Aspects of the liu shu 六書 theory continue to be used today to analyse Chinese characters, yet most scholars are unaware of the historical context out of which the theory emerged and the controversies surrounding its both initial and subsequent interpretations. I trace the origins of the theory to the Eastern Han and compare its three earliest rival formulations. Subsequent centuries saw a proliferation of interpretations which rendered any attempt at a unified vision of Chinese writing impossible. The trend of adding new explanations was only reversed by the Qing scholars Dai Zhen and Duan Yucai who, drawing on some of the earliest explanations, argued that the theory encapsulated not only the way characters were composed but also their exegesis. Even if they laid the ground for a shared interpretation, Dai and Duan’s take on the Eastern Han scholar Xu Shen did not go unchallenged. I discuss Zhang Taiyan’s and Lu Zongda’s criticism and their attempts to reconcile aspects of the traditional framework with modern linguistics. I finally contrast this updating of an ancient theory with the approach of Qiu Xigui who selectively discards one of the principles and thereby the very feasibility of the framework as a whole.

碑學 서예 이론의 출현과 碑派 서예 창작의 성행은 清代 서예 전향의 중요 상징이다. 阮元의 비학 이론을 선도로 清代 서예 창작 발전의 방향 을 제시하게 되었다. 새로운 이론 관념은 창작에서 충분히 증명되어 졌고, 창작 실기에서 특히 중요하다고 여겨졌기에 역사가 邓石如를 선택한 것은 우연한 기회 가 아닌 필연적 선택이었다. 본 논문은 "碑学"의 각도로 등석여 자신의 서예적 성취와 역사적 지위를 이해하고, 邓石如와 碑学 명가들의 교류가 碑派 서예 창작에 영향을 미쳤는지 등의 방면을 논술하고, 邓石如의 碑学 이론 해석이 가져온 의 의를 증명하며, 碑学 이론 해석의 각도에서 清代 邓石如의 서예사적 위 치를 제시하였다.

In music history, the 18th century is an epoch, in which concepts of distribution and statement of style are a delicate matter. To display this difficult situation, the first part of this study analyzes three selected music history books that are well known and commonly used in this country. The analysis shows that disagreement among the context of historical interpretations between analyzed books cannot be overlooked. On the other hand, it was also observed: it is mainly about the history of the (German) instrumental music, while the opera, in particular, the Italian opera seria, which has been also determined as one of the main genres of the century, is neglected. In the next part of the work was the cause of the differences in the historical interpretation investigated based on Carl Dahlhaus’s music-historical theory. It was noted that the basis of the 18th-century music history was laid out around the turn of the 20th-century by the so-called "German Bildungsbürgertum" derived from music historians, while the national sentiment played a significant role. With previous findings, it is tried in the last part of the work, a self-written music history of the 18th-century presented in the outline. In summary, the music history of the 18th-century should be treated more in the narrow context of political, cultural and social issues, as happened so far. This perhaps could be the diversity of historical interpretations, which is generally observed on the area of research discussed here.

It is essential that we have appropriate missions to share and communicate the Gospel, and to understand the interests, needs and world views of those we are trying to communjcate with. However, the big issue of today's missions seems to be the problem of cotextualization. During the mission history of two thousand years, there were so many experiences and attempts of the cross-cultural missions, questions like, "How the Gospel can be communicated effectively and relevant" figure prominently in the discussions of contextualization. The old forms or pre-stages of contextualization are accommodation, adaptation, and indigenization. It is enough to note some of that kind of approach, i.g. the missions of Mateo Ricci , Roberto de Nobili, etc. Although there has been much work on the subject of contextualization, the author will trace in this paper the historical background and theory of the contextualization. and try to show contextualization as a paradigm shift in mission theology. Then the author suggests to consider the theoretical basis of the contextualization, like principles, I) creative tension or complementarity of Gospel and cu ltures, 2) "indigenizing principle and pilgrim principle", 3) "critical contextualization", and "transcultural or supral cultural theology", and 4) "the prophetic, hermeneutical, and personal challenges of contextualization." However, contextualization is not the only method of missions, it has also limitations. Contextualization of the Gospel should be always reflected and reaffirmed in the process of mi ssions, by the "the international hermeneutical community"( ecumenical co-worker and local church leader, missionary and theologian), with the principle of theologia viatorum.

This study attempted to introduce Fei-Ranis's agricultural development theory and discuss its problem for the rural development of less developed world. Fei-Ranis systematized the development process of Western European economy on the ground of dualism. They divided the process into 4 stages by the concept of 'mode of operation'. Paticularly, they consider agrarian mercantilism as take-off stage and its development were achieved by the increase of trade margin and labor productivity. Especially, they thought that only agricultural revolution through the diffusion of internal exchange economy and construction of tree-star system can accomplish favorable transition to industrial capitalism. In order to promote this agricultural development, less developed world must abolish short-run agricultural policy and propel 'learning by the contact' strategy through 'tree-star system' and 'parellel development.' In reality, it was problematic that the contemporary less developed world is trying, in the course of a few decades, to imitate Western European experience with development over the last four centuries. But Fei-Ranis ignored qualitative aspects of agricultural development by tree-star system and also it is criticized that they considered agricultural development process of less developed world follows only that of Western European classical process.