본고는 제1차 로잔운동이 시작되었을 당시 남미 신학자들이 제기 한 복음의 사회참여적 의미를 통해 서구 복음주의 선교운동인 로잔운동 이 ‘총체적 선교’라는 균형점을 찾았던 것처럼 세계기독교(World Christianity)가 서구 중심의 기독교에 미칠 영향력에 대하여 살펴본 다. 복음전도와 영혼구원을 선교의 우선적이고 궁극적 목적으로 하는 로잔운동은 일반적인 통념과는 달리 1974년 제1차 로잔대회 때부터 라틴 아메리카의 신학자들의 영향으로 사회참여적 요소가 매우 강조되 었다. 이는 냉전시대 복음전도냐 사회참여냐라는 서구 복음주의 이념의 양극 구도에 미친 제3세계 신학자들의 공헌이다. 본고는 로잔운동의 사례를 세계기독교에 비교하며 제3세계의 특징들을 담지한 세계기독 교가 전통적인 기독교 신학에 총체적이고 균형적인 신학적 재형성을 요구하고 있다고 주장한다. 특히 세계기독교가 로잔운동과 관련하여 로잔운동의 서구적 담론에 복음주의 전통의 상대화, 로잔운동의 탈서구 화, 세계기독교를 통한 로잔운동의 위치 재설정, 그리고 다양성 추구를 지향하게 만든다고 본고는 주장한다.

The first generation of Korean Christians became the main leaders of the independence movement, and they established a connection between Korean national identity and Christianity that has continued into the 21st Century. One of the main leaders of the independence movement was Soh Jae Pil. The March First Movement was a nonviolent revolution, a decade before Gandhi’s Salt March in India, that issued a Declaration of Independence and held nationwide demonstrations demanding an end to Japanese rule. Of the movement’s 33 organizers, 16 were Christians, at a time when fewer than 3 percent of Koreans were. Thus the first generation of Korean Christians made a great contribution to the March First Independence Movement,

이 글은 3·1운동에 나타난 기독교적 정신을 규명하고, 그 정신을 한국교회에 적용하여 한국교회의 선교적 과제를 제시하고자 한다. 3·1운동이 일제로부터 민족의 독립과 해방을 지향하는 정치적 운동이 었다면 기독교 지도자들과 교인들이 이 운동에 참여하기 위해서는 정교분리라는 교리를 넘어서야 했고, 천도교라는 이웃종교와 협력하고 연대하기 위해서는 배타주의적 태도를 극복해야 했다. 3·1운동에 나타난 신앙유형은 복음주의와 에큐메니칼 운동이 아니라 두 진영을 넘어서서 하나 되는 통전적 신앙유형이었다. 그러나 3·1운동을 실패로 규정하면서 기독교 신앙양태는 초월적 신비주의와 계몽운동으로 분열된다. 3·1운동에 나타난 기독교적 정신으로는 자주독립, 민주주의, 평화, 에큐메니칼 정신, 종교간 협력과 연대 등이 있다. 이러한 정신은 한국교회의 선교적 과제로 교회간 코이노니아와 남반부 교회를 강화시키는 선교, 교회내 민주화와 사회적 양극화를 극복하는 경제적· 사회적 민주화에 기여, 평화교육과 평화문화 배양과 평화통일에 기여, 복음주의와 에큐메니칼로 양분된 교회를 통전적 신앙양태로 회복, 위의 과제들과 지구생명공동체의 위기를 극복하기 위한 종교간 협력과 연대를 제시한다.

The red-eared slider (Trachemys scripta elegans) is the one of the most popular pets, and the most commonly traded species in the world. It is designated as an ecosystem disturbance species that has been managed in South Korea. To date, no reports of natural or anthropogenic migration and spreading of T. s. elegans in South Korea are available. In the present study, we estimated the expected route and the movable path of one female T. s. elegans found in Namsan-myun, Gyeongsan-si, Gyeongsangbuk-do. Based on the movable path, the potential destination of the female turtle was estimated to be about 282 m and 468 m away. Therefore, the moving distance of the red-eared slider to the nearest water system will be at least 606 m and at most 792 m. Our results provide the first evidence about the natural migration and spreading of exotic turtles. This study can serve as a basis for the management and countermeasures against the introduced of T. s. elegans and other exotic species in South Korea.

