초기 이욱 사는 전통적인 화간사의 風格을 계승하여 완약하다. 그러나 이욱이 군 주가 된 후 나라가 점점 기울고 부인과 자식이 죽으면서 그의 사풍은 깊은 인생의 감회를 담게 된다. 만년에는 남당이 멸망하고 송의 포로가 되어 변경으로 압송되어 유배 생활을 하게 되면서 이욱 사는 더욱 심오한 의경을 창출하게 된다. 이것을 시 공간적 측면에서 고찰해보면 이욱이 평화로운 생활을 할 때의 작품들은 그 묘사대상 이 바로 곁에 있고 모든 생활이 궁정 속에서 이루어지고 있어 자신의 생활과 묘사하 는 모든 대상이 시공간적으로 큰 이격이 발생하지 않는다. 그러나 이욱이 군주가 된 후 사랑하는 사람들이 죽자 그의 사에는 이승과 저승이라는 시간적 이격이 나타난다. 이러한 시간적 이격은 이욱 사의 풍격을 한 단계 더 높이고 있다. 다시 남당이 멸망하고 이욱이 포로가 되어 쓴 사들은 시간뿐만 아니라 공간적으로도 큰 이격이 발생한다. 이욱사는 시간과 공간의 이격이 점차 커지면서 더 깊은 서정성을 갖추고 뛰어난 의경을 창출하고 있다. 본 연구는 시공간적 이격 확대로 인한 이욱사 풍격의 변화를 살펴보았다.

従来、堀辰雄研究において東京と軽井沢は、主として作家自身の人生経験との関わりから言及されてきた。モダン都市東京を舞台とした水族館他の初期短編と、美しい村風立ちぬなどの<軽井沢文学>は、生い立ちの空間としての東京と、療養․安住の場としての軽井沢という二つの空間の志向性が別々に論じられてきたが、それは研究の枠組みを定型化させる結果を招き、多様なアプローチを妨げる原因になってきたと思われる。本稿では、このような従来の研究を批判する立場から、堀辰雄文学における空間に対する新しい解釈を試みるべく、上記作品を中心に彼の小説テクストに現れている東京と軽井沢の表象の包括的な分析を行い、その特徴を明らかにした上で、堀辰雄文学の始まりと言われる聖家族の空間設定を分析することで、堀辰雄文学における東京から軽井沢への移行の問題について考察する。これまでの作家論的な接近とは異なる見地から、断絶した空間として捉えられてきた東京と軽井沢の表象を連続線上に置いて分析することによって、堀辰雄の<軽井沢文学>に対する新たな視座を提示することを試みる。

This paper reports on the semantics study regarding the words expressing ‘Space’ in Japanese. The previous studies on Japanese spatial nouns were focused on individual meanings of the vocabulary. The present study, however, sought to categorize each space to each spatial noun in order to sort spatial nouns more systematically. It was found that unlike region-reference spatial nouns, direction-reference spatial nouns could be used in both exterior region-reference and partial region-reference. Partial region-reference is classified with boundary region-reference and interior region-reference. Furthermore, in order to make theoretical frame for translating of nouns which have various meanings, we analyzed the characteristics of sentence structure of Japanese spatial noun /mae/, and proposed “ambiguity analysis rules of spatial noun /mae/. This rule is proposed under the hypothesis that the meaning of /mae/ is determined by the meaning of predicate and the property of reference. This rule also contributes to a job of translation related to ambiguities of spatial-nouns.

Bulguk Temple, one of the national temples, sublimated the high formalism and symbolism into lovely art, and thus be called the pinnacle of Korean architecture. Of many characteristic structures of Bulguk Temple, the stone stereobate and stairs have a great importance in that we can read out the purpose of the architect through their relics. Especially, the stone stairs are noteworthy for they structuralize the intentional space division. The objects of this observation are Yeonwhagyo and Chilbogyo bridges at the entrance of Keungnakjeon precinct, and Cheongwoongyo and Baekwoongyo stairs at the entrance of Daewoongjun precinct. All these relics are the structures that divide the precinct areas on the basis of Buddhist theory and have strong symbolic meanings as well. Although the diverse studies have made on the structures, there are many insufficient aspects for the manifestation of the meanings. In this study, I considered the Buddhist dogmatic meanings of the structures in the formalistic view of the Buddhist architecture. The study was proceeded in the way that the establishments of former studies were fully reflected in it. Through the study, I could confirm that the objects of consideration have the double formalistic meanings and they are strongly structuralizing the symbolism.

This paper is about the classification and systematization of Japanese spatial nouns. The three types of frame of reference proposed by Levinson (1996), classifies whole static spatial arrays in the following way: (i) Intrinsic frames of reference (not discussed here), (ii) Absolute frames of reference (not discussed here), and (iii) Relative frames of reference (discussed here). We could classify spatial nouns into two major classes; territory (dimension 2, 3)-oriented and direction (dimension 1)-oriented nouns. The territory-oriented nouns concern a territory of the reference object. The direction-oriented nouns concern the direction of a location with respect to the reference object, such as “X no migi (the right of X)”, “X no temae (in front of X)” and so on. And territoryoriented spatial nouns are further classified into three subclasses: designating internal location of the reference object (internal), designating a location apart from the reference object (external), and designating a location on shape of the reference object (boundary).

