이 연구는 한국 근현대고등교육의 형성 초기가 되는 시기의 흐름과 특성을 살펴보고, 과거 근현대교육의 식민성에 따른 고찰을 중심으로 미래 고등교육의 방향성을 교육사회학적 논의를 통해 제시하고자 한다. 이 논문에서 근현대교육은 일제 강점기, 미군정 시대의 교육적 식민성에 초점을 맞추었다. 미래 고등교육에 대한 교육사회학적 논의는 다음과 같다. 첫째, 일제 식민 통치하의 민족주의 교육이 우리의 언어와 문화를 지켜왔는지 살펴보는 것과 동시에, 식민지 교육의 잔재가 남아있는지 살펴보는 것, 이 시기의 교육사에 밝혀지지 않은 것은 무엇인지 연구해 보는 것도 고등교육의 미래를 위함이다. 둘째, 학습자들은 고등교육의 과정에서 대학의 사회화 기능 역할을 인지함과 동시에 특정 이데올로기 재생산, 상징적 폭력을 알아차리고 구분하는 것, 여러 분야에서 재생산되는 불평등함을 인지하는 것, 사회에 대한 관심과 다양한 관점의 존재, 더불어 자신의 생각을 지속적으로 발전시키는 행위에 그 가능성이 있다. 셋째, 평준화를 가장한 차별·역차별구조, 이분법적으로 구분하는 관행과 교육, 인종적·민족적·성적·지역적 불평등을 재생산하는지에 대한 여부를 고등교육과정을 통해 지속적으로 해체하고 배울 필요가 있다.

강유위(1858-1927)는 서방열강의 중국침략으로 중국이 반식민지 반봉건사회로 전락하고 중 국 민족이 생존위기에 직면하였을 때 대동사회를 구상하였다. 그는 당시 중국사회를 “끝없이 푸른 하늘과 넓은 대지는 큰 도살장이며 감옥일 따름”(대동서·甲部)이라고 생각하였다. 그 리하여 모두가 행복하고 괴로움이 없는 세상을 꿈꾸었는데, 그것이 바로 대동사회이다. 강유 위의 대동사상은 동서양 사상의 결합으로 이루어졌는데, 특히 공자의 대동사상, 공양삼세설, 인(仁)사상 등과 서구의 천부인권론과 공상적 사회주의 등의 영향을 크게 받았다. 이렇게 형 성된 그의 공상적 사회주의는 유가사상을 통한 사회주의의 공고화를 도모하는 중국사회주의 의 현대화를 이룩하는 데 사상적 초석으로 작용하였다.

Koh, Seung-hui. 2017. “A Study on the Social Aspect through Neologism in Modern Polish”. The Sociolinguistic Journal of Korea 25(3). 29~64. The purpose of this paper is to research the word formation and meaning of newly coined words in modern Polish, and to investigate latest social changes in present Poland reflected in these new words. This paper consists of two main sections. The first section describes the linguistic analysis of newly coined words of Polish origin and loanwords from various languages. A large number of English words have flowed into Polish for a variety of reasons. English loanwords occupied about 70% of the database in this study database. The second section examines the socio-cultural changes through an analysis of words in various fields. From the analysis of gathered lexical database we can confirm the acceptance phenomenon of the most frequently, sometimes excessively used English loanwords among the young generation in Poland and look over the changes in Polish society through each word.

본 연구에서는 현대조직이론 중 MBO, TQM, 학습조직이론(learning organization Theory), 정치경제이론(Political Economy Theory), 제도이론(institutional theory), 상황이론(Contingency Theory)과 관련된 1991년부터 2013년 사이에 발간된 연구와 서적 중 현대조직이론을 대상으로 한 연구와 현대조직이론을 사회복지기관에 적용한 연구 등 총 16편을 분석을 하였다. 문헌 분석을 통해 사회복지조직의 특수성을 고려한 사회복지현장에 적용 가능한 실천적 과제로서 현대조직이론 교육의 필요성, 사회복지조직의 특수성을 반영한 MBO와 TQM구축, IT시스템 도입 및 활성화 방안, 학습조직으로서의 사회복지조직의 변화의 필요성에 대해 논의 되었다.

