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A Study of the Development and the Value of the ‘Praiseworthy Stories’ of Catholic Church in Kyeong Hyang Magazine Yun-sun Kim (Korea University) This paper examines the development phases of the so-called "praiseworthy stories" published during the Patriotic Enlightenment Period, the Japanese colonial era up to 1950s (1900s~1950s), in Kyeong Hyang, an iconic magazine of Korean Catholicism. We will look into the relevant historical materials in an attempt to ascertain their historical values. The magazine is currently the journal of Bishop’s Meeting and also holds the title of the longest ‘running’ magazine in Korea. The stories were originally being published in the ‘serial novels’ column of a daily newspaper, Kyeong Hyang Newspaper. The column was placed in the front page as the novels contained in it were regarded as important writings that would enlighten people by making them aware of social problems. When the column was disconnected due to the censorship of the colonial government, the column changed to appear of in the above- mentioned Kyeong Hyang Magazine of Catholic church, now purporting to enlighten Catholic followers. In total 274 ‘praiseworthy stories’ were introduced over 231 times in the Kyeong Hyang Magazine from January 1911 through June 1957. The material gathered showed that the 1910s were the nascent period of the ‘praiseworthy stories.’ The ensuing 1920s were the period of development, 1930s the period of maturity, and 1940s the receding period. The period between 1928~1932 was its golden period. Writings touching on France appeared frequently, indicating the close relationship between the French and Korean Catholics. Kyeong Hyang introduced 11 ‘praiseworthy stories’ over 12 times by adding a column concerning 'the persecution era' for a period from January till May 1929. Those ‘praiseworthy stories’ depicted religious lives of martyrs of the Chosun Dynasty during the Byeongin period (1831) as well as the Catholic persecution. The Catholic ‘praiseworthy stories’ became the indigenous stories of the people of the dynasty. It lead to Eunwha, a story dealing with catholic persecution and martyrdom. ‘Praiseworthy stories’ are symbolic in that they denote the beginning of the Catholic literature in Korea and its repository of faith in God. The stories gave birth to various catholic narrative forms, one of which is the Catholic inculturation.

A Comparative Analysis of Sowol’s and Yisang’s Poems from a Semiotic Perspective: Focusing on the relation between ‘ending form’ and ‘poetic image’ Jungran Oh (Kwangwoon University) This paper conducts a comparative analysis of Sowol’s 165 poems and Yisang’s 83 poems with a view to demonstrating that the image of a poem is constructed not only with its contents but also in its usage of the ‘ending form.' From a semiotics perspective each poet's ‘ending forms’ show his inclination towards certain ‘ending forms.’ The pattern as to how the ‘ending forms’ are employed and used can be deduced through examining the correlation between the frequency and the cognitive style in certain ‘ending forms,’ which create the overall image of the poem and the poet’s poetic world. In other words, it is not only the difference in content but also the semiotic differences employed in ‘ending forms’ that distinguish the poetic images of the two poets.

Poetic “Re-writing” in the Modern French Poetry:the concept of “Palimpsest” Min-Seok KWAK (Yonsei University) A palimpsest is a manuscript page from a scroll or a book from which the text has been scraped or washed off to be reused. The word “palimpsest” is derived from Latin ‘palimpsēstus’ and from Ancient Greek ‘palímpsestos’, (scratched or scraped again). In Ancient times, literary works were written on wax-coated tablets that could be smoothed and reused. The term has come to be used in similar context in a variety of disciplines and notably in literature. Parody is a rhetorical intention that imitates the style of another work. This study aims to denote the elements of parody in modern french poems, and especially in Rimbaud’s poem: “Vénus andyomène.” Venus Anadyomene is generally accepted as one of the most famous iconic representations of Aphrodite. Rimbaud recreates the Parnassian poetry using derision and sarcasm and replaces the initial beautiful rhythm in order to parody the work. Rimbaud, in his poem, used traditional poetic structure to engage in a fierce caricature of Venus rising. which resulted in a portrait with heavily derogatory vocabularies.

Spatial Composition and Audience Experience of the Site-specific Performance Rora Paek (Soongsil University) This research has two-fold aims: to investigate critical discourses in site-specific arts and to analyze the production and reception aspects of contemporary site-specific performances. These aims are motivated by the problematic issues brought up by the nature of site-specific performance in the areas of performance studies and staging. One reason is that more and more diverse styles of site-specific performances have recently been emerging in Korea. Another reason is that, even though scholars have given site-specific performance a lot of attention over the years, its conceptual definition still remains unclear. To clarify the concept of site-specific performance, this research undertakes the following three tasks. First, it examines the established critical theories of site-specific arts that have been proposed so far both in Korea and abroad. Second, it identifies tendencies that distinguish the site-specific performances of the 21st century. Third, for specific investigation, it analyzes the directing methods that organize the "found site" and audiences’ reception and experiences of specific sites through analyzing two site-specific performances—Heterotopia (2010) and en route (2012)—which have been highly acclaimed for their experimental and aesthetic qualities. This research will hopefully encourage a more comprehensive critical discourse on site-specific performance of our century -- a discourse which will also show how the directors who experiment with site-specific performances provide access to the sites, compose the site-specific performance space, and guide the audiences who not only watch but also participate in the performance.

