동영상 UCC의 확산으로 인하여 ‘참여’와 ‘공유’의 문화생산 방식이 네티즌을 네트워크 사회의 주체로 부각시키면서 커뮤니케이션 패러다임의 변화가 가속화되고 있다. 본 논문은 동영상 UCC의 확산의 배경이 된 웹2.0 패러다임과 동영상 UCC의 현황(배경, 유형, 이용현황), 동영상 UCC의 사회문화적 영향에 대하여 논의하고, 그 결과를 바탕으로 시민 참여 매체로서의 동영상 UCC의 활성화를 위한 방안을 모색하는데 목적을 둔다. 연구결과 UCC 확산의 사회문화적 영향은 첫째, 개방과 공유를 통한 참여 중심의 프로슈머 사회 실현에 기여, 둘째, UCC의 미디어적 영향력 증가, 셋째, 계층 간의 디지털 정보격차 강화로 요약된다. UCC의 활성화를 위해서는 저작권, 초상권 등에 관한 문제, 소비자의 커뮤니케이션 확장자로의 역할 수행, 수익모델 및 보상 구조 모색, UCC의 배포 및 확산 관련 기술적, 제도적 문제 등이 선결되어야 할 과제이다. UCC의 활성화는 산업논리에 따라 시장에만 맡겨서는 안되며, UCC 문화는 공익적 영역에서도 활성화되어야 한다.

최근 들어 우리사회는 국제결혼이 증가하여 다문화가정이 급격히 늘어나고 있다. 그러나 우리사회는 아직도 다문화가정에 대한 준비가 미흡한 상태이다. 이로 인하여 다문화가정의 구성원들은 다양한 문제에 직면하고 있으며, 이는 곧 사회문제화되고 있는 실정이다. 다문화가정의 다양성을 인정하고, 그들 또한 우리사회의 한 구성원으로서 받아들여 함께 더불어 사는 사회를 만들어 나가야만 한다. 이에 사회복지적 차원에서 제도적, 교육적, 경제적으로 접근하여 그들의 입장을 대변하고, 사회에 적응해 나아갈 수 있도록 다양한 프로그램과 전략을 개발하고, 실천해 나가야 할 것이다.

This thesis examines contemporary Chinese painting after the CulturalRevolution(1966~76), focusing upon so-called “Chinese Pop art”, which I termed as“Socialist Pop art”. I considered the art of this period within the broader context of socialchanges especially after the Tienanmen incident of 1989.After the Cultural Revolution during which idolization of Chairman Mao was at itspeak, one of the major changes in communist China was that an anti-Mao wave wasgenerated in almost every social class. For example, novels that revealed the hardshipsduring the Cultural Revolution were published. Posters that openly criticized the Maoismwere also produced and displayed on the walls, and demand for democracy spurredwidespread activist movements among young generations. These broad social changeswere also reflected in art. A variety of art movements were introduced from the West toChina, and after a period of experimentation with the new imported styles, artists began toapply the new artistic idiom to their works in order to visualize their own social andpolitical realities they lived in. It was a shift from earlier Socialist Realism to a newexpression either directly or indirectly, “Socialist Pop”, an amalgam of Socialist Realism andPop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communistgovernment quelled with brutal measures the students, workers, and ordinary people whorose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This timecoincided with the gradual emergence of art using Pop art vocabulary to satirize the socialreality, the Socialist Pop art, along with many other art forms all with avant-garde spirit.One of the most frequent subjects of Chinese Pop art was visual images of ChairmanMao and his Cultural Revolution, and new China that was saturated with capitalism, whichtainted the Chinese way of life with a Western way of consumerism and commercialism.The reason for the popularity of Mao’s image was spurred by the “Mao Craze”in the early1990’s. People suddenly began to fall in a kind of nostalgia for the past, and once again,Mao Zedong was idolized as an entity who can heal the problems of modern China whohad been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is nomore an object of worship of almost religious nature but he has become an iconographysymbolizing the complex nature of present Chinese society. During this process ofdepicting the social reality, Chinese artists are making the authority and sanctity of Maoismineffective. Dealing with this new trend of contemporary Chinese art in view of “Socialist Popart”two manners of re-creating Pop art can be illustrated: one that incorporates thepropaganda posters of the Cultural Revolution; the other borrows from Chinese traditionalpopular imagery or mass media, such as photos taken during Mao era. What is worthmentioning is that these posters and photos of the Cultural Revolution can be identified as‘popular’media, as they were directed to educate the popular mass, thus combination ofthis ingenuous pop media with Western Pop art can be fully justified as a genre unique toChina. Through this genre, we can discover a new chapter of the Chinese contemporarypainting and its society, as their Pop art can be considered as self-portraits true to theirpresent appearances.

