본 연구는 프레드릭 스티버트가 1905년 피렌체 시에 기증한 스티버트 박물관(Stibbert Museum) 의 컬렉션과 전시를 통해 컬렉터의 문화적 의도를 분석한다. 하우스 뮤지엄으로 컬렉터가 직접 수집하고 기획한 전시 공간은 만국박람회의 구조를 차용해서 의상과 갑옷을 중심으로 유럽 귀족의 역사를 강조하고 있다. 이를 통해 그는 산업혁명과 이탈리아 통일운동의 격변기 속에서 자신이 속한 사회 계급인 귀족에 대한 관점을 전시를 통해 시각화했고, 박물관에서 가장 중요한 ‘병기고의 방’에서 전시 기준을 구성하는 <성 게오르기우스>의 도상학적 역사에 대한 분석은 그가 이탈리아의 통일에 대한 역사적 근거를 강조하며 동시에 영국인이자 이탈리아인으로서 자신의 정체성을 투영했다는 점을 알 수 있다.

박물관, 기록원 등의 주요 소독약제인 메틸브로마이드(MB)와 Ethylene Oxide(EO)는 오존층 파괴 물질 및 1급 발암물질로 규제가 되고 있어 대체 훈증제 개발이 필요한 실정이다. 따라서, 친환경 약제인 검역훈증제 에틸포메이트 (베이퍼메이트®)의 적용가능성을 확인하고자 주요 해충인 독일바퀴(Blatella germanica) 및 흰개미(Reticulitermes speratus)를 대상으로 Dose response 실험을 실시하였다. 공시충은 팜한농 작물보호연구센터 곤충사육실에서 누대사육중인 개체를 사용하였으며, 데시게이터(6.9L)에 농도별로 24시간동안 밀폐 훈증처리하여 약효를 조사하였다. 통계분석은 Probit analysis 통해 L(Ct) (Lethal Concentration x Time, gꞏhꞏm3)값을 산출하였다. 시험결과 L(Ct)50 및 L(Ct)99 값은 독일바퀴(혼합태)의 경우 48.38 및 346.34 gꞏhꞏm3 흰개미(성충)은 14.91및 660.94 gꞏhꞏm3로 나타났다. 모두 방제가 가능한 L(Ct)99 값은 660.94 gꞏhꞏm3으로 이는 에틸포메이 트 28.2 g/m3(베이퍼메이트® 170 g/m3)를 24시간 처리시 완전 방제가 가능할 것으로 판단된다.

여주곤충박물관은 곤충학자가 꿈인 아들(김건우)을 위해 시작되었다. 박물관 운영을 시작한 이후 곤충 산업이 쉽지 않은 사업인 것을 인지하였고 국내 곤충관련 시설들을 벤치마킹도 해보았지만 그리 희망적이지 않았다. 하지만 박물관을 시작한 동기인 ‘아들’의 성장과정을 통해 곤충을 좋아하는 아이들의 특성을 이해하고 아이들의 요구가 무엇인지를 누구보다 잘 이해할 수가 있었고 이를 박물관 환경을 만들어 가는데 적용을 하면서 여주곤충박물관은 매년 지속적인 성장을 하고 있다. 지금도 곤충을 활용한 상업적이고 전시적이지 않은, 서로 교감하고 공유하는 프로그램 운영을 통해 정서안정과 진로의 방향성 제시를 함으로써 진정한 교육의 장으로 이끌어가는 것이 여주곤충박 물관의 목표다. 이를 통해 계속 성장할 것이고 앞으로도 무한한 가능성을 제시할 것이다. 이러한 여주곤충박물관 운영 형태를 통해 곤충 산업에 길잡이가 되길 희망한다.