Studies on the Communication Model for Sustainable Community Development Hyunjoo LEEㆍHyun-Sun CHOIㆍYoon-Kyung OH (aSSIST/Myongji Univ./Seoul Institute) This paper aims at establishing an interactive communication model through which all stakeholders of a community regain humanistic sense of community development process in order to form the community culture based on the co-understanding as well as the consensus built. The communication plan of a regional authority should be drawn up with bottom-up approach which includes all stakeholders as active participants of the policy making for the community development. The representative linguistic theories of communication, such as Jakobson's communication schema, Hymes' model of communication, Grice's maxim of cooperative conversation, interactionism, dialogism constitute the source of our communication model for sustainable community development. The newly proposed communication model for the community development is the fruit of transdisciplinary research which would reflect socio-cultural aspects of human interaction. Finally, the various communication practices carried out by Seodaemun-gu and by the Jeon-Ju Test-Bed Center for Urban Regeneration are analysed and evaluated on the basis of six principles of cooperative communication model.

Observing Differences: A system-theoretical Conceptualization of New Media Mookyu Kim (Pukyong National University) This paper aims to delineate a new concept of media in terms of Niklas Luhmann’s system theory. Niklas Luhmann is well known for his pursuit of the theorization of the social construction from the viewpoint of the communication and media. Although he commented on the operation and effect of the computer partially in his double volume book, Die Gesellschaft der Gesellschaft, the details of the new media concept was not fully comprehensible. Yet, his system-theoretical media concept had already insinuated on this issue, especially when he put forward the distinct characteristics of the art media in a communicative environment. Art in communication is when the difference between the media and the form itself becomes the media or the form in the second order of observation, and only when this recursive transformation remains consistent. This description of the communicative art media based on the differentiation between the first order and second order media is a necessity in order to comprehend the new media. The modality and variability of the digital codes, which symbolizes the uniqueness of the new media, provides the positive environment to this media/form- differentiation.

Lyon: The Crossroad of the European Cultures Nam Youn Kim (Kangwon National University) The main focus of historical studies has traditionally been on historical events, the result being that regional qualities were only thought of as a simple backdrop. In France, for example, no other cities other than Paris has been the subject of serious research. The present paper intends to put forward another city, Lyon, as one just as important in French history. This study, however, does not simply mean to take up regional issues but at the same time purports to consider cultural issues in a broader perspective. Lyon comprises all the attributes that are associated with France, Rome, and such Celtic lands as Gaul. In the ancient Roman times Lyon was the focal point and was more important to Rome than Paris as it was perceived as the crossroad of Europe. Lyon, due to its favorable location, saw developments in regional industry, economy and culture, thereby becoming the hub of Christianity. Until the 12century, the city enjoyed the same stature as Paris as a major metropolis of Christianity. The cultural significance of Lyon can be deduced when you take into consideration the fact that Francois Rabelais, one of the literary giants of France, published his manuscript at Lyon. After Lyon was incorporated into the French Kingdom, it still maintained its premium as the second city only to Paris. Lyon's strong point lies in the fact that it was not only the crossroad of many different cultures but also a geographical location which functioned as a natural transportation hub so that it was also an economical crossroad. This geographical attribute brought about a renaissance in cuisinary art, and one can actually proclaim that it is Lyon and not Paris that should be acclaimed as the European cuisinary capital. Lyon, while guarding the traditional cuisine, embraced the internationalized cuisine of Paris and became the representative of French cuisine. While Paris is known as the birth place of cinema, the honor should actually be given to Lyon, since it was in Lyon that the brothers Lumière first invented the cinematography. Today Lyon, taking notice of the name Lumière which means ‘light,’ is standing tall once more in the world stage by hosting the annual “Festival of Lights.” In this respect, too, Lyon is a city comparable to Paris, as a rival city. Paradoxically enough, Lyon's defeat to Paris has contributed to strengthening the city's competitiveness. Lyon survived and kept its identity intact throughout the historical events which overwhelmed the city: the defeat to Paris, the Roman invasion and the rule of the Saracens. The hero of 2nd World War was Charles de Gaulle, but it was Lyon's Jean Mullen who lead the resistance in France during the occupation. Lyon also has the human resources to meet and adapt to the demanding needs that, in the long run, clearly function to establish the city as the true carrefour where different cultures converge. The citizens of Lyon guard their identities while changing slowly to meet the needs of the changing culture, demonstrating that they are truly the cultural representatives of the 'one-Europe' doctrine.

Mystification and Demystification and the Subtext Gi Chan Yang (University of Suwon) Mystification and demystification are rhetorical tools and manifest through the subtext which convey the underlying message of the author to the audience/reader. Modern fiction use subtext for many different rhetorical reasons. These uses of subtext are closely related to the metaphorical rhetorics and allegorical inferences that one finds abundant in today’s fictional environment. Mystification tries to entrance the audience/reader to think that what is actually a fabricated imagery is based on actual reality while demystification on the other hand proposes to lay bare and to remove the symbolizations associated with narratives. This paper looks at the use of mystification and demystification as a rhetorical tool and their application in the modern drama. The symbolizations and the meanings underlying what is presented on stage and through text can generally be accepted as the theme that the author is trying to convey to the audience/reader and it can be quite different from what is actually presented and not represented.