본 논문은 1970년 아시아에서 최초로 개최된 일본만국박람회(日本万国博覽會)와 전위예 술에 대해 살펴보았다. 일본만국박람회를 국가 이미지를 표상하는 문화외교 정책을 위한 장으 로 파악하고 기존의 일본의 전후 미술사에서 잘 다뤄지지 않거나 지엽적으로 서술되는 데 그친 ‘환경(環境)’ 담론 및 테크놀로지를 강조한 환경예술의 예술가 협업 그리고 구타이미술협회의 후 기 활동에 해당하는 일본만국박람회 출품작에 대해 검토하였다. 여기서 테크놀로지를 이용한 전위예술 경향은 과학기술의 발전이라는 측면을 제시하였으며 이는 진보, 미래와 동일시되어 이를 강조하는 정부당국의 방향성과 합치되는 면이 있었던 것으로 보인다. 일본만국박람회에서 전위예술은 일본이 고미술 등의 전통 뿐 아니라 현대미술에 있어서도 문화대국으로서의 면모를 지니고 있음을 알리고자 했던 정부당국의 의도를 실현시키는 역할을 하였다고 볼 수 있다.

The purpose of this study is based on Nam June Paik’s first solo exhibition, entitled ≪Exposition of Music-Electronic Television≫ which was held in 1963 at Galerie Parnass in Wuppertal, Germany. This was Paik’s first exhibition on the work of electronic television. Furthermore, this exhibition has provided the initial point of Video Art and that counts as an important meaning for researching Paik’s works. In 21st century many art museums are attempting to reproduce Paik‘s first exhibition itself. For this point of view the purpose of this study is focusing on the exhibition installation and its effects of the ≪Exposition of Music-Electronic Television≫. Paik has solely organized and directed this ≪Exposition of Music-Electronic Television≫ and also designed the poster. At Galerie Parnass Paik had made the exhibition with operated electric television, scenarios staged with prepared piano and mechanical sound objects along with record players and audio tape installations. Through this exhibition it turned the space of exhibition into an art work. The audience could freely experience the individual spaces which holds its own characteristics by operating the installed art works. All the different materials and physical effects installed in different rooms, all kinds of objects making sound or noise, and furthermore the works that needed audience participation have shown that characteristics of Paik’s major interest about the ‘space’, ‘sound of everyday life’, and ‘Audience participation’. Moreover, Paik has directed this ≪Exposition of Music-Electronic Television≫ not only dependent on standardized visual part but also multilateral experience approach for open exhibition. Paik’s intention for his exhibition was that the audience could be free inside exhibition space and this intention aroused the unknown artist Joseph Beuys to have spasmodic happening performance in his show. Joseph Beuys have smashed the lying piano on Paik’s show through this performance and Paik was satisfied with Joseph Beuys’s unforeseeable performance. This performance was not only about wrecking the art work but rather ‘homage to Nam june Paik’. For this kind of exhibition circumstance, Paik has made the television which was the linear communication with the audience to the ‘art work that is completed by the audience’. The passive viewers of television have become active viewers through making sound in front of television or operating the images with the sound volume while they are participating on Paik’s exhibition. Moreover, Paik has transformed the main classical instrument piano to attempt Art as a ‘playful’ thing, which was a priority only for the privileged classes. ≪Exposition of Music-Electronic Television≫ was Paik’s unique exhibition that holds ‘space and the sound’, ‘audience participation’, ‘experimenting new medium’. Paik has made the exhibition space as a one united space environment and did not segregate the ‘Art and everyday life’ and ‘Artist(subject) and Audience(object)’ which have made ‘space’, ‘audience’, ‘new medium’ as an Art.

長期以來，香港很多非華語中學生在學習中文寫作時都面對著字詞不足、文章結構散亂、文類特徵含糊等困難，因此必須給予他們足夠的寫作教學支援。「以讀促學」教學法（Reading to learn methodology）是目前廣泛應用在澳洲土著學生的英語第二語言閲讀和寫作教學法，其成效備受肯定。故本論文嘗試應用「以讀促學」教學法在非華語中學生的中文論説文寫作教學上，採用前實驗設計的單組前後測的研究方法，選取一位中文老師和十五位非華語中學生作爲研究對象，進行爲期五個星期的教學試驗研究，配以觀課、訪談及比較學生在教學之前和之後所寫的論説文，來探究「以讀促學」教學法在非華語中學生論説文課堂教學的實施成效。研究結果發現，師生一致認爲「以讀促學」教學法能夠有效提高學生上課的投入程度，師生課堂互動較多；並能提高學生學習中文寫作的信心，增加其課堂參與度。而學生在接受教學之後所寫的論説文，在字詞運用、文章結構鋪排及文類特色呈現三方面均比接受教學之前所寫的論説文為佳。