Roots of the March First Movement as Non-violent, Ordinary People’s Search for Justice The March First Movement of 1919 in Korea, widely accepted as a new type of movement based on the nonviolence and engagement of ordinary people, has attracted many scholars to study its historical character. Yet, there are few studies on the roots of the Movement spirit. This paper introduces a unique approach, offered by Moon-Young Lee. Lee traced the roots of the Movement in four moments in a Korean history: first, ideals of ancient Koreans; Pungryu-do in Silla dynasty; Donghak and Christian movement at the end of Joseon dynasty. Lee examined the character of the agent, goal to be achieved and the means to achieve the goal in each of four moments. Comparing the four, Lee found out that there are continuity and evolution in the four moments, which explain the extraordinary feat by ordinary people in the non-violent peaceful demand of independence.

Arnold Scho¨nberg used three twelve-tone series in the first movement of his 「String Quartet no.3」. These twelve-tone series are used in both melodies and accompaniment. But sometimes he did not follow this fundamental rule to pursue musical thought even though he made use of the twelve-tone system in this piece. This thesis is focused on not only theme melodies, but also first ostinato motive of accompaniment and the relationship of balance between Scho¨nberg's primary and secondary musical thought can be considered in the theme melodies and the first motive of accompaniment. That is to say, Scho¨nberg shows how the main melodies and the supported ostinato motives match well together from the examples of his own musical main thought, environs thought, and relative thought. This is an specific example that Scho¨berg can develop his musical logic in his piece perfectly only when all of musical elements are in harmony. This is different with tonal music which is depends on the development of just main melody. Scho¨nberg says that the meaning of composition skill of the twelve-tone system is a reproduction of the traditional tonal harmony and is for systematization of the process of entire musical elements. So, he unites between the traditional composition techniques with and his twelve-tone system. 「String Quartet no. 3」 is also composed using both old and new. Unusually, there was no sensation in the first performance of the 「String Quartet no. 3」. But his critics said Scho¨nberg could not overcome his fantastic musical theory deeply and this piece was an expression of the Dadaism.1」 However, When it was performed at Frankfurt in 1928, Adomo was fascinated with this 「String Quartet no. 3」 and he evaluated this piece as a 'very influential music'. The article 「Why is it difficult to understand Scho¨nberg's music」 of Alban Berg says several common characteristics of atonal music. these characteristics include similar variety of harmonies, various methods of cadences, equal use for each tone in twelve-tone system, well-matched harmonies with melodies, unsymmetrical and unlimited composition in musical theme, abundant variation skills, inclusive polyphony, and various and subdivisible rhythms. Scho¨nberg's 「String Quartet no. 3」 uses abundant various rhythms, variation skills with motive, counterpoint skills, and musical theme development based on traditional harmonic function. This piece includes various characteristics of atonal music which Alban berg notes in his article. Scho¨nberg's 「String Quartet no.3」, composed with abundant musical skills, shows the serious musical thought of the composer and his musical beauties. This breaks general opinions that Scho¨nberg's piece is difficult to understand.

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art Sacré Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art Sacré Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).

The peninsula-wide March First Movement in 1919 demonstrated the cohesiveness of the Korean people and served as the opening chapter to a new history; the entire peninsula was flooded with protests for independence, and shocked by their intensity, the Japanese colonial government engaged in indiscriminate suppression. The March First Movement propelled demonstrations to be held as well in Northern Jiāndǎo (“Puk-kando”), situated north of the Tumen River.Thousands of demonstrators gathered on March 13 in Lóngjǐng to read the Declaration of Independence as part of the demonstration. Although dozens of people were injured due to the suppression by the Chinese armed forces (seventeen were killed), numerous demonstrations (currently known are fifty-eight) took place throughout Northern Jiāndǎo. A frontier region, Northern Jiāndǎo was a unique cultural space wherein Koreans who crossed into this borderland formed their own communities; with active ethno-nationalist education and religious propaganda, the region served as a nexus of ethno-national and anti-Japanese consciousness. In addition, due to the frequent exchanges between the Korean peninsula and the Maritime Province, Lóngjǐng in particular served as the cradle of ethno-national independence movements.

