It recently became evident that the EFL needs of secondary school students could not be met by the then-current complement of teachers. This led to an increase in the number of Conversational English Instructors in the public school system. This growing demand for EFL instructors in our nation‟s public schools requires an obligation to examine the selection criteria and process for incoming EFL instructors. Based on our analysis of a nationwide survey of EFL Instructors, we recommend reforms to the selection process system. A total of 199 EFL instructors in secondary schools including those in Seoul, metropolitan cities, medium-sized cities, and small communities participated in the main survey. The survey considered the entire EFL Instructor selection process including the 1st step of applicant specifications, the 2nd step of teaching-learning performance test and interview test. Our analysis suggests that the selection criteria should include the applicant‟s proficiency test score in spoken and written English, and the teaching-learning performance should be emphasized in a greater extent. This research suggests that the way of testing the applicants‟ teachinglearning performance in the 2nd step selection process should be changed into a more authentic microteaching situation, and that regional needs vary and must be considered in the selection process.

The purpose of this paper is to provide the efficient methodes of the basic English conversation learning. Various theories have been proposed to explain how children manage to acquire the adult language. The acquisition of a second language parallels the acquisition of a first native language. If a second language is learned early in life, it is usually acquired with no difficulty. The difficulties encountered in attempting to learn languages after puberty have given rise to a critical age hypothesis that refers to a biological period in which language can be acquired without overt teaching. A number of second-language teaching methods have been proposed, reflecting different theories of the nature of language and language acquisition. These methods, however, do not explain the apparent differences between first and second language acquisition.In order to obtain a complete picture of a second language acquisition process, it is necessary to combine the findings from both naturalistic and experimental studies, keeping in mind that differences in the tasks may affect the results. Studies conducted on a wide range of different languages are also needed in the quest for universal of second language acquisition.

본 논문에서는 아이폰을 기반으로 하여 브러시 스트로크 프로파일을 이용한 회화적 렌더링 시스템에 대해 소개한다. 이를 위해 실제 스트로크 데이터와 유사하게 데이터베이스를 구축하고 확장하여 사용한다. 그리고 원본 이미지를 데이터베이스에 있는 스트로크의 조합으로 재생산하여 회화적인 느낌을 표현하였다. 또한, 우리가 소개하는 아이폰 기반 회화적 렌더링 시스템은 PC 기반이 아닌 스마트폰 이라는 한정된 CPU와 메모리를 가진 디바이스에서 빠른 렌더링 속도를 요구한다. 때문에 본 논문에서 우리는 최적화를 위하여 다양한 성능개선 방법을 시도해 보았다.

People have more expectations for arts and design and accordingly, various artworks were combined with fashion to meet the consumer needs. As people live a decent life, the development of leisure activities and industry has a much effect on apparel. With this phenomenon, a free and active casual look is making progress centering around the practical apparel, pursuing diversified efficiency irrespective of a season and considering sensibility not formality. In this study, paintings of Henri Matisse were analyzed in every respect and were applied in apparel design with diverse color arrangement and a motif originating in the phenomenon of modern fashion design which leads to the integration of arts and design. Painting image and color of Henri Matisse were used. Sportive casual and cultural casual was used in design as well. Originality of its color in the paintings which were used an a motif is coming from Gauguin and Gogh. Henri had influenced to the next generation with pursuit of violent color. The following conclusions were drawn from this study. First, the color of Henri Matisse's paintings has a strong contrast effect. It combines notable violent color with a simple yet decorative motif. Therefore color from Matisse's paintings suit for apparel of marked individuality with its free color arrangement. Second, free and active image in Henri Matisse's paintings is easy to express efficiency and popularity. It accords with the feature of casual wear. Third, through adding a flowing curved line in Henri Matisse's paintings to materials and applying various colors putting into a curved line image to a rib section, a decorative effect which goes with the whole shape is obtained. This study presents possibility of emergence of unique design using free color arrangement and motif from the image of paintings and aims development of modern fashion design in accordance with modern fashion giving importance to the difference and sensibility by integration of modern garments and artworks.

회화적 렌더링에서 대부분의 기술은 스트로크의 생성이나 화구의 텍스처를 표현하는데 집중되어 있으나 회화적 렌더링의 기술에 있어 다양한 색의 표현기술은 각각의 스트로크나 텍스처의 샘플링에 필수적인 기반 기술이다. 본 연구에서는 척 클로즈(Chuck Close)의 격자기반 색 분할 방법을 분석하고 이에 기반한 색 분할 기술을 개발하고 이를 다중 스트로크 형태로 회화적 렌더링에 적용한다. 또한 이를 기존의 랜덤한 노이즈를 추가하는 방법과 시각적인 결과를 비교해 본다.

