This study addresses the phenomenon of foundational meta-narratives in North Korea’s discourses. Meta-narratives are understood here as a totalizing cultural narrative schema which orders and explains knowledge and experience. On the national level, meta-narratives refer to those over-arching, all-encompassing myths and stories that contain the historical knowledge of a country’s foundational history. This paper discusses three particularly important meta-narratives permeating North Korea’s contemporary political and cultural discourses: the meta-narrative of national ruin, of (Kim Il Sung’s) armed resistance and of constant threat of external aggression. Providing both positive and negative frames of reference, the study shows how these meta-narratives are strategically employed in contemporary discourses as ‘historical contextualizations’ in which particular interpretations of the past are used as arguments for political actions in the present, and, with recourse to history, produce a normative frame for evaluating contemporary events and actions. At the same time, the historical references and myths contained in those meta-narratives play an important role in establishing identity and fostering integration, for they level differences within the North Korean community and thus construct sameness and communality.

There has been a profound tradition of aesthetic cultivation in China since ancienttimes, which has developed with unique characters and styles owing to the special cultural background. This paper tries to analyze the origin and development of the Chinese concept of aesthetic education and evolution of the thoughts of aesthetic cultivation in ancient China, summarize the features of the thoughts of aesthetic cultivation in ancient China, retrospect the history of the development of aesthetic education modern China, and analyze the existing problems and influence factions in the current aesthetic education in Chinese schools. At the critical moment of the reform and development of aesthetic education in Chinese schools, a review of the thoughts of aesthetic cultivation in ancient China is instructive and necessary.

南冥 曺植(1501-1572)의 ｢神明舍圖銘｣은 한 인물이 자신의 마음을 어떻게 수양하여 성인의 경지에 이를 수 있을까를 고민하고 이겨내는 과정을 다룬 것 으로, 그의 엄격한 수양론을 극명하게 드러내고 있다. 본고에서는 남명의 ｢신명 사도명｣을 계승한 남명학파 학자들의 문학 작품 5편을 통시적으로 살펴봄으로 써, 지리산권 가운데 하나인 진주를 중심으로 형성되었던 남명학파의 마음 공 부를 이해하는 일단의 실마리로 삼았다. 대상으로는 삼은 작품은 龜巖 李楨의 ｢神明舍賦｣, 東岡 金宇顒의 ｢天君傳｣, 寒沙 姜大遂의 ｢神明舍記｣, 台溪 河溍의 ｢神明舍記｣, 俛宇 郭鍾錫의 ｢神明舍賦｣ 등이다. 이 5편의 문학 작품이 가지는 재해석의 면모와 시대적 의미를 고찰해 볼 때, 크게 두 가지 정도로 그 결론을 정리해 볼 수 있다. 첫째, 남명의 ｢신명도사명｣을 각기 계승하되 그것이 함유하고 있는 의미와 중 요성을 저마다의 입지와 관점에서 조명하고 있음을 발견할 수 있다. 5편의 작품 들은 자신의 관점과 시대적 필요에 의거해 ｢신명사도명｣의 핵심을 파악하는 해 석의 각도가 차이를 빚게 되었다. 따라서 부각시키려 한 중심 내용이 달라질 수 밖에 없었던 것이다. 둘째, 남명학파의 계보상에서 저자들을 구분해 볼 때, 그들의 작품이 가지는 의의를 남명학파의 시대적 상황과 연관시켜 가늠해 보게 된다. 구암과 동강의 작품은 ‘남명학의 계승과 전파’라는 측면에서 그 의미를 이해할 수 있다. 한사와 태계의 작품은 인조 반정 직후 남명학파의 명맥이 끊어질 위기에 봉착하여 ‘학 맥의 수호’라는 관점에서 해석해 볼 수 있다. 면우의 작품은 외세의 침략과 국 가의 존망이 위태로운 시기에 유학적 마음 수양의 指南으로서 ‘남명의 심학을 천양’한 것이라고 규정해 볼 수 있다.

The Present study focuses on the publishing, dissemination, and reception of Beethoven's music during his lifetime and after his death. The common and different aspects among Beethoven, Mozart, and Haydn in these three fields were investigated. Since the active working periods of the three composers were different within the range of 1770-1810's, the practices of publishing and dissemination changed. Since the music market was rapidly growing, the relationship between the composer, publisher, and the public was also changing. As a result, the process of reception of Beethoven's music was quite different from that of the previous time. This paper especially put focus on the early phase(1792-1803) of Beethoven in Vienna. The process of construction as a new master composer in the musical world of Vienna was also discussed. In addition, the role of supporting groups for Beethoven among aristocratic salons was investigated. The changes in musical taste and ideology were also illuminated. Furthermore, the roles of published edition and reviews of music journals such as Allgemeine Musikalische Zeitung, Berliner Allgemeine Musikalische Zeitung, Wiener Allgemeine Musikalische Zeitung, and Caecilia in the reception of Beethoven's music were discussed.

Organophosphorus pesticides (OPPs) contents in the sewage sludge derived from the residential and industrial areas were determined in order to characterize contemporary organic contamination levels as a part of the ongoing development of the environmentally sound sewage sludge management strategy in Korea. OPPs were extracted from freeze-dried sludges in a ultrasonic extractor. The extracts were cleaned-up by florisil column and subsequently fed into gas chromatograph/nitrogen phosphorus detector (GC/NPD) for determining OPP contents. Diazinon, dimethoate, disulfoton, EPN, malathion, methyl parathion, parathion, phorate and sulfotep were present in the appreciable amount in the domestic sewage sludges. The sum of the 9 OPPs in the sewage sludge varied from 534.8 to 15552.1 ㎍/kg, dry wt..

The 16 priority PAHs (Polycyclic Aromatic Hydrocarbons) designated by US Environmental Protection Agency were analyzed for some digested sludges from wastewater treatment plants in Korea. PAHs are an important group of organic contaminants present in sewage sludge due to their persistence and toxic potential. PAHs were extracted from freeze-dried sludges using a methylene chloride-methanol (2:1) mixture in a soxhlet extractor. The extracts were cleaned-up by silica gel/alumina combination column and subsequently fed into gas chromatograph/mass spectrometer (GC/MS) for determining PAH contents. The sum of the 16 PAHs in the sewage sludge varied from 534.8 to 5754.5 ㎍/kg, dry wt.. In the sewage sludge, phenanthrene appears as the most abundant PAHs, followed by naphthalene, pyrene, fluoranthene. Source of the investigated sewage sludges relatively predominated pyrogenic. PAHs levels of sewage sludges in Korea appeared to be lower than those in other countries.