본 연구에서는 우리나라의 대표적인 자연사박물관인 고성공룡박물관의 관람객 수를 통계적으로 분석하였고, 관람객을 대상으로 만족도를 조사하였다. 그 결과, 2005년부터 2014년까지 지난 10년 간 누적 관람객 수는 약 341만 명이었다. 연간 최대 관람객 수는 약 44만 명이며, 연간 최소 관람객 수는 약 30만 명으로, 연평균 관람객 수는 약 34만 명이었다. 전체 관람객 중에서 개인 관람객의 누적 인원은 약 280만 명으로 82.0%를 차지하였으며, 단체 관람객 누적 인원은 약 61만 명으로 18%이었다. 월별 방문 관람객 수를 분석한 결과, 8월에 약 53만 명으로 가장 많고, 2월에 약 14만 명으로 가장 적었다. 개인과 단체 관람객의 방문 패턴은 차이를 보였는데, 개인 관람객은 8월에 가장 많았고, 12월이 가장 적었다. 반면, 단체 관람객은 10월에 가장 많았고, 2월에 가장 적었다. 관람객들의 거주 지역은 대체로 지리적 접근성과 거주 지역의 인구수에 비례하는 것으로 나타났다. 관람객들의 만족도 조사 결과, 대체적으로 높은 만족도(평균 4.1)를 보였으나, 일부 시설에 대해서는 개선이 필요한 것으로 조사되었다. 관람객의 방문 횟수와 재방문 의사에 대한 설문 조사 결과, 192명 중 102명(53.1%)이 2회 이상 방문하였고, 198명 중 178명(89.9%)은 재방문 의사가 있는 것으로 나타났다. 본 연구의 조사 결과는 고성공룡박물관의 중장기적 발전 방안 마련을 위한 현황 분석 및 기초 자료로 활용될 수 있을 것이다.

본 연구는 어린이를 대상으로 한 과학전시관의 현황을 파악하고 어린이 과학관에서의 교육효과를 높이기 위한 전시 공간연출의 개선방향을 제안하기 위한 연구이다. 이를 위하여 어린이과학관 전시물과 전시공간을 전시내용에 따라 크게 3가지 주제로 분류하고, 전시매체와 전시공간을 분석하는 분석틀을 개발하였다. 연구 대상은 국내 어린이를 대상 으로 한 전시관 총 7곳을 목적 표집하여 선정하고, 촬영을 통해 자료를 수집하여 분석틀에 따라 분석하였다. 연구 결과, ‘신 체’와 ‘주변 사물’, ‘자연 현상’을 전시 내용으로 한 전시현황을 분석했을 때, 어린이의 발달수준에 맞지 않는 어려운 내용으로 구성되어 있으며, 전시매체 측면에서는 설명적 매체와 관찰형 매체가 주를 이루고 있는 것으로 나타났다. 또 한 전시공간 측면에서는 설치물요소와 색상요소에 의존하는 경향이 높으며, 전시 주제에 따른 동선의 흐름이 대체적으 로 전시 내용 전체 스토리를 유추하기 어렵다고 할 수 있겠다. 이를 개선하고 어린이 과학관에서의 교육효과를 높이기 위해 전시 연출의 기획단계에서부터 관련 전문가들의 협업을 통해 전반적인 진행이 이루어져야 할 것이다.

These seven chapters of Chu slips─‘Chéng wáng wéi chéng pú zhī xíng(A、B versions)’、‘Líng wáng suí shēn’、‘Chén gōng zhì bīng’、‘jǔ zhì wàng tiān xià (5 sections and chapters)’、‘bāng rén bú chèng’、‘shǐ zhòu wèn yú fū zǐ’、‘bǔ shū’─from the “Shanghai Museum Collection IX” were edited by Professor Ma, Chen-Yan. One of these chapters ‘Chéngōngzhìbīng (Chen gong zhibing)’ is a talking between King Chu and Duke Chen (Chéngōng), especially discussed a topic of battle array in military affairs. This study discuss four language-units: “shēnluán 罙”、“shībùjué 帀 （師）不”、“bùzhīqí qǐ zúlíngxíng 不智亓啓行”、“yǒu suǒ wèi è 又 （有）所胃（謂）綌” which were discussed frequently in the academic community, Currently. I have generalized most of these view points and try to annotate these language units with ancient Chinese character structure、 phonology、word formation、grammer and semantics. I hope that could really make an appropriately exegesis.