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.

We are so used to the concept of the term 'space' that we do not question its conceptual validity. However, this paper argues that the notion of space prevailing all over the world, is not a universal concept that can be applicable to all architectures of the world, but is a particular concept that is generated from the Western way of thinking. This paper alms to identify the conceptual structure of the idea of space as it is originated in the tradition of the West, and, as an alternative view of space, tries to identify the nature of the view of space perceived in the tradition of the Eastern architecture. Comparison of the two views, that of the East and the West, and their meaning in the future of architecture, is another task to discuss in this paper. To be able to clarify the meaning of space in East Asian tradition, a set of new perspective of understanding of space was invited. They are ; 1. sky-earth(天地); insisting that the notion of space should be replaced within the context of sky, which is one half of sky-earth totality 2. energy of the air (空氣), space is not empty part inside of a building, but is a dynamic condition of air that is a part of the sky which always exist in form of energy 3. place(자리): instead of space, which, basically. is a man-made concept, idea of place is necessary, which include not only space but also earth Such concept of space which is different from the notion of space of the West, is meaningful not only to identify the idea of space in the East, but also to be able to contribute for more dynamic, varied, and balanced understanding of space.

This study is focused on a space for man in upper classes house that is one of appeared characteristics as Korea, China and Japan imported Confucianism become common cultural base in these countries. Because a space for man in these countries has the same nature represented as a typical space in a upper classes house, and this space is differentiated by regional features, a way of thinking, a way of life and social structure as well, these characteristics are compared one another. Import of Confucianism influenced formation of a upper classes house and the spaces of the house are divided by generation, sexuality and classes. A space for man become a center of the house as well as a space for reception in accordance with patriarchism because this space stands for hierarchy of the house. A space for man of each country, Korea, China and Japan, has differences; that is, Chinese Jeongbang is used as a space for family as well as for guests; Korean Sarangchae is for only men and used as a reception space; Japanese Zasiki is used just for reception. These differences among countries are caused by owner's class, a civil officer or a military officer, and this class differentiated the characteristics of reception for guest. Even though the these countries take the space for man for meeting, Chinese is for family, Korean is for ancestors and Japanese is for guests.

본 논문은 ‘人文空間’ 개념을 기초로 宋元話本小說 중에서 ‘鬼魂空間’, 의 내용 및 특징을 살펴보았다. 공간의 다원적인 구조를 작품에 적용하는 과정에서 다시 ‘鬼魂現身’ㆍ‘人鬼通夢’ㆍ‘鬼魂附身’ 의 세 가지 주요한 특징으로 나눌 수 있다. 宋元話本小說의 주요한 공간적 특징인 變化와 流動과정을 통해서 ‘鬼魂空間’ 을 고찰해보면, 공간간의 變換과 對應ㆍ接近 등의 현상이 분명히 나타난다. 소설 속의 ‘鬼魂空間’ 은 현실(實在)과 허상(虛構)공간의 결합과 분리과정을 지속적으로 반복하며, 그 가운데 소설 속의 인물이 어떻게 공간의 제약과 현상에 적응하고, 어떻게 사회와 문화를 수용하고 변화시키는지 잘 보여주고 있다. 소설공간의 변화는 공간과 인물ㆍ사회 간의 관계를 충분히 드러낼 뿐만 아니라, 그 속의 대립과 수용 등의 여러 과정을 통해서 심층적이며 다양한 문화적 특징을 쉽게 파악할 수 있다. 이러한 문화현상은 소설내용과 주제사상을 구성하는 중요한 요소이며, 나아가 인간과 문화의 특징을 이해하는 가장 적절한 방법이 될 것이다.

This study is to analyze spatial structure of Eupchi(邑治) on Chungchong province with Chungchong-do regional maps(忠淸道地方地圖) and Eupjis(邑治) being compiled in the late Chosun dynasty. According to the analysis of it in this study, we make conclusions a follows; 1. Gunhyeon(郡縣) which had been Eupseong(邑城) on Changchong-do in Chosun dynasty was 13 provinces, and the construction of Eupseong was the coast Eupseong built for the purpose of defense and military Eusaeong built at Byeongyeong(兵營) and Geojin(巨鎭). And a measure used in the construction of a castle was Pobaekcheok(布帛尺) used to survey a frontier defence in Chosun dynasty, also Jucheok(周尺) or Yeongjocheok(營造尺) could be assumed to be wide use at that time. 2. Eupchi of Chungchong-do Gungyeon was almost disposed to the south direction. also had been Jinsan(鎭山) safeguarding it. With relation to Jwahyang(坐向) and Jinsan, its Jinsan and Myeongdang-cheon(明堂川) match each other in location of Eupchi, as it get Jinsan sat, and take main river in front of it. And provincial government office to be the center of a Eupchi is organized into Gaeksa(客舍), Dongheon(東軒), Naea(內衙), Hyangcheong(鄕廳), and practical business facilities, Jakcheong(作聽) or Jangcheong etc, the others is composed for the use of support of those. 3. In most Eupchi in Chougchong province, the layout Sajikdan(社稷壇) and Yeodan(?壇) was gone with a principle as they were disposed in the west and the north with Eupchi province. Jangsi(場市) of Eupchi was opened in front of government office of Gaeksa, and the Gunhyeon which had Eupseong was established in the inside and outside of Eupseong.