The term “culturally refracted contexts” means the distorted, twisted, and fixed contexts which have lost the functional roles of the social integration in the specific cultural situations. The author tries to categorize three kinds of the distorted cultural patterns among the culturally refracted contexts of Korean society by using an anthropological method. The first one is related to “distorted nationalism” in a refracted context of the traditional pre-modern culture in Korea. It has been shown up to the society as a phenomenon of worshipping the national forefather Dangun. The second one is to be known as “extremely twisted totalism” in a culturally refracted context of militarism in Korea. It has impacted on the politic, the economy, the religion, and even the education of Korean society. The third one is to be tied with “distorted mammonism” in a culturally refracted context of materialism. It has been rooted and fixed to “extreme ethnocentrism” in Korea. The author, then, argues that Korean churches should have God’s mission to integrate the distorted and twisted society with the gospel of Jesus Christ which brings reconciliation and recovery to the culturally refracted contexts of Korean society. The distorted and twisted contexts of Korean society should be recovered to the grace community of God, the peace community of Jesus Christ, and the mission community of the Holy Spirit. In other words, the “distorted nationalism” in a refracted context of the traditional pre-modern culture in Korea has to be deleted in the society by God’s universal grace. The social oppressed and the weak can be protected and empowered by the grace of God. The “extremely twisted totalism” in a culturally refracted context of militarism in Korea can be nullified by Christ‘s sacrificial peace which brings the culture of resurrection and life. The “distorted mammonism” in a culturally refracted context of materialism in Korea should be transformed into the sharing community to the world by the witness of the Holy Spirit who gives the forgiveness and reconciliation. Korean churches as the community of the Holy Spirit, Jesus Christ, and God the Father should have a social and missional role of integration within the refracted Korean contexts of the distorted nationalism, totalism, and materialism with God’s grace, Christ’s peace, and the Holy Spirit’s sharing witness to the world and the society of Korea.

This study examines Celtic fairy tales relating to the sociocultural background of Ireland in Victorian Age. W. B. Yeats's Fairy and Folk Tales of the Irish Peasantry, 1888 and Irish Fairy Tales, 1892, The Celtic Twilight, 1893, and Joseph Jacobs's Celtic Fairy Tales, 1892 and More Celtic Fairy Tales, 1894 are correlated with the Irish celtic history, religion and culture. They are best known as collectors of fairy tales at that time. Jacobs thought that the fate of the Celt in the British Empire bids fair to resemble that of the Greeks among the Romans, "they went forth to battle, but they always fell, yet the captive Celt has enslaved his captor in the realm of imagination." And he insisted that nowhere else was there so large and consistent a body of oral tradition about the national and mythical heroes as amongst the Gaels, and especially concerned that the Irish tales and ballads had this peculiarity. The aim of Jacobs's volumes is to present to English children the vision and color, the magic and charm, of the Celtic folk-imagination. While Yeats's volumes show his interest in spiritual beings and his nationalism. Yeats who believes that faith to perpetuate in the three early Cycles of Irish folktales taught by the Druid sees in Tir-na-n'Og, the land of the Sidhe, Plato's and Plotinus' "yonder" when our souls descend whither they return. The Celtic beliefs in rebirth and in the otherworld are connected with beliefs surrounding the burial mounds of the Megalithic people. Among the Celts these tombs were connected with religious usages, chiefly with a cult of gods and fairy-like beings. Beginning with the Ulster Cycle, the sidhe and the Tuatha de Danann merge and become one, and renamed "fairy." A tale entitled "Connla and the Fairy Maiden" chosen by Jacobs is the earliest fairy tale of modern Europe and contains an early account of one of the most characteristic Celtic conceptions, that of the earthly paradise, the isle of Youth, Tir-na-n'Og. And in Fairy Folk Tales of the Irish Peasantry there are also new characters like changlings, merrow, leprechauns, banshee, pookas. Samain, the first of November is the beginning of Celtic Year and the biggest festival of Ireland. On the November Eve the sidhe dance with the ghosts and witches make their spells. When the soul has left the body, it is drawn away, sometimes, by fairies. The souls of the dead sometimes take the shapes of animals. And there are 'ghosts' in fairy tales. Yeats chose Lady Wilde's "The Black Lamb" in his volume. And there are 'witches' and 'fairy doctors' in Irish fairy tales. "The Horned Women" of Lady Wilde chosen by the two collectors is the famous tale of witches. Witches and fairy doctors receive their power from opposite dynasties; the witch from evil spirits and her own malignant will; the fairy doctor from the fairies. Samain was adopted by the Christian missionaries to serve their own purposes and renamed "All Souls Day." When the Christian missionaries came to Ireland in the fifth century AD they were able to infiltrate the oral traditions of the Celtic people and infuse Christian beliefs through process of recording the Celtic tales in written form. And the Christian missionaries create the biographies of Christian saints known as "The Legend of the Saint." So there are 'Saints' and 'Priests' in Irish fairy tales. When the pagan gods of Ireland, Tuatha de Danann, robbed of worship and offerings, grew smaller and smaller in the popular imagination, until they turned into the fairies, the pagan heroes grew bigger and bigger, until they turned into the giants. So there are 'giants' in Irish fairy tales like "A Legend of Knockmany." In three major Irish tales cycles (the Mythological cycle, the Ulster Cycle, and the Fenian Cycle) there are so many kings and queens and princesses. Beliefs in the fairy faith, the remnants of an earlier faith than Christianity, have influenced the more modern motifs and characters of Irish Celtic fairy tales.

