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본고에서는 장혁주가 친일적 글쓰기에 본격적으로 착수할 무렵인 1930년대 후반에 집필한 『痴人浄土』와 『아름다운 결혼』에 형상화된 조선식민 일본인과 그 후손들이 겪는 민족적 갈등을 분석하여 일제의 조선통합에 대한 작가의 인식을 확인해보고자 하였다. 『痴人浄土』에서는 조선인과의 우호협력적인 관계를 위해 노력하는 주인공 사타로(佐太郎)의 모습을 통해 민족적 차별의 부당성을 제고하고, 조선에 정착한 숙부 의 외동딸로서 장차 사타로의 아내가 될 노부코(信子)가 겪는 내지(일본)인에 대한 동경과 열등의식, 그리고 이들에 대한 내지인의 차별적 시선을 중심 테마로 그려내고 있다. 그리고 『아름다운 결혼』은 1930년대의 대구를 배경으로 한·일 혼혈로 태어났거나 조선에서 성장한 일본인 여성의 지난한 삶을 통해 일제의 조선통합으로 발생된 사회적 갈등 양상을 형상화하는데 초점을 맞추고 있다. 그러나 이들 작품에서는 이상과 같은 갈등 양상의 형상화를 통해 일제의 식민지배를 비판하려는 의식은 찾아보기 어렵고, 오히려 식민지인들의 내지인에 대한 굴종을 당연한 것처럼 그려냄으로써, 기왕에 하나 된 국가의 체재유지에 기여하려는 집필태도가 엿보인다는 점에서 그 한계를 지적하지 않을 수 없다.

The main purpose of this thesis is to inspect the travel description to Manchuria ofJapanese, Korean & Chinese writers. There were lots of Japanese, Korean writers anda small number of Chinese writers to travel to Manchuria after found the state. And they wrote the account of travel notes. Japanese, Korean and Chinese writers’s travel notes shows the difference according to the identity of the colonialist and colonial people. Japanese writers call on the people to open up Manchuria, and Korean writers wantto turned into the main part of the colonialist by understand the Chinese as the others,and Chinese writers shows contrary points of view according to the individual stand.

We have examined the social, political campaign focused on the recognition of nation of economic bourgeois connected to the history of nationalism of Germany in 19th century. Based on the concept of the nation as the ”imagined Community,” the nation is considered the historical subject with the characteri stic that can be combined with the subjective experience and understanding of imaginating people along with non-completive characteristic and diversity. According to this viewpoint, economical bourgeois in Germany thought of nation through the attachment on the nationalistic border that can protect them from other nations that threaten their economical situation rather than the nationalistic recognition and developed a nationalistic campaign with the power that can protect them. Thus, their nationalistic campaign is distinguished from liberalistic characteristics in the early 19th century and is similar to the conservative nationalistic campaign in the late 19th century.

There are multiple perspectives on the discourse of BSE(Bovine Spongiform Encephalopathy) from medical, scientific and religious circles as a key issue in Korean society. Although most arguments try to focus on safety concerns about beef meat imported from USA, it is important to look at the discourse of BSE from biblical perspective as an alternative. Firstly I will investigate general understanding of the discourse of BSE. I would like to indicate that the risk of BSE is based on the logic of economy which increases profits in order to maximise human greed. Secondly I strive to suggest an alternative perspective from the biblical teaching based on life-centred value. In this paper I will not examine the discourse of BSE from scientific, but from biblical perspective as an alternative.

The essay is focused upon analyzing Lee Seo’s theory of calligraphy through the imagination of Changes and understanding his artistic way of humanity. He attaches importance to the method, technique and way of calligraphy, which respectively are representative as the aesthetic principle, the aesthetic object and the aesthetic stage. They are based upon the holistic principle of vitality in Zhou-yi and its historical commentaries. The methodological idea of calligraphy presented by Lee Seo I call the imagination of Changes. It provides a kind of foundation for the artistic theory of calligraphy. It is a clue to how he establishes a rule of calligraphy, applies it into a calligraphical technique, and ultimately attains to the calligraphical way. From the viewpoint of the philosophy of art, his theory of calligraphy can be understandable in the triple structure of the Way of Heaven, Humanity and Art. The Heavenly Way is the canon of the Human Way, and the Artistic Way is the revelation of the Human Way. The Artistic Way, therefore, is a symbolic crystallization of the universal unity of Heaven and Humanity. His theory of calligraphy provides a basis not only for an origin stream of the Korean artistic spirit of calligraphy but also for the Zhou-yi character of East-asian thought and culture.

Die griechischen Tragödien charakterisieren das antike Griechenland des 5. Jahrhundertes vor Chr. Sie hängen mit dem Dionysos-Kult zusammen. Die vorliegende Arbeit versucht, die Struktur und das Charakter der Tragödien anhand des aristotelischen Buches Peri poiētikēs zu erhellen. Zwei Momente der Struktur der Handlung sind die peripeteia und die anagnōrisis. Die Struktur der Handlung ist am wirkungsvollsten, wenn sie in natürlicher Weise zu einem Höhepunkte geführt wird, an dem ein plötzlicher Umachwung eintritt. eine peripeteia. Die Hauptperson soll einen zwar nicht vollkommen edlen, aber guten Charakter haben. Es soll sie ein großes Unglück befallen, nicht weil sie es verdient, sondern weil sie-ohne es zu wissen und zu wollen-etwas getan hat, was von außen her gesehen furchtbar ist, obwohl sie selbst daran unschuldig ist. Das ist es, was Aristoteles ihre hamartia nennt. Die griechischen Tragödien übten einen großen Einfluß auf die Entwicklung der griechen Philosophie aus. Die Tragödien sind auf der einen Seite als eine Spielart der Dichtung, auf der anderen Seite als einen Ausdruck der tragischen Bewußtseinssituation zu betrachten. Jeder hat seinen Anteil(moira). Dieser Anteil ist das Schicksal(Moira), das unter den Tragödien spielt. Das Schicksal des Menschen hängt mit der Macht des Todes(rigor mortis) zusammen.