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun’s paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun- Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of “art”. In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

The purpose of this study is to show that the reason behind the ambivalentcharacteristic displayed in Niki de Saint Phalle’s works is in her trauma and how suchcharacteristic can be extracted from her works. During her creative years, Saint Phalleworked on various materials from different genres such as assemblages, shooting paintings, aseries on Bride and Monster, ‘Nana’, ‘Tarot Garden’and public sculptures. Onecommonality found among her various works is the ambivalent characteristic that containscontrasting elements simultaneously. Saint Phalle suffered a terrible psychological damageinflicted by her parents during her childhood. Specifically, she was sexually assaulted by herfather and emotionally neglected by her mother, the trauma that affected her for the rest ofher life. As a result, she came to develop extreme love-hate relationships with her parentsand this became the main reason for the ambivalent characteristic displayed in her works. The love-hate relationship Saint Phalle developed can be identified through variousresearches done on the subject of the affect of sexual assault. It is common for incestvictims to develop ambivalent feelings towards the perpetrator and Saint Phalle was noexception.Dissociation disorder and a snake well explain the trauma from her father. It is agenerally accepted belief in the field of psychology that dissociation disorder commonly occursto children who experience incest. And dissociation disorder is similar to the characteristic ofambivalence in the sense that a single entity contains more than two contrasting elements at thesame time. In addition, the amputated doll objects used in her assemblages coincide with theexpression of body detachment of people with dissociation disorder. These facts clearly indicatethat the trauma from her father is showing through in her works.A snake is a subject matter that reflects the ambivalent tendency of Saint Phalle thatresulted from her trauma. She remembers her father’s rape as an image of a snake which is related to a phallic symbol in mythology or art reflecting her trauma. Moreover, shedisplays a similar pattern of ambivalent emotion like love and hate or fear towards a snakeand her father. This is also confirmed by her portrayal of a snake as a monster or reverselyas a creature with fundamental vitality in her works. The lack of affection from her mother can be explained by her mother’s maternaldeprivation. It appears that Saint Phalle’s mother possessed all the causes for maternaldeprivation such as maternal separation, personality disorder and inappropriate attitudetowards child rearing. Especially, a study that shows mother’s negative attitude towardschild breeding tends to increase dissociation experience of children is another importantevidence that supports Saint Phalle’s dissociation tendency. These traces of Saint Phalle’s trauma are clearly revealed in her assemblages andshooting paintings. The violent objects in her assemblages such as a hammer, razor, nailrepresent the rage and defensiveness towards her father. The objects such as fragments ofbroken plates of feminine patterns, pots and mirrors that her mother used symbolize theaffection towards her mother. On the other hand, the destructed objects can be interpretedas her hate and resentment towards her mother. Shooting paintings contain her extremefury and hate. Things such as acts of shooting and the image associated with blood aftershooting are blunt expressions of her bursts of emotions.I have tried to define and classify the ambivalent characteristics shown in herassemblages and shooting paintings as hate, rage, violence, calm, love and pleasureaccording to the frame ofThanatos and Eros. Out of the six, hate, rage, violence and clamare associated with Thanatos while love and pleasure are associated with Eros and theycorrespondingly form an ambivalent structure.These ambivalent characteristics can be found in her assemblages and shootingpaintings. The objects in her assemblages such as a razor, saw, hammer imply hate, rage,violence and the silence felt throughout her works represent calmness. And, as mentioned,the feminine objects can be seen as symbolizing love. In shooting paintings, hate, rage,violence can be found in the use of force and in the traces of watercolor after shooting,and a sense of pleasure in her feelings of catharsis after her shooting. Moreover, a shieldedcalmness can be found on the plywood all covered with plaster before the shooting. This study looked into the ambivalent characteristic of Saint Phalle’s works byexamining her trauma to find its correlation, and a meaning of this study can be found fromthe fact that it refocused the origin of Saint Phalle who is generally known as a feministartist. Additionally, a meaning of the study can be found also from the fact that it examinedthe ambivalent characteristics of her works through a frame of Thanatos and Eros.

The purpose of this study was to evaluate the effectiveness of a university English conversation program which had employed on-line homework and outside-class interviews with native English instructors. After over 1,200 sophomores took the conversation course for a semester, questionnaires were administered to measure the students' satisfaction for the program and their perceived usefulness and effectiveness of the in- and outside-class activities. The results showed: first, students perceived the in-class lessons and outside-class interviews with the native English instructors as useful, but not the on-line conversation practice; secondly, the students' perceived usefulness, affective effects, and content evaluation of each activity were shown to have significant effects on their perceived effectiveness of the outside-class activities. Lastly, significant differences were not found by the different groups of proficiency level in their perceptions of the usefulness, affective effects, and content evaluation of the outside-class activities. However, different proficient groups showed different amount of study efforts and preference for activities.