At present, Characters Collection in Chu Area（《楚文字編》） (called CWZB in later content) is not only just an important ancient writing dictionary, but also a high-level academic bookmaking because of its appropriate stylistic rules and layout，abundant contents and easiness to use. However, any academic achievements have historical limitations. After CWZB came out, it had been revealed a lot of defects from the perspective of current situation and the status of unearthed study of Chu literature. The main disadvantage is missing graphemes from Bamboo Manuscripts Deposited in Shanghai Museum (《上海博物館藏戰國楚竹書》 (called SBJ in later context)). SBJ is the most important written material after Bamboo slips from Guodian Tomb（《郭店楚墓竹簡》）. SBJ is published in succession since 2001.The total number of characters are up to 20000.Obviously overall presents about Characters collection in Chu area will not be intact if Characters from SBJ are not embodied. We concluded about 900 newly-supplemented characters with SBJ making up CWZB. Those newly-supplemented Characters show the following research significances: 1) bringing forward existence of some Characters; 2) enriching meanings of some characters with the reference of new manusciptionmanuscripts; 3) amending some errors in CWZB with the reference of newly-supplement Characters; 4) numerous newly-supplemented characters show their corresponding relations between themselves in Chu area.

본 연구는 우리나라에 있는 자연사박물관 전문 인력들에 대한 현황을 분석하여, 향후 건립될 국립자연사박물관 에서 근무할 전문 인력들을 어떻게 양성해야 하는 지에 대한 제안을 하고자 한다. 지난 20여 년간 여러 학술단체와 전 문가 그룹의 국립자연사박물관 건립을 위한 다각적인 노력은 지속적으로 이루어져왔다. 그 중에서도 한국지구과학회는 자연사박물관과 과학관에 관한 여러 논문 발표를 통해 활발한 논의와 연구를 수행해오고 있다. 향후 건립될 국립자연사 박물관은 숙련된 전문인력들을 필요로 하며, 한국지구과학회에서는 이와 관련된 맞춤형 전문과정을 설치하여 다양한 분 야에 맞추어 양성해야 한다.

Deoksugung Palace Art Museum was built in 1938 as the first professional art museum in Korea. In 2015, National Research Institute of Cultural Heritage published a book on architectural drawings of this building. This book, called Architectural Drawings of the Deoksugung Palace Art Museum, consists of 646 sheets, 23 types of documents, as well as other historical letters. This paper focuses on the analysis of the characteristics of classicism in Architectural Drawings. It shows that every dimensions of drawings were controled by 3 partition composition through the analysis of architectural plan drawings, elevation drawings and even section drawings. Thus, Classicism for the museum is not about classical elements but the principle of composition of each elements for the construction. This paper further argues that Deoksugung Palace Art Museum exemplifies beautiful Classicism architecture which follows the principle of classical architectural composition.

Our professors and teachers have been cooperated with professors and researchers of National Sciences Museum of Korea for the project of “Biodiversity of Mongolian” since 2012. This project is to study for Mongolian biodiversity by Mongolian and Korean scientists and to support advanced training for our professionals, to increase capabilities and training new methodologies for students and to publish articles from the conducted research. Our researches conducted following areas such as in Ikh Nart Nature reserve area in 2013, Khan Khentii strictly protected area in 2014, our university’s Shatan research camp in 2014, and Kherlen Toonot Nature reserve area in 2015. From these studies, we published articles of “Biodiversity of Ikh Nart Nature reserve” and “Biodiversity of Shatan area” in Korean journals. Our teachers anticipated for publishing guidebook “Methods to preparing natural taxidermy and herbarium” in Mongolian prepared by Korean scientists to useful for students in laboratory and field. Teachers are visited in National science museum of Korea, such as Mr. J.Ariunbold studied in 2013 and Dr. M.Munkhbaatar visited for 14-30 days to develop samples collected from field research. Our teaching assistant G.Onolragchaa is enrolled as doctoral student for Chunnam University in 2015 according to this project grant. Also Mr. P.Erdenetushig and one student are planning to visit in October for developing collected samples. In 2015, School of Mathematics and Natural Sciences is willing to establish “Mongolian and Korean monitoring center”, it’s in compromise of both side, and Mongolian National University of education is prepared a room for this center. Коrean colleague provided USD 10.000 worth of new equipment such as electric motor, boryoscope, tent trap, Sherman trap, aquatic net, sweep net, glass vials and bottles for research and teaching of MNUE. Framework of Mongolian-Korean cooperative research project “Biodiversity of Mongolia” was held a conference topic on “Biological resource management and remote sensing survey” in Ulaanbaatar 2014 and 2015. Our scientists are planning future collaboration with scientists of Korean ocean research institute, Ornithological Society of Korea, Korea Institute of Environmental Ecology. Official cooperative agreement with MNUE To cooperate with teachers of MNUE for maintaining Mongolian Natural History Museum and public education To initiate Korean- Mongolian cooperative non-governmental organization To implement a project for public outreach (forest and animal breeding) To establish long term monitoring site in special protected area Genetic research on problems of plant and animal classification; To train graduate students for modern research methods Genetic study on less studied or rare species of museum specimen Genetic and morphological study on vertebrates Scale up biodiversity study and do monitoring (already done Ikh Nart and Shatan) To extend research projects in Mongolia and do long term monitoring study

