본문은 속성이 다른 관요와 민요에서 동시에 나타나는 영롱자기(玲瓏瓷器)의 예를 통해 먼저 17세기 전반 동서무역항로에 이런 작품들이 유통된 것을 검토하고, 이어 관련 양식에 대한 기원과 변화를 논하고자 한다. 그리고 마지막으로 18세기 건륭(乾隆)년간 관요에서 영 롱투각쌍층기[玲瓏鏤空雙層器]를 생산하게 된 경위와 독도관(督陶官)이 황제를 위해 새롭 게 해석한 신양식에 대하여 재고찰하고자 한다.

The paper uses linglong porcelain wares existing at two different types of kilns- Guanyao (official kiln) and Minyao (folk kiln) as examples. Firstly it discusses the situation of this type of works circulating between the East and the West during the 17 th century. Secondly it explores the origin and development of its styles. Lastly, it reflects on the process of Qianlong official kilns producing linglong openworks with two layers and the pottery supervisor’s innovative style made for the emperor.

이 글의 목적은 독일통일과정에서 통일의 견인차적 역할을 해 온 동서독 주민들에 대해 분석함과 동시에 이에서 취할 수 있는 한반도 통일의 방법을 도출하자는 데 있다. 즉 동서독 주민들의 역할이 통일 독일을 이룬 단초적 선례가 되는 만큼 통일 한국에서도 남북한 주민들의 역할론이 무엇인지를 고찰하자는 것이다. 독일통일과정에서 동서독 주민들이 해낸 역할론은 남북한 주민으로서는 한반도 통일과정에 벤치마킹의 대상 이 되지 않을 수 없다. 이를 위해서는 비정치적 분야의 대중행태적 측면과 사회문화적 측면의 연구방법을 사용한다. 여기서는 특히 동서독 주민의 역할 분석은 전개과정상 베를린 장벽 붕괴 이전/이후를 구분하여 고찰하고자 한다. 반면 남북한 통일에의 함의는 베를린 장벽의 붕괴라는 상징성을 아직도 공고한 대립 상태의 한반도의 DMZ와 연결시키고자 한다. 결론적으로 동서독 통일은 정상회담의 댓가가 아닌, 동서독 주민들의 자발적, 비정치적인 통합의 산물에 의해서 달성되었다고 볼 수 있다.

본 논문에서는 독일 통일과정에서의 동·서독 주민의 역할을 고찰하였다. 독일정치는 경제적 발전과 사회이익을 위한 동서독 통일, 즉 게젤 샤프트(Gesellschaft)를 추구하였으나, 동서독 주민은 이를 위한 게마인샤프트(Gemeinschaft) 복원을 위해 노력해 왔다. 본고에서는 40여 년간의 분단 이후 독일통일은 외적으로 동독에 대한 서독의 흡수통일 의 형태를 띠고 있으나, 내적으로 동·서독 주민의 게마인샤프트 복원의 과정을 거치고 있음을 강조한다. 본고에서는 분단 시기 동서독 간 이주 및 교류 상황을 고찰하고, 포스트 통일 시기 동독 주민의 정체성 형성을 통한 독일의 게마인샤프트 복원 과정을 분석하였다.

본 연구는 2019년 8월 한반도 주변해역(동해, 서해, 남해, 동중국해)에서 탄소 및 질소 안정동위원소 기법을 활용하여 하위영양 단계에서의 먹이망 구조를 파악하였다. 입자성 유기물(POM)의 δ13C 범위는 -26.18 ~ 20.61 ‰, δ15N 범위는 5.36 ~ 15.20 ‰의 넓은 범위를 보였다. POM과 각 생물별 개체군 사이의 δ13C 분별작용의 결과는 대부분 micro-POM을 섭식하는 것으로 확인하였으나 해역 간 차이를 보였 다. 각 생물별 영양단계는 chaetognaths (3.40±0.61)가 가장 높은 영양단계에 있음을 확인하였다. 동위원소 혼합모델을 적용한 결과에서 chaetognaths의 먹이원으로 copepods (13 ~ 48 %)와 euphausiids (20 ~ 51 %)가 가장 높은 기여도를 나타냈다. 본 연구결과 각 해역별 먹이원의 제한적 공급 및 다양성의 차이가 먹이망 구조 및 각 생물별 동위원소 비에 영향을 미친 것으로 판단된다.

연구자는 아름다움(칼로카가티아)이 어둠 속에서 드러날 수 있음을 카이 닐센의 『해의 동쪽과 달의 서쪽』을 통해 심미적으로 해석하고자 한다. 고대 그리 스어인 칼로카가티아는 인간 행위의 이상향인, 아름답고 선한 것을 의미한다. 연구자는 심미적 해석을 위해 세 가지 중요한 요소로 분석하였다: 표층미학, 심 층미학, 승화미학(재구성). 칼로카가티아는 카이 닐센의 작품에서 인간의 감정을 다양한 방식으로 상호작용하게 이끈다. 그래서 그림에서 묘사된 요소들(색, 장소와 시간, 영적)을 분석하고자 한 것이고 이 점을 심미적 관점으로 재해석한다. 결론적으로, 이 연구는 칼로카가티아가 어떻게 심미적 해석을 하는데 사용 되는지, 또한 어둠의 개념을 인식하여 통합적으로 어떤 제안을 제공하는지를 보여준다.

