2006년에 육성한 절화장미 ‘Innocence’ 품종은 전라 남도농업기술원에서 육성한 백·분홍색 스탠다드 품종으 로 수세가 강한 백색 ‘Juvena’를 모본으로 하고, 녹백색 이며 가시가 적고 흰가루병에 강한 ‘Greensuccess’를 부 본으로 하여 2001년에 인공교배하였다. 화형과 화색이 예쁘고 꽃잎수가 적합한 4계통을 2002년 1차 선발한 후 수세가 강하고 수량이 많고 화형이 예쁜 2계통을 2003년 2차선발하고 2004년부터 2006년까지 특성 및 생 산력검정을 실시하였다. 새로 육성된 ‘Innocence’ 품종 은 스탠다드 대형계 품종으로 화심 중앙에 분홍색이 있는 백·분홍색 장미로 향기가 있으며 흰가루병 저항성 정도 는 중간으로 절화지 중간에서 상단부분까지 가시가 적은 편이었다. 꽃 크기가 10.9 cm, 절화장 68.0 cm, 절화수명 이 10.7일로 우수하고 3년 동안의 검정결과 연중 꽃수량 은 118.7본·m2으로 대비품종 ‘Rose Yumi’(119.3본·m2) 와 비슷하였다.

William Blake, regarded as one of the great Romantic poets, was a prolific painter, printer, and engraver as well. Yet, he did not receive due credit for his work during his time. For a long time, his graphic art and literature were treated in isolation from each other; literary critics focused only on his poems and art historians on his engravings or paintings. Recently, attempts to see his work, particularly his illuminated books, as a “composite art” or as a synthesis of word and image have increased. I will also consider his work as a kind of open text in a poststructuralists’ notion, which blurs the boundaries between them and encourages readings as textual performance. In this paper, I will first show how Blake differentiated himself from other painters, engravers, and publishers by devising his own way of creating and printing illuminated books. Next, focusing on his earlier work, Songs of Innocence and of Experience, I will briefly discuss the characteristics of his illustration and the content of his poems. Finally, I demonstrate how Songs makes for unique reading in which the reader is an ongoing participant in its textuality, crossing between words and words, and words and images. The advent of the Industrial Revolution brought with it an increase in mass publication, and the distinction between fine art and designs or craftsmanship was yet to be clarified. Against such distinction, Blake created a unique method of "relief-etching", through which he combined text and engraved illustration on a single copper plate and hand-colored the prints. Each copy thus remains a unique work of art. His illuminated books envision interdisciplinary and multimedia text and question the modern system of classification and hierarchies between poem and painting, painting and engraving, art and literature. In the images of Songs, we see Blake’s profound interest in Gothic art as “divine” work. For example, he persisted in using firm outlines that were characteristic of Gothic art. Like other Romantic poets, Blake believed the imagination and God’s spirit to be manifest in outline rather than color. The letter was regarded to be appealing to the sensuality of the eyes. On the other hand, the poems in Songs reflect the dialectical relationship and synthesis in which “innocence” might be wedded to “experience,” as its subtitle Shewing the Two Contrary States of the Human Souls implies. Songs is, however, not to be read by isolating the poems from the illustrations. In the introduction of Songs of Innocence, Blake proposed the intricate and conflicting relationship between speech, writing, and painting. The title page also suggests that children are not merely passive learners imitating the nurse’s reading but active readers-seers who may better understand Blake’s illuminated books. Further, this paper, after the examination of a few poems, attempts to show that the images do not necessarily illustrate the poems and can rather create a link between different parts of the text. This rejects the traditional critical hierarchy of word over image. Blake’s work indeed opens up an infinite vortex, that is, the textuality, as Roland Barthes or other post-structuralists might call it, and invites us to participate as active readers.

매스컴에 떠들썩한 살인마 피의자의 얼굴 공개 문제 그리고 이광재 강원지사 당선 직후이나 확정판결 전이라도 금고 이상의 유죄일 경우 그 직무정지를 규정한 지방자치법을 두고 내내 무죄추정의 원칙에 대한 기사가 국내 뉴스를 장식하였다. 미국 오바마 대통령의 관타나모 수용소 폐쇄와 유지 번복은 세계 뉴스에 회자되고 있는데 알고 보니 이것 또한 무죄추정이라는 법원리에서 다투어지는 논쟁거리였다. 이 글을 쓰면서 인용한 많은 미국 관련 문헌들이 대부분 플리바게닝이 무죄추정의 원칙을 무용지물로 만드는 기술적 ․ 편의적 산물이라는 비판들도 지나칠 수 없었다. 이에 무죄추정의 원칙이라는 중요한 법적 원리가 한국과 미국에서 역사적으로 어떻게 형성되었고 현대 사회에 어떤 의미를 가지고 있으며 양국에서 어떤 위상의 법원리로 다루어지고 있는지 비교적인 고찰을 시도하고자 하였다. 우리나라보다 100년 훨씬 이전부터 무죄추정의 원칙을 법원리의 초석으로 굳게 적용해온 미국 법제 하에서 플리바게닝의 유지는 사실 무죄추정의 원칙을 제한적으로 해석하려는 의도로 파악되고 있다. 비록 짧은 역사이지만 헌법과 형사소송법에 명문의 규정을 두고 판례를 통하여 다른 법원리와 조화를 이루면서 무죄추정의 원칙에 대한 강건한 기준을 세우고 있는 한국법제를 살펴보았을 때 사법정의(Justice)라는 법정신을 느낄 수 있었다. 이 글은 바로 이러한 비교를 위한 것이다.

A new spray chrysanthemum cultivar, 'Innocence' was released by National Horticultural Research Institute (NHRI), Rural Development Administration (RDA), in 2005. It was selected from the progenies of open pollination of 'Sei-Alps' in 2002. After evaluation for the characteristics including shading culture in summer and retarding culture in spring between 2002 and 2005, final selection was made. The natural flowering time of "Innocence" is late October, but year-round flowering is possible by shading and illumination. It has round and wide petal, single type flowers with pure white petals and yellowish green flower center. The flowers are large and volumed. The plant shows vigorous growth. The diameter of flower is 7.4 cm. The number of flowers per stem is 9.3 and number of petals per flower is 27.7. The days to flower under short day treatment is about 57 and its vase life is 19 days in autumn season.