Introduction Many cultural remains are located in Iksan: Buddhist temples, royal palaces, ancient walls, and the Sangneung, the Tomb of King Moo and his Queen from the Baekje Kingdom. Mireuksa was the largest Buddhist temple on the Korean peninsula when it was first built in the 7th century during King Moo's reign. In those times, large temples were usuatly built in the national capital Historians believe that Iksan was one of the capital cities along with Woongjin and Sabi during the Baekje Kingdom since the Mireuksa(the largest Buddhist temple of the period,) was built in Iksan. However, there is no official record that the capital city during King Moo’s reign was transferred to Iksan. Regardless of the dispute, it is apparent that Iksan was an important city under the reign of King Moo and was governed under Baekje rule. Costume type varies according to locale and period since costumes may be used as a medium to reflect politics, economy, religion, and social atmosphere. The basic forms of Korean traditional costumes were shaped in the Three Kingdoms, which was known as the most significant era of history for Korean costumes. There haves been extensive studies regarding the costumes of the Three Kingdom Period; however, there is limited research on Baekje Kingdom costumes due to the lack of primary sources(relics and literatures) based on secondary sources from neighboring countries. Costume type varies according to locale and period since costumes may be used as a medium to reflect politics, economy, religion, and social atmosphere. The basic forms of Korean traditional costumes were shaped in the Three Kingdoms, which was known as the most significant era of history for Korean costumes. There haves been extensive studies regarding the costumes of the Three Kingdom Period; however, there is limited research on Baekje Kingdom costumes due to the lack of primary sources(relics and literatures) based on secondary sources from neighboring countries.

