Modern society attaches great important to state of the technology, but, unconscious desire and subconscious are also discussed in an important value. In the social background of such madness is acting as an artistic inspirational to the many people. At such a time, fashion photographs also being used medium which speak for people's desire. Editorial fashion photographs with unusual stories or including experimental visual elements unlike fashion advertising have increasing. The subject of this study is the formative characteristics in recognition of madness from ancient times until now and find out new meaning of the unusual and informal form of editorial fashion photographs showed in Vogue Italia since 2000. The analysis data of this study, we used 36 photographs of editorial fashion photographs taken by Steven Meisel, Tim Walker and Miles Aldriege. The final process of analysis made in with agreement of 10 major people. We used photograph's basic visual elements as analysis to avoid arbitrary interpretations. The content of this study is drawing in editorial fashion photographs from the viewpoint of Michael Foucault's Madness theory, Deleuze and Felix Guattari's Madness as the aspects of desire. The madness images in the editorial fashion photographs were showed as Decadence, Blindness, Violence and Grotesque based on the analysis results from above. The formative characteristics of editorial fashion photographs enabled the awareness on the value and importance of madness in modern society. These editorial fashion photographs can be the source of our wider perspectives for changing recognition of madness.

A primary purpose of this paper is to critically evaluate Professor P. Singh’s Article, “Colonised’s Madness, Colonisers’Modernity and International Law: Mythological Materialism in the East-West Telos”published in Volume 3, Number 1 of the Journal of East Asia and International Law. In his article, Singh attempted to overlap various conceptions of modernity taken from a wide range of academic disciplines, and experimentally collapse them into one with a post-colonial point of view. In spite of incomplete argumentation and obscurity in the conceptual formulation, I found his original ideas on the internal connection of modernity with the operating mode of international law to be highly impressive. The most critical point against him was the firm and stereotypical dichotomy of the colonizer and the colonized without any potentiality of sublating the state of colonization, that is, disconnecting the colonizers with their colony and liberating the colonized from their colony. By such sublation (Aufheben) of the existing oppressive relation between the colonizers and the colonized, we can plan to build a new world of peaceful coexistence between the colonizers and the colonized of the past. But although Singh’s conception of modernity is dangerously one-sided, I expect his further research to penetrate into the deep life-reality of the Indian subaltern, which would make a great contribution to the establishment of the new vision of international law in this global society.

This monograph takes on“ modern art”as the location of modernity. This subject, in my view, holds potential for a productive multi-logue and not just a dialogue, between three binary socio-cultural categories: child and adult, normal and mad, and colonisers and colonised. Modern art raises very interesting questions, and as an area that is often ignored in the analysis of law and science, it forms a powerful field for exploring both, as well as their intersections. Exploring the psychology of colonisation/domination is an important objective of this monograph. In order to get at it, the monograph imbibes Appadurai, Foucault, and Nandy as offering complementary stances on modernity and subsequent globalisation of intra- European relations after the industrial revolution. In doing so the author relates aspects of semiotic theory by looking at theories of myth. This monograph concludes by applying their relevance to the strategy of signification deployed by international law and relations.

공정육묘장과 양액재배 농장에서 재배 후 폐기되 는 폐배지를 재활용하기 위하여 실험을 수행하였다. 공정육묘 폐배지와 양액재배 폐코이어를펄라이트와 입상암면과 다양한 부피비로 혼합한 배지에 페츄니 아(Petunia hybrida) ‘Madness Rose’와 팬지(Viola tricolor) ‘Magestic GT’의 플러그묘를 각각 육묘 45 일에 지름 10cm의 플라스틱분에 이식하여 재배하였다. 공정육묘 폐배지와 양액재배 폐코이어의 일부는 120oC, 1.5기압하에서 30분 동안 증기소독 하였다. 폐 배지 보다 폐코이어를 펄라이트와 입상암면을 조합한 처리에서 생육이 좋았다. 팬지의 경우에는 소독하지 않 은 공정육묘 폐배지 처리에서는 생육이 저조하고 식물 이 고사하였다. 따라서 폐배지를 재활용 할 때는 소독 이 전제되어야 할 것이다. 이 실험의 결과 공정육묘 폐배지와 양액재배에 사용한 코이어의 배지로서의 재 활용 가능성이 입증 되었다.