This paper aims to observe Korean learner' s understanding on two French tenses-Imperfect and Composed Past, and to grasp their diffìcultìes on tense comprehensìon applyìng on education of French tenses through the survey. The survey is conducted by three Korean learners to choose French tenses-Imperfect or Composed Past on test. This paper also argues for six principal difficulties of Korean learners whìch also requires attention of most teachers as belows: 1) Vagueness against Prototypic meanings of the two tenses which most learners possess. 2) Simple Schematization of foreground and background. 3) Variety of elements which causes terminating of verb's intervaI. 4) Confusion between Verbal lexical level and Relational level of two verbs connected. 5) Ambiguty of continuance notion. 6) Type of overlap actions 7) Influence of sentence structures which are used in the class.

In an effort to invigorate French education in the 21st century, this study m와‘es a diachronic investigation into French education in Korea. In this study, we will t빼e a look at French education goals and French textbooks, including the changes that have taken place over the years. This study also investigates the problems of current French education and suggests some possible solutions. The problems in French education today include a decrease in the number of French leamers, the disparity between educational goals and reality, and the poor quality of the teachers. In response to these problems, this study proposes the following solutions: 1) smaller classes consisting of fifteen to twenty students, 2) the adoption of French listening-comprehension test in the college entrance ex없n， 3) the setting of realistic educational goals, and 4) the development of functional French - i.e. French for special purposes - based on leamer’ s need.

This article focuses on the background of the French ars nova, which includes Vitry's theory, and Machaut's isorhythmic motets. Vitry's innovation allows duple as well as triple division of the beat at three different levels. In the fourteenth century, these changes permitted rhythmic organization on the larger scale than before. Also, his technique of isorhythm, which was developed from the thirteenth-century ordines, is firmly established by Machaut. Machaut's complete works are preserved in; eight manuscripts: New York, Wildenstein Galleries, Paris, Bib. Nat.. Fonds Francais 1584, 1585, 1586, 9221, 22545-6, and 843. Among these, the Paris, Bib. Nat.. Fonds Francais 1586 is the oldest collection and Paris, Bib. Nat.. Fonds Francais 1585 is the fifteenth-century copy of New York, Wildenstein Galleries. The Paris, Bib. Nat.. Fonds Francais 22545 contains Machaut's complete compositional outputs, including twenty-three motets(ff. 102-125). In composing isorhythmic motets, Machaut employed various techniques in the unique way. Therefore, Machaut's isorhythmic motets are analysed here, especially the pattern of talea and color. Through the analysis, some mistakes occurring in Leo Schrade's edition have been revealed at the end of this article.

The purpose of this paper is to suggest a new direction of teaching French culture in Korean high schools. With this goal, this study investigates teaching French culture through teaching French words. Because vocabulary is often a main obstacle to foreign language learners in their communication, vocabulary teaching is one of excellent tools for teaching and learning foreign cultures. The study also proposes the list of cultural aspects necessary to highschool French learners, which are related to 800 words specified by the 7th French Cumculum.

The purpose of this paper is to suggest a more methodical and efficient means to make Korean high school students understand the usages of two French past tenses, viz passé composé and imparfait. The paper shows that these two tenses are distributed in a complementary way on textual level, and that two conceptual devices developed by Weinrich, foreground and middle ground, can be useful for the teachers' teaching skills. The paper also discusses the anaphoricity, redefined and remodulated by Berthonneau and Kleiber on the semantico-pragmatic basis, for a new means of teaching French past tenses.