Among the current trends that set the social and cultural scenario pertinent to marketing, the search for authenticity by consumers has taken the highlights, to the point that it is considered “one of the cornerstones of contemporary marketing” (Brown et al. 2003, p. 21).This trend is normally interpreted as a reaction to the traits of current post modern society, characterized by hyper materialism, globalization, virtualization and commercialization of experiences (Arnould e Price 2000). In this context, individuals turn with growing interest towards what is “genuine”, “real” , “faithful to the original” or “of undisputed origins” (Boyle 2004). In our paper we propose, under a consumer-based perspective, to explore the role played by corporate museums in the search for authenticity by individuals. Based upon this, the museum -- in the quality of “ bearer” of the corporate identity and image -- would consent to offer its visitors a holistic view of the brand’s original culture and values, in a synthesis that integrates past and present. From this point of view, the experience offered to visitors would reinforce their connection to the brand (Mitchell e Mitchell 2001), consolidating their involvement and loyalty towards it (Mitchell e Orwing 2002). The corporate museum would therefore arise as a vehicle to create and consolidate a profound relationship between brand and consumers. However, only a few of the research efforts sustained so far have tried to explore empirically the museum’s potential as a platform to enrich and strengthen brand authenticity. Our attention is focused on a museum created by a well known luxury brand (Gucci Museum, located in Florence) for the purpose of investigating its role as a tool for authentication, capable of strategically connecting past, present and future. After a synthetic literature review and a brief introduction of the museum under research, the methodology of the explorative research will be explained and finally, the main results obtained will be presented. Literature review According to Beverland (2009, p. 16), brand authenticity must be interpreted as “subjective, socially constructed, and given to an object by consumers, marketers and others”. Overcoming the modernist concept, authenticity is redirected towards individual valuations that are socially negotiated, more than towards objective attributes (Beverland e Farrelly 2010). The extant literature has identified the multidimensional and multi attribute aspect of the construct. In regards to the former aspect, the seminal work of Beverland (2005), theoretically identifies three dimensions that are conceptually relevant for brand authenticity: - objective, connected to the object and its artistic, historical or qualitative veracity; - subjective, deriving from the individual attribution of an authentic status to the objects, understood as expressive of formal harmony, equilibrium or of a connection with a determined time and location; - self expressive, connected to the genuine manifestation of individuality which is conveyed by the consumption of certain objects. Once the multidimensional nature of the construct is ascertained, it is possible to outline the various attributes that define it (Beverland 2006; Gundlach e Neville 2012; Brown et al. 2012; Grayson, Radam, 2004; Napoli et al. 2014). In view of the objective dimension, the perceptions of authenticity appear to be rooted in the brand’s tangible reality, which can be evaluated based on its observable characteristics: the corporate exponents; the geographical roots; the longevity; production characteristics; the product attributes. As to the subjective dimension, a brand can be interpreted as authentic if it is capable of conveying certain associations. These may initially regard the connection of the brand with individual history, as well as its evolution over time (in terms of continuity of positioning, style, aesthetics and image coherence). Also, the commitment towards quality, which expresses the brand’s responsibility towards its own products and the promises conveyed to the market (credibility, reliability) come together to induce the image of authenticity. In the same direction, there are also several perceptions in operation which are connected to the brand’s peculiarities, such as originality, pioneering and exclusivity. Furthermore, brand authenticity is also fuelled by an ensemble of value associations, connected to the pursuit of non purely commercial objectives, to its genuine priority of artisanal objectives or, more generally, to its integrity, naturalness or sincerity. Finally, for the self expressive dimension, brand authenticity may derive from its capacity to connect to the image and concept that customers have of themselves. The perception of authenticity can result from the fact that it suscitates in individuals sensations of self effectiveness, problem solving capabilities and therefore perceptions of having reached performance related objectives. A brand can then be understood as authentic also by its capacity to make consumers feel that they are part of a social or territorial community to which they feel linked. Furthermore, for people who attribute a particular value to moral principles, authenticity is associated to ideals and virtues which the brand continuously follows by means of ethical standards which allow individuals to feel truer to themselves. In conclusion, brand authenticity can be interpreted as the result of the interaction between objective factors, subjective constructs and existentialist motivations. Beverland and Farrelly (2010) observe that consumers seek different forms of authenticity, based on their own personal objectives. The understanding of how consumers associate a variety of authenticity attributes to brands and the ways in which those components reciprocally influence each other appears to be an extremely useful from the point of view of brand management. In fact, the brands that propose to refer to uniqueness in their strategies, must find leverage on the dimensions that are reputedly relevant for consumers and, for each one, identify the most critical attributes. Research methodology To investigate the capacity that brand museums of fashion luxury brands have to contribute towards the perception of brand authenticity, we conducted an esplorative research on the Gucci Museum’s visitors. The survey was held based on content analysis of the reviews posped on Tripadvisor by the visitors themselves. The research was therefore based upon 79 reviews, heterogeneous in terms of the geographic provenance of the commentators, date of visit and overall evaluation. Of these, 45 were published in English, 26 in Italian, 4 in Portuguese, two in French and two in Russian. Considering the evaluation, that is the rating expressed by visitors on a scale of 1 to 5, the most part (77,22%) of comments expresses a medium-high rating (corresponding to ratings 4 and 5). Finally, more than half of the comments were published during the same month as the visit and less than 5% within the following six months or more. Those reviews underwent a content analysis, a methodology considered appropriate in the extant literature (Pan et al. 2007; Banyai 2010; Volo 2010; Li e Wang 2011) for the purpose of investigating the perceptions, impressions and general feeling associated to a certain tourism destination, or a visitation experience. Discussion In trying to understand how the museum structure might add value to the brand’s meanings, in strengthening the perceptions of authenticity, we attempted to insert the brand authentication process into the broader museum visit experience, investigating how the brand’s authentication tools may have been influenced (positively and negatively) by the perceptions of authenticity of objects and experiences. The Gucci Museum acquires a real museum legitimacy, standing on the same level as other Florentine cultural sites; it was interpreted as a memory site, where the brand’s history and fashion history are connected thanks to the remembrance of past events, people or periods, effectively “dignifying” the museum and the visit as a fundamental part of Florentine tourism. Some visitors “authenticate” corporate structures as true cultural institutions. As such, they are legitimized in the righteous pursuit of preserving and being custodians not only of brand history but also of the precious testimonials of Italian fashion. Concerning the contents, that is, the objects displayed at the museum, several reviews attributed to these a real and proper museum aura, bearing artistic worth and interpreted as true masterworks. The process by which these visitors project their own perceptions of authenticity to the objects observed, seems to be tied as a conceptualization of constructivist nature to several elements that go from stylistic-aesthetic value and quality of the products, a result of knowledgeable artisanal mastery, to the refinement and creativity of the objects themselves. For some visitors, the objects collected in museums acquire authenticity in view of their antiquity and rarity. What is relevant is the indexical authenticity of objects. It is conceivable that this process for the authentication of objects may be susceptible of influencing the brand image perceived by visitors. For some visitors, the products displayed in commercial venues acquire, by the end of the visit, an aura that brings them closer to museum pieces, expressive of the same creativity, artisanal mastery or symbolic connection with the past. The same visit to the maison’s points of sale is lived by some as an occasion to observe up close the brand’s masterworks, showcased but distant and untouchable during the museum visit. Most reviews, when describing the museum visit, made reference not so much to impressions and evaluations regarding the museum structure or the objects it contains, but instead, to the visiting experience as a whole. For these reviewers, the corporate museum represents a platform on which to experiment authentic moments. From this viewpoint, the notion of existential authenticity seems more relevant than the authenticity of the objects, as postulated in a post modern approach. In reference to the dimensions of authenticity that can be imbued in an experience, it was possible to conceptualize the role of the corporate museum as a vector for the experimentation of different types of authentic experiences. In the first place, the corporate museum – thanks to its setting and content displayed – was identified as a medium capable of conveying a surreal experience. As such, it allows an authentic experience from the intrapersonal point of view, offering the opportunity for immersion into an atmosphere, a world far from reality, feeling transported into the past or into a world of imagery, thus departing from the commonplace. The museum was also understood as an occasion to live an evasive experience in regards to traditional Florentine museums.. Finally, the museum visit is lived by some as an opportunity to consolidate existing personal connections and/or to establish new ones. Deepening the analysis, it is possible to verify that the exhibition spaces are interpreted as a frame for the consolidation of personal relations with the individuals that share the visit experience. The visit to the museum distinguishes itself because it is a collective experience, an opportunity to spend time with other people that allows for the sharing of common passions towards the brand and its history.

