-1896) who was active in England during Victorian Age. Portraits of the Wyatt Family refers to both James Wyatt and his Granddaughter, Mary Wyatt (1849) and Eliza Wyatt and her Daughter, Sarah Wyatt (1850), and these paintings were done for his patron James Wyatt in the early stage of Pre-Raphaelites Brotherhood (P.R.B.). In the 19th century, the British Academy of painting did not move forward from just imitating the works of the past, paying the best tribute to Raphael and Michelangelo and pursuing Joshua Reynolds’s Discourses on Art of 18th century. In criticizing such a stream, P.R.B. came up to the surface in 1848 initiated by Millais, William Holman Hunt, and Dante Gabriel Rossetti with an emphasis on recovering sincerity in painting. In Portraits of the Wyatt Family, it contains various features. In this paper, these specific features are divided into two parts: detailed expression and expression of distorted perspective. It seems that P.R.B.’s belief that thorough observation on small details opens to a window to find the truth in them played as a source to enable detailed depiction. And Portraits of the Wyatt Family distorted the perspective of the high Renaissance traditional perspective. Distorted perspective makes viewers to look at the painting with the same perspective, which suggests a new approach of seeing the picture, not separating the center and periphery in the painting. This study shows that ‘images-within-images’ of the Portraits of the Wyatt Family function reversely from those in traditional art and they are directly reflecting the ideology attached to women in the mid-nineteenth century of Britain. In this paper, it analyzes that ‘images-within-images’ have two different characters at the same time. Thus, this study is significant in that this approach provides a chance to explore the implications in wider extent, instead of just seeing Portraits of the Wyatt Family as family pictures. This study interprets the Portraits of the Wyatt Family in line with the characteristics of P.R.B.. Therefore capturing various hidden meanings from the Portraits of the Wyatt Family and allowing better understanding of the work.

회화나무이는 가로수인 회화나무에 최근 들어 발생하는 주요 해충의 하나로서 본 연구소에서는 차후의 방제시험을 목적으로 기초생태 연구를 수행하였다. 회화나무이는 1년에 월동성충과 신성충 1세대가 발생하는 것으로 추정된다. 월 동성충은 갈색형으로 4월 초순부터 5월 하순까지 발생하였으며, 우화최성기는 5 월 초순이었다. 신성충은 연두색형으로, 5월 중순부터 10월 하순까지 발생하였으 며, 5월 하순이 우화최성기였다. 난은 길이 0.31±0.02mm, 폭 0.14±0.01mm로, 촛 불 모양으로 둥글고 끝에는 갈고리형 돌기가 있다. 약충은 5령기를 거치는 것으로 조사되었으며, 1령충은 두폭 0.19±0.01mm, 체장 0.37±0.05mm, 2령충은 두폭 0.26±0.01mm, 체장 0.53±0.01mm, 3령충은 두폭 0.37±0.01mm, 체장 0.76±0.03mm, 4령충은 두폭 0.42±0.02mm, 체장 0.78±0.03mm, 5령충은 두폭 0.58±0.02mm, 체 장1.90±0.03mm이다. 향후 회화나무이의 정확한 연 발생 세대수와 월동처 구명 등이 진행될 계획이다.

화상영어회화시스템은 원격으로 원어민과 직접 영어회화를 가능하게 함으로써 일반적으로 사용되고 있다. 그러나 어린 학습자는 게임 기술을 활용하여 학습의 흥미와 교육의 효과를 얻을 수 있다. 본 논문은 3차원 게임 기술과 네트워크 게임 기술을 이용해서 저연령의 학습자가 교육에 몰입할 수 있도록 하는 3차원캐릭터 화상영어회화시스템의 설계와 구현에 대해서 기술한다. 3차원캐릭터 화상영어회화시스템은 게임과 교육이 결합한 좋은 예가 될 것이며, 향후 성공적인 교육용 기능성 게임의 적극적인 개발을 기대한다.

The memory of the Korean War is about the time period when people lived toughly during evacuation, due to being exposed to the natural climate such as intense cold or heat without any protection, leaving their comfortable home and living in temporary built shelters which were barely enough to avoid the wind. ‘Death is concealed and only the figures of evacuation for survival were expressed, just as how the government ordered. Since the experience of the battlefield is personal and fragmentary, that is broken into pieces, it does not have compatibility. As war is a distorted experience that cannot be placed in a big picture, it is not possible to take a view of the war’s big picture. Having this individualized experience as a common collective memory is an issue and it is the will that people tries to pursue. The reason why the evacuees from north to south, and as well as from the south to further south were all able to be adopted as the theme of artworks due to the military action that emptied the occupied territories of the North Korean Army under the forced removal command. In such situations, the natural state of the ‘snow’ was like a symbol of the 1.4 Recession. The group of people who were thrown into the intense cold displaced the war damage of loosing their base livelihood, and symbolized the obedient citizens who faithfully follow their government’s command. The figure of advocating anti-communism is projected as a figure of a refugee during cold winter-time and it contains ones past which he or she obeyed its own country’s commands. Evacuation, especially the evacuation during the winter is a visual device that can confirm these kinds of country’s command. The consequences were same for the artists as well. Therefore, the situation being communal could be found due to the individual experiences during war are ideological. The image of the refuge shown in the picture played the role of strengthening the consciousness of defecting to South Korea into the meaning of the ‘Finding Freedom.’ I would like to express that the reason of them leave their home during the harsh winter is in order to avoid the oppression of the Communist Party. The evacuation that people went through was not to ‘Finding Freedom’, but ‘To Survive’. Later, this evacuation has been imprinted as a behavior of choosing free Republic of Korea, which was an ideological issue. Anti-communism was the rule of survival in South Korea society, and people have the tendency to remember what they want to remember. As it is not the people who possesses an incident, but the memory that possesses ones, people cover their memory with disguised plots in order to forget the violence and to live a different prologue. They share the incident of violence as a hurtful memory. The tragedy of the Korean War was the result of Ideology and being in between the powerful nations’ rights, but the violence during the war has been depicted as a natural disaster, which was the evacuation in heavy snow.