Acoustic surveys were conducted in the seas surround the South Korea (South Sea A, South Sea B (waters around the Jeju Island), West Sea and East Sea) in spring and autumn in 2016. First, the vertical and horizontal distributions of fisheries resources animals were examined. In most cases vertical acoustic biomass was high in surface water and mid-water layers other than South Sea A in autumn and West Sea. The highest vertical acoustic biomass showed at the depth of 70-80 m in the South Sea A in spring (274.4 m2/nmi2) and the lowest one was 10-20 m in the West Sea in autumn (0.4 m2/nmi2). With regard to the horizontal distributions of fisheries resources animals, in the South Sea A, the acoustic biomass was high in eastern and central part of the South Sea and the northeast of Jeju Island (505.4-4099.1 m2/nmi2) in spring while it was high in eastern South Sea and the coastal water of Yeosu in autumn (1046.9-2958.3 m2/nmi2). In the South Sea B, the acoustic biomass was occurred high in the southern and western seas of Jeju Island in spring (201.0-1444.9 m2/nmi2) and in the southern of Jeju Island in autumn (203.7-1440.9 m2/nmi2). On the other hand, the West Sea showed very low acoustic biomass in spring (average NASC of 1.1 m2/nmi2), yet high acoustic biomass in the vicinity of 37 N in autumn (562.6-3764.2 m2/nmi2). The East Sea had high acoustic biomass in the coastal seas of Busan, Ulsan and Pohang in spring (258.7~976.4 m2/nmi2) and of Goseong, Gangneung, Donghae, Pohang and Busan in autumn (267.3-1196.3 m2/nmi2). During survey periods, fish schools were observed only in the South Sea A and the East Sea in spring and the West Sea in autumn. Fish schools in the South Sea A in spring were small size (333.2 ± 763.2 m2) but had a strong SV (–49.5 ± 5.3 dB). In the East Sea, fish schools in spring had low SV (–60.5 ± 14.5 dB) yet had large sizes (537.9 ± 1111.5 m2) and were distributed in the deep water depth (83.5 ± 33.5 m). Fish schools in the West Sea in autumn had strong SV (–49.6 ± 7.4 dB) and large sizes (507.1 ± 941.8 m2). It was the first time for three seas surrounded South Korea to be conducted by acoustic surveys to understand the distribution and aggregation characteristics of fisheries resources animals. The results of this study would be beneficially used for planning a future survey combined acoustic method and mid-water trawling, particularly deciding a survey location, a time period, and a targeting water depth.

본 논문은 W. B. 예이츠, 김소월, 그리고 김종길 등 3명의 모더니스트 시인들을 통해서 동서양이 시에서 자연을 어떻게 다루는지를 비교하고자 한다. 김소월과 김종길은 동양의 시학을 대변하고, 예이츠는 서양의 시학을 대변하는 것으로 읽는다. 그들은 각기 아일랜드와 한국의 모더니스트 시를 대변하는 시인들이다.

문화콘텐츠는 기획에서 출발하여 창조산업으로 점차 고도화되고 글로벌화 되면서 사회커뮤니케이션 욕구를 충족시켜 다양한 형태로 발전하고 있다. 이 중 하나인 애니메이션산업이 해외시장에서의 경쟁력을 갖추기 위한 방안으로써 동. 서양 사상과 문화적 요소를 살펴보고, 이를 검증하기 위해 미국과 한국 대학생 100명을 대상으로 실험, 설문하여 관점의 차이를 살펴보았다. 그 결과를 토대로 동. 서양 애니메이션의 특징을 제시 하였다. 본 연구결과는 향후 한국 애니메이션의 글로벌 마케팅을 위한 애니메이션 제작 및 개발에 대한 근거가 될 수 있을 것으로 사료된다.

본 연구는 한라산국립공원의 동 서사면에 자생하는 좀꽝꽝나무 아개체군의 환경특성을 파악하기 위하여 환경요인, 식생 및 토양분석을 실시하였다. 한라산국립공원의 동 서사면 해발고 500m~1600m 내에 설정한 56개 조사지를 대상으로 TWINSPAN 분석결과 주목-산개벚지나무군집, 당단풍나무군집, 개서어나무-굴거리나무군집, 졸참나무군집, 곰솔군집 등 5개의 유형으로 구분되었다. 이 중 좀꽝꽝나무 아개체군의 우점치가 높은 군집은 개서어나무-굴거리나 무군집으로 해발고 600m~1200m 지점에 포함되며, 교목상층의 우점종은 개서어나무(I.P.: 29.82%)이고 아교목층의 우점종은 굴거리나무(I.P.: 26.76%), 관목층은 좀꽝꽝나무(I.P.: 33.08%)이었다. 이곳의 토양은 유기물함량, 유효인산 및 Ca, Mg의 양료가 많은 곳이다. 좀꽝꽝나무 아개체군의 우점치가 높은 곳은 동쪽사면 해발고 600m~800m, 서쪽사면 해발고 800m~1,000m 부근으로 이곳은 냉온삼림대 남부에 해당되는 곳으로 개서어나무의 우점치가 높고 종다양도지수도 0.7427로 낮은 편으로 개서어나무의 극상림을 형성한 안정된 상태로 보인다.