It is not easy to clarify the historical perspective of architect through his architecture. Exceptional cases, it will be the time to design a history museum. As an institution, a Museum already became an apparatus to represent the history to it itself. Libeskind’s Jewish museum Berlin has been presented as the controversial case most of all. In particular, in that it instead of dealing with history positive, that contains a tragic history, this building is a building that history a unique interpretation of the architect has been a problem. Therefore, it is difficult to find a suitable example to Libeskind’s Jewish museum in Berlin to try and look at the problem of the history of contemporary history and interpretation of the architect. In this paper, I am trying to interpret Libeskind’s Jewish Museum Berlin through the aesthetics and history philosophy of Theodor Adorno and Walter Benjamin. They are Jewish and the central figures of the Frankfurt School, known as ‘critical theorists’. Their critical theory was formed based on the experience of the Jewish genocide and war.

The book of ‘World Museum of National History’ includes an analysis of the origin of natural history and howthe natural museums function and play a role. The book also describes details of the current situation of the naturalhistory museums around the world. It is expected that the book helps advance and spread ‘the scientific culture’ as wellas it assists to increase the awareness of the importance of science among the general public. the natural museums function and play a role. The book also describes details of the current situation of the natural history museums around the world. It is expected that the book helps advance and spread ‘the scientific culture’ as well as it assists to increase the awareness of the importance of science among the general public.