Yeats received a letter from Sturge Moore complaining about the way he dealt with the goldsmith's bird in his “Sailing to Byzantium”. After Yeats had done a complete version of “Byzantium”, he wrote to Sturge Moore saying, "The poem originates from a criticism of yours." He added that the idea needed exposition. The focus of this paper is to discuss what that idea was which needed exposition. Frank Kermode maintained that Yeats wrote the latter poem to make more absolute the distinction between the goldsmith's bird as the Image and the natural bird. On the other hand, A. E. Dyson argued that Moore's criticism "can be safely ignored." Balancing these two contrary views, we have to rely on what Yeats himself implies as to this topic. What Yeats has to say about Byzantium as a symbolic city can be found in his poem itself and in his book A Vision. In the poem, we find the following expressions, "A Starlet or moonlit dome disdains / All that man is, / All mere complexities / The fury and the mire of human veins." As is evident to all Yeats students, a starlet night is a moonless night, phase 1 (complete objectivity) and a moonlit night is a full moon (complete subjectivity) in his system. These two phases represent superhuman purity. At these two phases human life cannot exist; for all human life entails a mixture of the subjective and the objective, hence "mere complexities." But their importance lies in the fact that they point to two different directions for human beings to pursue perfection. He wrote in his A Vision, "in early Byzantium, maybe never before or since in recorded history, religious, aesthetic and practical life were one." In addition, we have a great dome, symbolic of inclusiveness and the process of purgation in stanzas 4 and 5. We can infer that Yeats tried to represent Byzantium as an ideal city where "religious, aesthetic and practical life" are lived out in harmony with the vision of perfection available to man. But as night becomes day in Byzantium itself, "unpurged images" will surge upon the streets of Byzantium, and so goes on and on the process of purgation.

Background : Cirsium japonicum is a perennial medicinal crop, characterized by the fact that it does not bloom in the first year. Therefore, annual C. japonicum leaves and roots are used as medicinal materials, and biennial do not harvest for seed gathering. In addition, thistle has a very low germination rate, which means that it takes a lot of seed in planting. In order to solve these problems, we conduct to determine the optimum maturity stage and the location of the inflorescence in C. japonicum. Methods and Results : The test material was a biennial C. japonicum. The harvesting time was sampled at intervals of 10 days (7 treatments) from the beginning of June to the beginning of August, and the location of the inflorescence was sampled from 1 to 3 inflorescence, 4 to 6 inflorescence, and 7 to 9 inflorescence. The buds collected for seed selection were dried for 10 days and used as germination test seeds. Seeds to investigated germination rate were soaked in 70% alcohol for 10 minutes and then washed with distilled water. Then, 20 seeds were arranged in a petri-dish, After standing at 25℃ for 7 days, germinated seeds were counted. As a result of the germination rate, at the beginning of June, the germination rate of seeds collected from 1 to 3 inflorescence was the highest at 35%. In the middle of June, it decreased by 2 times to 3.8%, and the germination rate tended to decrease as location of the inflorescence was lowered. In late June, it decreased to 1 - 2%, and most seeds collected after July did not germinate. The decrease of germination rate according to the harvesting time and the location of the inflorescence, it is considered that sufficient nutrients are delivered in the early stage but the number of immature seeds is decreased as the amount of nutrients is decreased. Conclusion : Appropriate sampling methods for the production of high quality seed in C. japonicum, the germination rate could be maximized by sampling from 1 to 3 inflorescence at the beginning of June. but, sufficient nutrient supply is required to increase the ripened seeds. Therefore, it is necessary to investigate further research on the additional fertilizer technology.

This study was carried out to analyze the visitors’ program satisfaction, and to propose the direction of improvement in Korea Agriculture Exposition. The survey was conducted among 593 visitors during the exposition period from October 18 until October 27. Among visitors, female visitors were 19.4% more than male, the rate of 40s and 50s was high to 53.5%, farmers was most frequent to 26.5%, and residents in Gwangju and Jeonnam were the majority with 84%. The visitors with family as companion form were most frequent to 44.2%, the rate of first visiting was highest to 37.9% in number of visiting, and exposition held information was obtained most frequently to 49.9% by word of mouth. In survey of program contents, visitors preferred the subtropical garden the most among exhibition hall, and 65.9% of visitors were satisfied about guide. The rate of satisfaction was 71.6%, and 32.7% of visitors responded that it did not participate in experience program because there was no guide. In survey of satisfaction in agricultural products purchase, 73.9% of visitors purchased agricultural products, and 86.3% of purchaser were satisfied. The 65.1% of purchaser responded that they bought because of belief about agricultural products, and purchase amount between 10000 and 20000 won was the highest with 33.6%. On the other hand, 41.3% of visitors did not purchase because they do not need. The visitors’ overall satisfaction of in Korea Agriculture Exposition was high to 82.6%, and the most unsatisfactory part appeared to drinking water facilities and parking lot. In survey of development possibility of agriculture through Korea Agriculture Exposition, 86.2% of visitors were positive, and the rate of revisiting intention highly appeared to 80.4%.