The organ, more than any other musical instrument, has assimilated numerous changes and experiments. A number of distinct national styles evolved throughout the history of organ music, spanning almost 2000 years. The classical French organ music, roughly between about 1650 and 1790, and the French organs of that period have developed a unique relationship. The musical textures were perfectly molded to the indigenous characteristics of specified combinations of stops. By 1650, French organ composers had accepted the new musical style which established registration practices for specific musical types on the organs whose specifications had become rather standardized throughout France. Organ music of this period in France became confined to forms which were used by all French organ composers of this period. Registration indications became titles for the pieces. It is fourtunate that many composers of this period wrote detailed instructions, perhaps the most thoroughgoing of any epoch, in the prefaces which they included in their collections of organ music. These instructions provide us with a valuable informations on the interpretation of their music. The organs of our country bear practically no resemblance to the French classical instruments. Therefore, the French organ music was seldom performed and studied. The purpose of this study is to understand the language of this particular style of organ and the performance practice of their music, apply this information to present day organs of our country and help the performers to express the composers' intentions fully in their performances. This study is consisted of observations on French classical organ building, organ music literature, performance practice(registration, Notes Ine´gales, articulation and ornamentation) and finally, an analysis of Francois Couperin's Messe a｀ l'usage des Convents, a typical work of the French classical organ music.

In this paper, we have developed a Fama - French five factor model (FF5 model) from Fama & French (2015) by using concept of timevarying coefficient. For a data set, we have used monthly data form Kenneth R. French home page, it include Japan portfolios (classified by using size and book-to-market) and 5 factors from July 1990 to April 2020. The first analysis, we used Augmented Dickey-Fuller test (ADF test) for the stationary test, from the result, all Japan portfolios and 5 factors are stationary. Next analysis, we estimated a coefficient of Fama - French five factor model by using a generalized additive model with a thin-plate spline to create the time-varying coefficient Fama - French five factor model (TV-FF5 model). The benefit of this study is TV-FF5 model which can capture a different effect at different times of 5 factors but the traditional FF5 model can’t do it. From the result, we can show a time-varying coefficient in all factors and in all portfolios, for time-varying coefficients of Rm-Rf, SMB, and HML are significant for all Japan portfolios, time-varying coefficients of RMW are positively significant for SM, and SH portfolio and time-varying coefficients of CMA are significant for SM, SH, and BM portfolio.

본 연구는 초등 사회 교과서 발행제도가 검정 체제로의 전환을 시도하는 단계에서 프랑스 초등 지리 교과서 2종을 비교 분석하여 우리나라 초등 사회 교과서 개발에 대한 시사점을 도출하고자 하였다. 분석 결과, 초등 사회 교과서 개발은 다음과 같은 방향을 시도할 수 있다. 첫째, 주제 및 장면, 역량 학습을 구체적이고 단계적으로 구성하여 자기주도 학습을 촉진한다. 둘째, 자료를 읽고 적용, 평가, 종합할 수 있도록 체계적인 질문으로 구성한다. 셋째, 지도와 사진 등의 자료를 충분한 정보와 함께 제공한다. 끝으로, 텍스트에 색과 기호를 적절히 사용하여 서술의 성격을 쉽게 파악하 도록 한다. 이와 같은 교과서 개발에 대한 지속적인 연구를 통해 우리나라 초등 사회 교과서가 좋 은 교과서가 되길 바란다.

The study tests the Fama and French three-factor model by using the newly created Islamic equity style indices. Based on a dataset from May 2006 to April 2011, the three-factor model is tested based on returns of Islamic unit trust funds using the Generalized Method of Moments (GMM) methodology. The sample period is also divided between periods before and after the Global Financial Crisis in August 2008 to test for robustness, and the Bai and Perron (2003) multiple structural break test was used to determine the structural break in the series. The analysis shows that the Fama and French model is valid for Islamic unit trust funds before and after the collapse of Lehman Brothers. The result further indicates the reversal of size effect. As for trading strategies, value funds outperform growth funds by annualized 3.13 percent for the full period. During pre-crisis period, value funds perform better than growth funds while in post-crisis, size factor yields better return than other strategies. As policy suggestion, fund managers need to be aware of the reversal of size effect, and they need to ensure a more transparent stock selection process so that investors can make an informed decision in their asset allocation.