The independence movement during the Japanese Military Rule during 1910s was definitively not occlusive. Movements toward Korean independence continued both within and outside the peninsula during this period, and the energy of resistance was continually accumulating. Because of capabilities for autonomy, the March First Movement could respond more efficiently to international context after the end of World War I. Compared to the May Fourth Movement of China or the Rice Riots of Japan, the March First Movement was peculiar in that it was a relatively large-scale, pan-Korean independence movement. The experience of the March First Movement for the Korean people served as the fundamental matrix of subsequent independence movements and as part and parcel of their ethno-national, historical memory, was transported through liberation from Japan’s colonial rule down to today’s unification movement. Analysis of the specific plans for independence movements and the actual activities of the Korean national representatives vis-à-vis records of examination from the police, prosecution, and each level of the judicial court as well as pilot studies demonstrates that at the outset, the plans for the movement did not envisage pan-Korean demonstrations or coalition with students. The limitations of the independence movements by the national representatives were in fact overcome by the actual conduct of the masses that began at T’apgol Park on March 1, 1919.

This paper offers a discussion of the March First Movement of 1919 (MFM) through the lens of moral development. Central to the discussion is the moral development of the most well-known personality associated with the MFM, Yu Kwan-sun (1902-1920). After discussing Yu’s own moral development, I connect this discussion to another important but less well-known figure associated with the MFM, Lee Sŭnghun (1864-1930). As a chief organizer of the MFM, Lee Sŭnghun made it possible for Yu Kwan-sun to both display and further develop her virtues and moral energies during the MFM. A discussion of Lee Sŭnghun also enables us to appreciate the thread of moral energy that was spinning prior the MFM, and which blossomed into the MFM in large part due to his efforts. I close by briefly discussing another participant in the MFM, Louise Yim (Im Yŏngsin) (1899-1977). Like Yu Kwan-sun, Yim was imprisoned and tortured for her participation in the MFM. Unlike Yu, however, Yim survived and dedicated her adult life to the independence of her country and the education of its citizens. A deeper consideration of the individuals involved in the MFM can connect us in the present to their virtues and moral energies. To know these individuals is to be inspired and moved by them. Thus the stories of the individual participants in the MFM remain an important resource for international ethics.

본 논문은 베토벤 피아노 소나타 Op. 81a ≪고별≫(Lebewohl) 제1악장에 대한 두 가지 내러티브 를 담고 있다. 첫 번째 내러티브는 외적인 분석으로서 음악의 여러 층위에 배태(胚胎)된 토픽들을 확인하고 그 의미를 탐구한다. 이를 위해 래트너(Leonard Ratner)와 아가우(Kofi Agawu)의 양식 적·기호학적 연구를 출발점으로 삼았다. 이러한 내러티브는 다양한 음악적 측면들에 대한 철저하 고도 섬세한 고찰들이 연합된 ‘해석학적인 담론’으로 발전하게 된다. 벗을 향한 향수를 상징하는 ‘고 별’의 모토와 슬픔의 표상(表象)인 ‘샤콘느 4도선’은 이 작품이 내포하는 복잡한 음악극의 근간을 이 룬다. 이 음악극에서 고별 모토와 샤콘느 4도선은 프랑스 서곡, 노래하는 알레그로, 화려한 양식 등 과 같은 음악적 기표들과 연합되어 다층적 의미를 생산한다. 두 번째 내러티브는 중경층에 대한 내적인 분석으로서 거시적 수준의 보조음 음형을 작품의 응 집력을 확보하기 위한 수단으로 사용한 베토벤의 소나타 형식의 취급 방법에 대해 논의한다. 소나 타 형식을 새로운 차원의 삼분할로 보는 견해가 조심스럽게 개진되며, 결론에서는 이 두 내러티브 분석의 융합과 평가를 통해 진정한 의미의 ‘베토벤적인 것’에 대한 숙고가 이루어진다.