The subject is connected with a structure named "The Symbolic" to Lacan, but he denied that the subject is explained simply as a fruit of language and "Other" From his point of view, passing through Subject, De-formation and Crack over it is designated as foundation of generation and creation rather than our destined defect. It should not be understood that subject of "The Real" is a concept of the subject free itself from restraint of "The Symbolic" However, this does not mean he asserts "Subject" is something incapable of being controlled by the unknown power. The problem is that this autonomous existence meets inside of it with something "More than one's own self" by "circulating around itself" like a permanent star. This is the indication of a "stranger in the middle of my privacy", or "extimite", a coined-word by Lacan. Perhaps "Subject" is nothing more than the name of distance of object which is "too hot" to come close, and of this circulating movement. It's because of this object that the real subject stands against generalization and the subject can't be restored to any place in symbolic order-even though it is empty. The part which is told from Lacan's structural theory, that is to say, an importance to Lacan is that his Subject theory is not suggested or denied as a manual structure. On the contrary, it is a study of the relationship between the settled symbol that included in "real subject which is a unconscious one" and the symbolic subject hold- that is a metaphysical subject in general meaning. In Lacan's enlarged concept of subject beyond symbolic reality, it is noticeable that it gives justifiability to the union of a medium of different nature in artistic expression. We can recognize that the unconscious world is a living space which enables it to be a "condition of human being" not something dark under the surface of water through Magritte's(Rene Magritte, 1898~1967) surrealistic works. In other words, Magritte's art secures a core dimension of human nature through a mysterious gap of conscious and settled space. Magritte's drawings often evokes strange and unsettling feelings in people who view his paintings. This is because routine objects are found in "unsuitable" places from which we usually find them in our everyday lives. "Reality" in Magritte's paintings makes it aware that it is a strained field of concealment and disclosure basically between truths, and we can learn that his behavior to overturn to paint in-visible things is finally an effort to restore the "real subject" to the viewer's reality. In other words, such reversion arouses a nostalgic desire for the objects existing in their original appearance as they are - natural condition that our gaze had not been distorted yet by anamorphic stains. - and the state when we are conscious of them normally. Such desire offers an opportunity for us to get out of mental depression rather than operates to us as an abnormal crack. It's successive process of effort to search for lost subject and Paradise Lost facing up to reality of subject human that is to be a subject of world and life are ousted from their place by structure and authority of culture.

To begin with the purpose of protecting human life from the exterior in the prehistoric age, architecture was nothing but a shelter without any relation between the exterior and the intoner. But, today, with the community developed, architecture can not be resisted with her own function and have to change of the reciprocal one. Different with the oriental architecture, we can see, western architecture has developed in the stream of the form. The main idea of the space in terms of the relation, above all, is mostly concerned with relation between the exterior and the interior like between the architecture and the city. So the role of the facade in depth is the intermediation which consist to the relation in the exterior and interior of architecture. Considering a relation between two elements; the exterior and the interior, we can be inspired in the case of paintings, especially in the works of the Paul $C\acute{e}zanne$. $C\acute{e}zanne$ originally show the depth of space by different disposition of three parts : the background, the objects and intermediate space between the former. For instance, different with the other painters who put the background rear in the canvas and objects in the front of the background, $C\acute{e}zanne$ took the background and objects a same value and assure a depth in space by virtue of the intermediate space. Finally, by putting the background in forward of layer in the canvas and objects situated behind the background, the depth of the space can be occurred. Same as the idea of $C\acute{e}zanne$, Giuseppe Terragni and jean Nouvelle in architecture also intensify their effects through the activation of intermediate space between the interior facade and exterior frame. Not limited in the relation with the architecture and the city, space in relation gives us a higher quality of architectural promenade in depth.

This study examined food culture appearing in Giroyeon paintings in the late Chosun Dynasty (early 17th~l9th century), a period under political and economical difficulties in overcoming frustrations and looking for self-restoration methods after Imjinweran(1592~1598) and Byungjahoran(1636~1637). Paintings related to Giroyeon include Lee Gi-ryong's (1600~?) 〈Namjiginohoedo〉 painted in 1629 under the reign of King Injo (1623~1649), 〈Gisasayeondo〉 painted jointly by Kim Jin-yeo et al. in 1720, the first year of King Gyeongjong (1720~1724) and Kim Hong-do's 〈Giroseryeongyedo〉 painted in 1804 under the reign of King Sunjo (1800~1834) in the early 19th century. These paintings over three centuries of the late Chosun show changes in the character of Giroyeon, food culture and tableware culture, etc. According to these paintings, the character of Giroyeon was expanded from a feast held for high civil officials to a banquet comprehending general civil servants. These paintings show Hyangeumjueui, which means the decorum of respecting and sowing the aged men of virtue with alcohol beverage, table manner, seated culture represented by cushions and mats and individual-table culture. In addition, the expansion of demand for sunbaikja and chungwhabaikja and the diversification of vessels and dishes are demonstrated in Giroyeon paintings after Imjinweran in 1592. in this way, Giroyeon paintings show the historical characteristics of the late Chosun Dynasty, such as the collapse of Yangban-centered political system, the disintegration of the medieval system due to the emergence of the Silhak and the diversification of food culture.

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the ‘crisis of painting’ is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting but also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.