Despite the enforcement of SSM control laws such as 'the Law of Developing the Distribution Industry (LDDI)‘ and ‘the Law of Promoting Mutual Cooperation between Large and Small/medium Enterprises (LPMC)’ stipulating the business adjustment system, the number of super-supermarkets (SSMs) has ever been expanding in Korea. In France, however, Super Centers are being regulated most strongly and directly in the whole Europe viewing that there is not a single SSM in Paris, which is emphasized to be the outcome from French government's regulation exerted on the opening of large scale retail stores. In France, the authority to approve store opening is deeply centralized and the store opening regulation is a socio-economic regulation driven by economic laws whereas EU strongly regulates the distribution industry. To control the French distribution industry, such seven laws and regulations as Commission départementale d'urbanisme commercial guidelines (CDLIC) (1969), the Royer Law (1973), the Doubin Law (1990), the Sapin Law (1993), the Raffarin Law (1996), solidarite et renouvellement urbains (SRU) (2000), and Loi de modernisation de l'économie (LME) (2009) have been promulgated one by one since the amendment of the Fontanet guidelines, through which commercial adjustment laws and regulations have been complemented and reinforced while regulatory measures have been taken. Even in the course of forming such strong regulatory laws, InterMarche, the largest supermarket chain in France, has been in existence as a global enterprise specialized in retail distribution with over 4,000 stores in Europe. InterMarche's business can be divided largely into two segments of food and non-food. As a supermarket chain, InterMarche's food segment has 2,300 stores in Europe and as a hard-discounter store chain in France, Netto has 420 stores. Restaumarch is a chain of traditional family restaurants and the steak house restaurant chain of Poivre Rouge has 4 restaurants currently. In addition, there are others like Ecomarche which is a supermarket chain for small and medium cities. In the non-food segment, the DIY and gardening chain of Bricomarche has a total of 620 stores in Europe. And the car-related chain of Roady has a total of 158 stores in Europe. There is the clothing chain of Veti as well.In view of InterMarche's management strategies, since its distribution strategy is to sell goods at cheap prices, buying goods cheap only is not enough. In other words, in order to sell goods cheap, it is all important to buy goods cheap, manage them cheap, systemize them cheap, and transport them cheap. In quality assurance, InterMarche has guaranteed the purchase safety for consumers by providing its own private brand products. InterMarche has 90 private brands of its own, thus being the retailer with the largest number of distributor brands in France. In view of its IT service strategy, InterMarche is utilizing a high performance IT system so as to obtainas much of the market information as possible and also to find out the best locations for opening stores. In its global expansion strategy of international alliance, InterMarche has established the ALDIS group together with the distribution enterprises of both Spain and Germany in order to expand its food purchase, whereas in the non-food segment, it has established the ARENA group in alliance with 11 international distribution enterprises. Such strategies of InterMarche have been intended to find out the consumer needs for both price and quality of goods and to secure the purchase and supply networks which are closely localized. It is necessary to cope promptly with the constantly changing circumstances through being unified with relevant regions and by providing diversified customer services as well. In view of the InterMarche's positive policy for promoting local partnerships as well as the assistance for enhancing the local economic structure, implications are existing for those retail distributors of our country.

인위적인 토양 pH 변화가 식물에 미치는 영향과 식물의 생화학적 방어반응을 조사하고자 황산용액을 첨가하여 산성화시킨 토양(pH 5.3, 4.5, 3.9, 3.5)에 만수국을 이용하여 실험을 수행하였다. 토양 산성화에 의해 MDA 함량이 크게 증가되었다. 토양의 H+ 부하량 증가에 따라 산화형인 DHA 및 GSSG의 함량이 크게 증가되었다. 항산화 효소의 활성도 토양의 H+ 부하량의 증가에 따라 증가하는 것으로 나타났다.