Kim, Ye-Sug. 2004. A Study of the Social, Cultural Connotations of French Personal Pronouns. The Sociolinguistic Journal of Korea, 12(2). This study explores the social, cultural connotations of French personal pronouns. The second person pronoun divides into TU and VOUS. In the past, TU was used when the speaker of high standing calls a person of low birth. VOUS was used by the latter calling the former. Between persons of high rank, VOUS was used reciprocally and between persons of lower classes TU was in the reciprocal usage. At the time of the French Revolution, TU was considered as the real pronoun for the citizens whereas VOUS was rejected as flattering, causing inequality. But a few years later, VOUS began to be used again. The change was made by the way that the use of TU presents familiarity between speaker and hearer, and no more equality. So nowadays, the choice of TU/VOUS depends principally on the horizontal relationship, not on the vertical relationship. Other terms of address like 'Monsieur', 'Madame', 'Mademoiselle', the first name and the last name come join TU/VOUS and make the most appropriate mode to call or indicate persons.

The purpose of this paper is to investigate text comprehension from a sociocultural perspective and then, to find out more about the ways in which L2 readers comprehend and recall L2 texts. While many analyses of written recall protocols focus on propositional contents or an analysis of syntactic error, Sociocultural Theory provides us with an additional analytic tool: the linguistic properties of the recall protocols. This follows from Vygotsky's fundamental argument that speech, in addition to its communicative function, bears a cognitive, self-oriented function and thus, is used to plan and carry out mental activity. In this paper, we undertake an analysis of the written recall protocals produced by high-school learners of English as a foreign language. We argue that when faced with cognitively difficult situations, L2 readers often externalize their inner order as private writing in order to attain and maintain control of their mental activity in the task of reading and recall. In fact, the linguistic features of the written recall protocols reflect the underlying mental processes which L2 readers deploy in problem-solving situations.

본 연구는 나라별로 그 나라의 사회 ·문화적 특성들이 국민들의 창업활동에 관한 관심도에 영향을 미치는가의 여부를 검토하고자 한다. 4가지의 사회 ·문화적 특성들이 검토되었는데, 첫째 기업가 사회적 신분위상, 둘째 사업실패로 인한 체면상실, 셋째 혁신에 관한 가치인식, 넷째 과업수행의 중요성 등이다. 8개국 경영대학원과정 관련학생 862명들을 표본으로 설문 · 통계 분석한 결과에 따르면 사회 ·문화적 특성중의 하나인 창업가의 사회적 신분위상이 사람들의 창업활동에 대한 관심도를 알아볼 수 있는 좋은 예측척도로 평가됨을 볼 수 있다.

God created the havens and earth and god gave man every seed-bearing plant and every tree that has fruit with seed in it. These food is all vegetable food that don`t take diseases of adult people. But God gave Noah the green plants. Everything that lives and moves will be food for Noah. Just as God gave man the green plants. And then man must not eat meat (animal protein food) that has its lifeblood still in it and God must not eat fat in it. The fat contains much fat(saturated fatty acids) and cholesterol that have susceptibility to disease of coronary heart, hypertension and atheriosclerosis etc. God must not eat these fat before we don`t know that it have susceptibility to disease of adult people.