예이츠와 엘리엇은, 비록 동시대 작가들이지만, 다른 시인들로 간주된다. 그러나 우리는 문학적 차이를 간과해서는 안 된다. 엘리엇은 현대인과 사회를 현실적으로 다루고 있으며, 이것은 여러 학자들에 의해 많이 논의 되고 있다. 본 논문은 이점을 예이츠의 것과 비교하고자 한다. 왜냐하면 예이츠도 어떤 면에서는 엘리엇과 비슷하게 이 주제를 다루고 있기 때문이다. 두 작가의 인간관은 정신적 불모성, 불안, 맹목성, 공허함으로 특징지어진다.

In this paper, low birth rate due to aging in adramatic increase in the older population diversified modern social welfare services to meet the demand of the Ubiquitous Network approach to the introduction of social welfare through feasibility studies, modern social welfare facilities for the operation of the future direction and development of alternative to evaluate the present

The relationships between fashion and architecture have been interactive. Since the fashion has had the role to decide the structure type of urban environment, it is becoming the new sign of space boundary. This study searches the social and cultural characteristics of Nomadism and the relationships among all kinds of changing objects. After then, the module system characteristics are meditated by analyzing the composition method of module system in architecture. Moreover, the study examines the aesthetic values in the fashion and body architecture from artistic aspect. Based on the above discussion, the followings are the characteristics of body architecture as the social structures expressed in modern fashion. The liquidity is the fluid form of dynamic structures. It shows the extended space form which produces the continuity. The transformation is the variable structure by module system and it forms the diversified structural combination. The movement combines the controlling function to be able to regulate and move freely the body related objects. The convergence is the text combination interpenetrated mutually in enlarged space. Through this, the non-linear continuity and the access of the individual factors are shown.

Collaboration among various fields appear according to rising of snack culture, polarizing phenomenon by a point to value, consumer behavior change giving importance to direct experience, and arrival of high touch age satisfied various needs and desires of consumer. Collaboration progressed limited edition form utilizes famous artist and designer’s fame to promote products and upgrade their brand image through a short period agreement. This research aims at analysis about collaboration phenomenon in collaboration manners and characteristics, and understands changed socio-cultural meaning through collaboration expressed in almost all industry for high speedy changing fashion environment. This research utilizes between theoretical study and empirical analysis. For concentrated study, research period limits from 2007 to the present time 2009. This paper's purpose is studying on the socio-cultural meaning through analysis about characteristics of the trend of collaboration expressed in contemporary fashion. This research's results are as follow as; First, common life toward aesthetic surrounding, Second, introduction of high concept, Third, the power of Homo Consmus, Forth, focusing on the intangible elements and the value. This study intends to predict change of fashion design and fashion market for complicated consumer, and present fundamental materials about fashion industry and design development of the future through consideration on concrete aspect and meaning of collaboration expressed in contemporary fashion.

근래에 이르러 우리나라의 재해, 재난으로 수많은 사상자가 나오고, 동남아 근해의 해일과 지진의 영향으로 우리나라에도 큰 영향을 미쳤다. 이에 따라 재해에 대한 대비와 재난이 발생하였을 때의 신속한 정보전달이 중요한 요인이 되었다. 따라서 재해를 감지한 관측지에서 재난의 영향이 우려되는 지역으로의 신속한 정보 전달체계를 확립하고, 더 나은 재해의 예방 시스템 개발함으로써 재해 피해로 인한 국민의 재산과 생명의 손실을 최소화 하는데 이바지 하고자 한다.

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art . The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism ‘the movement’ introduced ready-mades and installations (Jim Supangkat) . Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's generation like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as “rebellion period”; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express “new language” and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

The Sociolinguistic Journal of Korea 14(2). This paper explores the characteristics of feminine and masculine language use through an examination of word frequency in modern Korean novels. Through several blind tests of sample paragraphs from sixteen novels by Kong Seon-ok, Kim So-jin, Shin Kyeong-suk, and Yun Dae-nyeong, subjects were required to identify the gender of the author. The most striking result of the blind tests involved the unanimous identification of two paragraphs from the same novel as feminine. Applying the monoconc program to this novel by Shin Kyeong-suk, an analysis was conducted on word frequency. The result showed that there was a high frequency of words that functioned as hedges, mitigators, and positive back-channel cues. Taking these words that apparently led the blind test subjects to deem the author of Shin's novel to be feminine, a word search was conducted for the other fifteen novels. Though certain words in Shin's novels showed a similar rate of frequency, it was discovered that they involved different collocations. Hence, it may be speculated that this brought about a more mixed response from the blind test subjects. Such explorations show that the perception of feminine/masculine language use involves not only individual words but more importantly, their collocation within sentences.