As a way of investigating the interrelationship between T. S. Eliot and French Symbolism, this paper intensively delves into his criticism on the French Symbolist poets chiefly including Charles Baudelaire, Jules Laforgue, and Paul Valéry, and, briefly covered in his critical essays, Tristan Corbière and Stéphane Mallarmé, rather than the influence of French Symbolism on him, which is barely studied in Korea but widely explored overseas. Eliot's criticism on French Symbolism is summarized as follows. Firstly, Eliot on Baudelaire leads Arthur Symons to change his view, but does not fundamentally allow him to accept Baudelaire as the representative poet of Symbolism just like Eliot. Whereas Peter Quennell on Baudelaire is negative and limited by the viewpoint of Eliot. Eliot on Baudelaire in “Baudelaire in Our Time” (1927) gives us the impression of his observation of mistranslated parts derived from Symons's metrical translation. In addition, Baudelaire's technique of “synesthesia” renders him connected with Dante, Shakespeare, Donne, and Eliot in terms of the “unification of sensibility“ in the mainstream of poetry. Meanwhile, it is acceptable that Eliot evaluates Baudelaire in his “Baudelaire“ (1930) as “a fragmentary Dante,“ but it is controversial to position him below Goethe and Gautier. And Eliot considers Satanism one characteristic of Baudelaire and ironically defines him as a classicist, directly related with T. E. Hulme in terms of the Original Sin. Secondly, Eliot on Corbière suggests that a few poems of Corbière bring about the effect of irony by a unified sensibility similar to Crashaw's concentrated conceit, rather than wit as found in the metaphysical conceit of the metaphysical poets. Meanwhile, Eliot on Laforgue argues that Laforgue reveals the dissociation of sensibility, the fissure of thought and feeling, but he still is a metaphysical poet with an expanded metaphysicality, i.e., “the intellectualising of sensibility and the emotionalising of the idea.“ From this practical criticism Eliot discovers a unified sensibility similar to the metaphysical conceit in his quoted Laforgue's Derniers Vers, but G. M. Turnell and Warren Ramsey interestingly contradict this view. And Eliot indicates the Laforguian irony more ubiquitously employed in Laforgue than in Baudelaire, but he uses it more skillfully in his poetry than Laforgue himself. Additionally, Eliot argues that Laforgue rather than Whitman is the most important innovator of vers libre, but Turnell and Ramsey also deny this argument. In short, Eliot evaluates Laforgue as lower than Donne, Donne as lower than Dante, whom he praises most, over all the other poets of the world. Thirdly, Eliot on Mallarmé emphasizes Mallarmé's musicality by indicating that his technique rather than significance is crucial in the understanding of his poetry at the opposite extreme of Dante's Divine Comedy. Eliot on Valéry insists that Valéry, the last poet of French Symbolism, as the successor of experiments and exploration pursued by Mallarmé, has developed the music and fluidity, as well as a variety of technical expressions, of Symbolism. And Eliot includes Valéry's impersonality in his impersonal theory of poetry, and argues that from the viewpoint of impersonality Valery's “Le Cimetière Marin” (1920) with its philosophical structure is greater than Gray's ”Elegy Written in a Country Churchyard” (1751). Furthermore, Eliot speaks highly of Valéry as the representative poet in the first half of the 20th century, who will remain longer in posterity than Yeats, Rilke, or any other poet. Eliot points out Valéry's two characteristics, first he is the most self-conscious poet and second, he is an utmost skeptic who disbelieves even art. Meanwhile, Eliot maintains that though Valéry's anti-romantic theory of poetry regarding sonnets as the true quintessence of poetry is influenced by Poe's, it surpasses Poe's “The Philosophy of Composition” and is more original. Finally, Eliot critically subverts Valéry's comparison of poetry with “dancing” and prose with “walking” or “running.” In conclusion, it is Eliot the critic's great merit that he provides a deep, insightful, and comprehensive view, though sometimes not well-balanced one, on the relationship between French Symbolism and modernism, including himself. He does this by surveying in his essays, prefaces, forewords, and book reviews the French Symbolist poets focusing on Baudelaire, Corbière, Laforgue, Mallarmé, and Valéry, rather unfamiliar to the British and American critics in his days.