Greek adjective katholikos(catholic; English adjective) meant ‘universal’ or ‘general’ as opposed to particular or individual. Early Christian Fathers such as Ignatius of Antioch seem to use ‘catholic’ with the meaning of ‘universal, everywhere’, as opposed to the heretical churches. At that time another word that church used to describe itself was ‘orthodox’, which meant ‘doctrinally correct’. Both words Catholic/Orthodox were used in the early centuries for the establishment of the five ancient Patriarchs(of Rome, Constantinople, Alexandria, Antioch and Jerusalem). The formation of the theological views of the Church Fathers is considered in the context of the christian Universalism as one of the cultural principle of pluralism, which could be compared with financial globalization of our ages. So, the main attention of our study is focused on the analogy between katholikos and cultural globalization on the basis of the mosaic thinking.

It seems almost impossible to discuss about the Art and common culture of after 20th century without movie. The age of Art by technology had begun with this young Art, and it was accepted gladly by politicians, business people and commons irrespective of political system, whether it be East or West. As the result of that huge enthusiasm of whole world, movie became one of the most important genre of modern common Art rapidly. With that point of view, the study on movie is really a matter of primary and common concern, not only among the participants in the movie making industry but also scholars. This paper is the result of research, which focuses on how poetic words and techniques enhance artistry of movie. Usually, when scholars discuss on the roll of literature for movie, it means structure of narration. But, the main topic of this paper is what poetic expressions and originative sentences could contribute toward perfection of movie as an Art. It is clear that the importance of verbal narration is as huge as story and elements of movie to make it a great art. Even in a movie, the creativity of sentences is an important element to satisfy longing for artistic romance of audiences, but there is lack of research on this grave issue. The literature for movie knows ability of itself, and the ability will be developed diversely. Our roll is watching it with care.

Il peut sembler évident que l’émergence de l’institution muséale représente un enjeu esthétique majeur-les musées de peinture-dans le contexte historiquement moderne, qui a pour vocation essentielle d’assurer dans une tradition de la philosophie des Lumières, un humanisme esthétique universel. Mais cet éclairage des oeuvres d’art, ce vouloir mettre les oeuvres d’art à la lumière n’en est devenu que plus problématique quand il s’agit d’en faire le déplacement ontologique du champ de ce qu‘on appelle voir. Dans le cadre social le rôle principal du musée consiste à apprendre à lire l’art hérité et l’art en train de se faire. C’est parce qu’il est conçu pour apprendre “l’histoire visible de l’art”, qu‘il peut donc être organisé selon le système des bibliothèques dans lequel s’est glissée la théorie de la connaissance. On assiste donc à l’élaboration d’un projet qui vise à une certitude rationnelle, ce qui revient à mettre en oeuvre une ob-jectivation radicale de l’art. Cette objectivation qui interprète d’emblée l’art comme un objet de conaissance ne caractèrise alors rien de moins que le pouvoir de la métaphysique de la volonté. Le sens originel de la theoria est à comprendre à partir du fait de voir la chose dans son apparaître, comme un témoignage de sa venue au monde. C’est, en bref, contempler l’apparition de la vérité, l’action réelle de la praxis elle-mê me. Pourtant la theoria, théorie d’aujourd’hui, ne remplit plus cette fonction: elle ne contemple plus la vérité, elle ne participe plus au moment même de l’apparition. Elle vise maintenant à subsumer en elle ce qui lui est présenté. C’est ainsi qu’elle fait de tout ce qui est un objet, qu‘elle l’interprète et le mesure, et finalement le domine. Théoria s’altère: l’ontologie de l’apparaître se sacrifie au profit de l’ordre de la connaissance. Et il en résulte la théorie. Notre thèse dévoilerait ainsi cette mise en opération de la theoria à travers laquelle l’institution muséale devient un substitut à l’epstêmê.

Philosophies of Lakatos and Kuhn are those which stress theory. Lakatos argues the one single experiment cannot determine the truth or falsity of a theory in light of his two theses of ‘negation of crucial experiment’ and ‘autonomy of theoretical science’. Kuhn says that normal science is dominated by paradigm by help of his conceptions on ‘the priority of paradigms’. According to him, experiment is just performed in view of paradigm. Hacking criticizes hierarchical view of theory-dominated philosophy of science, which defenses the domination of experiment by theory. He argues that experiment is not performed only for theoretical purposes and experimenters sometimes can do a thing which theoreticians deny to do that. Hacking, however, does not put experiment high position somewhere over theory. I probe two different interpretations of Lakatos’s and Hacking’s on the Michelson experiment. Hacking’s argument is not another hierarchical view which stresses experiment over theory. His point constitutes a critique of theory-dominated philosophy of science.

The purpose of this Study is to find Korean textbook developmental directions by using songs to provide aquisition in learning desires and advancement of conversational abilities for Korean language learners. This Study was a subject to 18 Korean major professors of regular 4-year college and 81 current students of Korean-major bachelor and master degree courses, and collected information and opinions about experience of using songs during a course, the purpose identified from a teacher and Korean rewarded region of a student by using songs, the gravity of songs used in the course, the satisfaction of both students and teachers, Korean songs recommended by students and teachers, assorting standards in writing a textbook, are divided into formal and content parts to show Korean developmental directions by applying songs.