The works of Eric Fischl(1948-) have plainly or suggestively exposing private problems such as alcholism, voyeurism, and masturbation, he has paid attention to 'confidential and morbid desires embedded in the richness of American middle class' and thereby he has been paid attention to. However, the aspect of 'pictorial narrative' in his works, which he himself has mentioned in a number of interviews, have hardly been highlighted. From his early works of mid-'70s to recent series, Eric Fischl has introduced varied modes and techniques to express narratives of his own. Based on both his works and his remarks concerning narrative, this study tries to examine what his 'pictorial narrative' is, through what modes it has developed, and how it is revealed in the works. For that purpose, it applies the narrative theory of Seymour Chatman to the analysis of his major works, and partly puts into consideration those of Shlomith Rimmon-Kenan, Gerard Genette, and Roland Barthes. In the mid-70s, Eric Fischl tries to create his story by putting words into his glassine works like a pictorial poem. Thereafter, in 1980s, Eric Fischl develops his pictorial narrative in more varied ways. His series show traditional narrative features including classical narrative factors and storytelling under a plot. However, despite those features, his works get out of the traditional narrative structure on the ground of the absence of clear directions and inexplicit storytelling. In his next series, the irregular appearance of a person, the absence of order, and the ambiguity of cause and effect induce the viewers to participate in the works and recreate their own texts. Eric Fischl rejects a closed structure in which the conclusion is suggested unilaterally by an artist, building up his own narratives in an open structure. For that purpose, by establishing intended absence of information, lapse of time, variability of a meaning and time change, he stimulates the viewers to fill the blanks for themselves in the recognition of the shortage of analytic clues. These contrivances shown in Fischl's works mean an open text, getting out of the separation between the artist who dominantly delivers the meaning and the viewer who passively reads the works. That is, the viewers are invited to actively participate in the story, restructuring the narrative. In those respects, it is not ignored that some features of Post-structuralism are inherent in his works. The existing studies on Eric Fischl have focused largely on the psychoanalytical features. Against it, this study analyzes Fischl's works in the perspective of narrative analysis based on the theories of Structuralism. In the result, this study finds that the works of Eric Fischl not only have narrative factors of Structuralism to deliver his stories, but they also aim to an open-ended structure to widely communicate with the viewers, thereby extending the narrative territory into Post-structuralism.

예이츠는, 엑프레시스(미술품을 묘사하는 시)를 사용하여, 20세기 가장 중요한 시 몇 편을 썼다. 가끔 미술관의 공간에 배경을 둔, 예이츠의 시는 존재감과 구체성, 미술 작품의 다양한 목소리에 대한 서정적 주관성, 다른 마음과 시대와 장소와의 직접적 참여, 종종 창의성 자체에 대한 대화의 촉진, 등을 자극한다. 엑프레시스는, 다른 20세기 시인들 뿐 아니라, 예이츠의 서정적 표현의 영역을 확장한다.

This paper addresses the indeterminacy and uncertainty of a site-specific, religious meaning which has been believed to be inherent in the Rothko Chapel paintings. Commissioned by John and Dominique de Menil in 1964 for a Catholic university, the chapel was Rothko's last and most important project to realize his life-long aspiration for a contemplative, environmental, permanent installation of his work. Created for a specific site and framed in religious terms, the Rothko Chapel paintings have been normally understood to deliver or communicate their spiritual meaning in the specific architectural setting of the Catholic chapel. Although it was dedicated in 1971 as an ecumenical chapel freed from any denominational ties, religious interpretations closely related to, and enhanced by, structural analyses of the architecture have dominated art-historical studies of the Rothko Chapel. Reflecting critically on this normative approach to the chapel paintings and their site-specificity, which I call a unified “inner or internal” interpretation, I intend to cast light on what could be seen as“ external or prior” to the work, which would result in a more fragmented, ununified reading. More specifically, I explore exterior or prior factors on two levels, the traces of which are embedded in the chapel paintings: on the one hand, Rothko's New York studio as a matrix in which the paintings were conceived, executed, and completed as an ensemble, and on the other hand, the historical context of 1960's abstraction against which Rothko's monochromes and hard-edge black-figure canvases could signify and assert any meanings. I suggest these two readings from without as an alternative to structural readings from within, such as Sheldon Nodelman's in-depth formal analyses and structural interpretations of the installation program. My alternative readings would illuminate how, in the chapel paintings, multiple voices and traces of others coexist with the artist's singular voice and his own hands. All in all, instead of claiming any single primary meaning, I aim to deconstruct the boundaries between formalist and contextual readings of the Rothko Chapel, and contribute to expand the interpretive horizon of the chapel paintings' structure and meaning.