매우 빠르게 확장되어 가고 있는 지식산업사회, 안전사회 및 복지사회 등의 양태는 정부에게 그에 상응하는 공적 기능의 정교화를 요구하게 되었다. 그에 따라 정부가 수행하는 국가사무는 단순반복적인 것에서부터 고도의 과학기술 적인 사안에 이르기까지 비약적으로 다양화되었고 복잡하게 되었다. 정부는 국가사무를 한정된 예산 내에서 효율적으로 이행하기 위해 점차 민간에게 사무를 맡겨 처리하게 함으로써 행정의 간소화와 시민의 참여확대를 도모하게 되었다. 정부가 민간에게 국가사무를 맡기는 방식은 대한민국은 정부조직법상 민간위 탁이 상정되어 있으나 개별법상으로는 대행 등이 많이 활용되고 있다. 해상의 분야에 있어서는 주로 국제항행선박에 대해서 국제협약, 국내법령, 선급규칙 등 에 따라 감항성에 관한 규칙적합성 검사를 수행하는 선급법인과 같은 민간 선 박검사단체가 정부로부터 일정한 위탁유사의 관계를 맺고 국가사무에 참여하 고 있다. 이 글에서는 민간위탁제도가 가장 오랫동안 정립되어 왔고 국가사무 를 기능적으로 유형화하여 운용하고 있는 미국의 위탁제도를 살펴보고 그 제도 내 공인선박검사기관에 대한 규제가 어떻게 형성되어 있는지 살펴보고자 한다.

This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.

The essay attempts to rethink the widely acknowledged notion that the ecologial writing is a minium writing weapon to tackle the European writing and limit of modernity. Most of the intellectuals paying attention to decolonial theory have arrived in limited ideas about the recent decolonialism. As a result, the recent debates on decolonialism have been deployed under the assumptions that the so-called "troika of decolonial theory" advocated by Frentz Fanon, Edward Said, and Homi Bhabha. From the point of view, the essay thus purports to demonstrates that the unfamiliar theory ecology and ecological writing is widely helping to overcome the limit of established decolonial wiriting and interpretation of text. To do this, from a ecological viewpoint, the essay attempts to re-read the irish text and Irish decolonial poet Seamus Heaney's poem "Gifts of Rain," who was awarded a Nobel Prize for Literature in 1996.Heaney concentrates primarily on the origin and mother land of the conflict in "Gifts of Rain" through elegiac poems celebrating the identity, history, territory and tongue of his irish people. But his imagination and attitude of writing is based on not just a decolonial method and idea but a ecological preoccupation on his "Mother Land." He looks forward to finding out integrated moments in his land beyond the political, religious, and topological separations. From the viewpoint of the ecological attitude, he finally enters into the deterritorial region against its dichotomous and counter-discursive tendency in decolonialism. Roughly speaking, some say that this new writing and epistemological method is just a utopian thought, but his ecological writing suggests that this is the most effective and creative means of making a new writing code and poetics moving from silent spectator to speaking actor/actress in the world.