A primary purpose of this paper is to critically evaluate Professor P. Singh’s Article, “Colonised’s Madness, Colonisers’Modernity and International Law: Mythological Materialism in the East-West Telos”published in Volume 3, Number 1 of the Journal of East Asia and International Law. In his article, Singh attempted to overlap various conceptions of modernity taken from a wide range of academic disciplines, and experimentally collapse them into one with a post-colonial point of view. In spite of incomplete argumentation and obscurity in the conceptual formulation, I found his original ideas on the internal connection of modernity with the operating mode of international law to be highly impressive. The most critical point against him was the firm and stereotypical dichotomy of the colonizer and the colonized without any potentiality of sublating the state of colonization, that is, disconnecting the colonizers with their colony and liberating the colonized from their colony. By such sublation (Aufheben) of the existing oppressive relation between the colonizers and the colonized, we can plan to build a new world of peaceful coexistence between the colonizers and the colonized of the past. But although Singh’s conception of modernity is dangerously one-sided, I expect his further research to penetrate into the deep life-reality of the Indian subaltern, which would make a great contribution to the establishment of the new vision of international law in this global society.

This monograph takes on“ modern art”as the location of modernity. This subject, in my view, holds potential for a productive multi-logue and not just a dialogue, between three binary socio-cultural categories: child and adult, normal and mad, and colonisers and colonised. Modern art raises very interesting questions, and as an area that is often ignored in the analysis of law and science, it forms a powerful field for exploring both, as well as their intersections. Exploring the psychology of colonisation/domination is an important objective of this monograph. In order to get at it, the monograph imbibes Appadurai, Foucault, and Nandy as offering complementary stances on modernity and subsequent globalisation of intra- European relations after the industrial revolution. In doing so the author relates aspects of semiotic theory by looking at theories of myth. This monograph concludes by applying their relevance to the strategy of signification deployed by international law and relations.

In spite of the increasing significance on a scale of building measurement unit and its system having been used in many areas of architecture, only a few researchers carried out the studies on a specific period. It is even harder to find a research results dealt in view of architecture. This research gives a focus on different types of scales employed in the ancient buildings and their sites, based on the research results of unit scale or scales found in recent excavations. After the review of literature on the scales widely used in the ancient times and of the various types of scales excavated archeologically, a kind of scale unit system that had been widely and extensively employed throughout the period of 'Three Kingdoms' could be revealed. The scale system is possibly able to be applied to estimate the exact scale of buildings and their sites as well in that era. The research results show that the scale and its system employed in the East and West buildings and their sites of 'Kum-dang' in 'Mi-ruk Sa' temple are different from 'Kokuryo' scale that was believed in to be used in the temple. Contrary to the suggestion by excavation report on the type of scale employed in the buildings their sites, a scale of 29 centimeters, similar to that of Tang, was employed. It was also found that one module consists of three 'Chuk's of 88.8 centimeters. Based on this scale system, we could conclude that three modules of the buildings on the front and two and half modules of them on the sides were explained by this scale and its system.

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.

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.

All architecture in the history were based on a certain concept of architectural unit that functioned as a base model of architectural design. As we know, such model was not the same in the East and the West, and therefore, their architectures are not the same. This paper aims to identify how and why such base model of the two cultural area are different. As one way of discussing this issue, the concept of particle and field, as two representative idea of the West and East respectively, the employed. This kind of discussion can not follow the way of scientific verification as method of argument. However, the understanding of such concept of unit model is crucial for the understanding of the architecture of the culture in general. In basic sense, the tradition of Western architecture is rooted in the model of particle, where, architecture is conceived to be as a independent unit standing on earth as if it is a box like object. While, the tradition of Eastern architecture is rooted in the model field, where, architecture is conceived to be a part of field organization. In present days, we are used to the model of particle as if it is the only possible model of architecture. But, in fact, what man need to achieve in their architecture and city, is the balance between the two models.

Perception of architectural experience is different in different culture. This paper aims to identify how the experience of architecture is understood to be different in Eastern and Western culture. The discussion is based on the idea that the Western architecture placed more emphasis on visual perception, while the Eastern, on mutual responsiveness between man and built environment. The fact that the Western culture is more visually oriented than other culture, and therefore visual aspect of architecture, too, is considered to be very important, is already widely agreed among scholars. But, then, what had been considered to be important in the architectural experience in the East? It is the degree and quality of mutual responsiveness between man and architectural environment. This fact influenced much on the making of architecture of course, and the same fact played the key role in making the Eastern architecture different from that of the West. We are so used to the way of architecture of the West, that the quality of responsiveness is unknown if not forgotten. However, it is not the quality that was useful only in traditional society of the East, but necessary in our modem period as well. The quality for responsiveness, therefore, should be rediscovered and restored as the prime value and quality of architecture in the future architecture.