The purpose of this study is to establish the theory of the spatial composition that is 'The Structure of Relation' in Korean traditional houses. This study has been focused on the spatial composition of Hyangdan. The form composition is an element defining primitive functions and space and producing aesthetical effects, where 'quality as a substance' is not important but 'quality as a relation' is essential. Quality as a meaningful relationship comes from realization and regulation of visual attributes among form elements. Each form compositional element establishes the hierarchical structure logically with the entire order, In order for the quality of all form compositional elements to be clarified as a meaningful relationship logically, 'compositional concept' which combines a series of form elements into the grammatical dependence to a specific direction, has to be assumed. If the intrinsic relationship among a series of form compositional elements fails to confront with the 'contextual concept' which eventually indicates unique conditions for a place according to the refined compositional concept, the result of form composition never leads to a specific solution

The character of spatial organization in rtaditional house is found through the analysis of field survey and measure of its micro climate in hot weather period of summer. The mean temperature of interior space is higher than outside space of the house. In the point of structural conditions, inside of Choga in caustal and mountain area is cooler than any other houses. In inland area, slate roof house is cooler than Choga. In mountain area, the thermal difference of inside and outside in Kyubjib is higher than Hotjib. In the point of spatial conditions, kitchen is the coolest space and very suitable for spatial organization. Anbang is the hottest space because of its centeral position in the house. In wind condition, mountain area is windy and caustal area is calm. Around the house the rear side of the house is windy and left side is calm.

One of the main purposes of architectural history is the analysis of existing designs in order to find laws and orders of certain types, while space planning emphasizes the generation of design. In this study, relational space planning methodology is used to generate Chosun upper-class housing prototypes based on 'Yaejae' logic model. During the Chosun Dynasty era in Korea, Confucianism was the ruling ideology for its society. The patio type house was the main upper-class housing type during the Chosun Dynasty, and it can be viewed that space planning was heavily influenced by the law of 'Yaejae' in Confucianism. The logic of 'Yaejae' can be interpreted as relationships between spaces. Relational space planning methodology that reasons through constraint propagation is used to generate prototypes. Prototypes are compared in order to verify actual applications of the logic into space planning.

영산강 유역을 따라 형성되어 있는 퇴적층에 관해 과학적 체계적인 연구를 위해 영산강을 따라 13개 지점에서 시추가 수행되었다. 퇴적층은 가장 하류에 위치한 YS 1에서 22.0m, YS 2에서 20.0m, YS 3에서 18.5m, YS 4에서 12.0m, YS 5에서 3.0m, YS 7에서 5.5m, YS 8에서 3.0m, YS 9에서 5.9m, 그리고 가장 상류인 YS 10에서 5.0m까지 발달하고 있다. 퇴적층의 성분별 특성은 YS 4를 경계로 상류지역은 거의 사질을 포함한 자갈층이 우세하며, 하류지역인 YS 1∼YS 3에서는 11m∼16m 정도의 두꺼운 니질층이 층의 상부에 형성되어 있고 하부에 사질층과 사질층 아래에 자갈을 포함한 사질층이 연속적으로 나타나고 있다. 시추공별 유기탄소의 평균함량은 YS 1에서 가장 낮은 0.5%인 반면 상류로 갈수록 점차적으로 증가하여 YS 8에서 최대인 0.9%이다. 반면에 탄산염은 YS 2에서 14.2%로 가장 높고, YS 9에서 가장 낮은 2.8%이다. 결과적으로 유기탄소와 탄산염 함량의 공간적인 변화는 서로 상반적인 경향으로 나타난다. 입도분석 결과에 의하면, 강 상류지역에 퇴적층은 상대적으로 자갈의 함유량이 많은(48.8%∼14.1%) 반면 니질은 감소하고, 하류쪽으로 갈수록 자갈의 함유량이 적어지고 니질의 양이 증가하고 있다. 퇴적층의 성분별 공간적인 분포는 입도와 퇴적물 특성에 따라 자갈을 포함하고 있는 층과 포함하지 않고 있는 두개의 층으로 대분될수 있는데, 이러한 층의 경계는 YS 1∼YS 4까지는 뚜렷하지만 상류지역의 퇴적층에서는 나타나지 않거나 모호하다.