아랍, 아프리카, 중동, 이슬람 그리고 심지어 세계적인 수준보다 이집트의 전략적, 중추적인 중요성을 염두에 두고, 본 논문은 시간이 지나면서 이집트 외교 정책이 어떻게 그리고 왜 변화되어 왔는지를 알아내 기 위한 것이다. 그리고 이집트-러시아 관계의 번영이 서구에서 동부로의 변화를 나타내는지를 알아내기 위한 것이다. 이집트와 러시아의 관계에 영향을 준 경험들, 게다가 왜 러시아는 1월 25일 혁명과 다른 아랍의 봄 혁명을 반대하면서 6월 30일 혁명을 지지했는지 그리고 왜 이집트는 반대편에서 러시아와의 관계를 더 발전시키도록 받아들였는지를 설명한다.

The Korean architect Chung Guyon(1945∼2011) is the translator of the Korean edition of Gourna: A Tale of Two Villages(1969) written by the Egyptian architect Hassan Fathy(1900∼89). This fact, along with the facts that Chung changed the topic of his graduation thesis(1983) for UPA no.6 in Paris and that he became a supporter of earth architecture after he returned to Korea in 1986, confirms that Chung was strongly influenced by Fathy’s architecture in Gourna project. Therefore, the present paper aims at extracting didactic characteristics of Fathy’s architecture from the book and comparing them with those of Chung’s architecture. The categories of the characteristics extracted from the book (or his architectural activities in the Gourna project) are: clay/earth architecture; communicative and cooperative architecture; and critical stance towards society, and these are commonly found in Chung’s architecture, too, not without differences from Fathy’s owing to the gap between the two architects’ contexts. Reviewing these characteristics, this paper argues that Fathy and Chung tried to improve society in each context, working as both architect and social activist.

The purposeof this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

A¨gypten hat wegen seiner eigenen Kulturscha¨tze aus Dreitausend jahrelange Geschichte sta¨ndig die Reisenden und Historiker bezaubert und deren Interesse erweckt. Doch solange das Schrifttum schweigt bis zur Entzifferung der Hieroglyphen,konnte die Geschichte A¨gyptens gar nicht wissenschaftlich wahrgenommen werden Die Rezeption der alta¨gyptischen Musilk in der Musikgeschichtsschreibung war nichtsoviel anders.Von einer wissenschaftlichen A¨gpytologie kann erst seit der Entzifferung der Hieroglyphenschrift durch Jean F. Champollion im Jahre 1822 gesprochen werden.Nach der Entstehung und Ausbreitung der vergleichenden Musikwissenschaft um diese Jahrhunderwende ermo¨glicht die intensive Forschungen u¨ber die a¨gyptische Musik Die Vertiefung der a¨gyptischen Musik ist erst bei Hans Hickmann gelungen.Besonders viel verdanken wir seinen Erforschungen, weil er wa¨hrend seines langja¨hrigen Aufenthalts in A¨gypten die Rekonstruktion der a¨gyptischen Musikkultur durch seine u¨ber 150 vero¨ffentlichen Schiften beitragen hat.Eine musikwissenschaftliche Untersuchung u¨ber die alta¨gyptische Musik bedeutetim engeren Sinne eine musikarcha¨ologische Untersuchung. Musikarcha¨ologie ist eine interdisziplina¨re Forschung, die auf Grundlage der Musikwissenschaft und Archa¨-ologie neue Kenntnisse zu gewinnen sucht. Musikarcha¨ologische Artefakte sind in erster Linie Musikinstrumente oder archa¨ologische Funde, auf denen Musikinstrumente be. deren Auffu¨hrungspraxis dargestellt sind. Als drittes Material sind die schriftlichen Texte zu nennen. Wie sich das Wissen u¨ber alta¨yptische Musik erweitern la¨-Bt,liegt in der Hand der Musikarcha¨logie selbst, die aus der Perspektive der A¨-gyptologie und interdisziplina¨ren Forschung gefo¨rdert werden mu¨Bte.