Earticle

창의성이 요구되는 패션에서 과거를 돌아보는 레트로 패션이 최근에 크게 부각되고 있다. 본 연구는 2014 SS∼2018 FW 시즌 세계 유명 패션 컬렉션에 나타난 레트로 패션의 표현 특성과 의미를 고찰하였다. 레트로 이론 및 관련 선행연구 고찰을 위해 문헌 연구를 하였고 인터넷 매체에서 관련 키워드 검색을 통해 총 63회 의 여성복 레디 투 웨어 패션 컬렉션 사진을 수집한 뒤 전문가의 리뷰를 참고하여 객관적이고 실증적으로 분석하였다. 연구 결과 2014 SS 시즌 이후의 레트로 패션은 주로 1970년대와 1980년대를 중심으로 하면서 그 외의 시대들도 표현되었다. 표현 특성은 패션 하우스의 유명한 작품 및 아카이브와 시대별 패션 아이콘 스타일의 현대적 재현, 시대 스타일의 재해석, 과거 아날로그 감성의 재현, 시대 스타일이나 문화의 절충과 융합으로 나타났다. 이 범주 별 디자인은 뚜렷이 구분되거나 중첩되었다. 최근에는 절충과 융합 표현이 복잡 하고 강하게 나타났다. 일반적으로 레트로는 현실의 어려움을 과거의 좋은 기억과 시절로 돌아감으로써 극복 하려는 경향이라고 언급되어왔다. 연구 결과 최근 레트로 패션은 이런 경향을 근저에 두면서 과거를 재발견 하고 감성적으로 경험하는 문화 현상을 반영하였으며 과거와 현재를 연결하였다. 일부 패션 하우스는 과거의 전성기나 디자인 정체성 등 유산과 가치를 계승하는 한 방법으로 레트로를 표현하였다. 또한 레트로 패션은 디자이너나 소비자의 개성을 표출하는 창조였으며 과거의 시대정신에 대한 공감의 표현이고 새롭고도 낯선 과거를 탐색하는 유희이기도 하였다. 결론적으로 레트로 패션은 과거의 시대정신과 미학에 대한 탐구와 공감 을 통해 새로움을 추구하는 것이라고 할 수 있다.

The purpose of this study is to analyze the expressional features and meaning of the retro fashion appeared in the world’s famous fashion collections during 2014 SS∼2018 FW season. Retro-related theory and research papers were studied through literature review. Then photographs of a total of 63 women’s ready-to-wear collections in those periods were collected through keyword search on the internet and analyzed empirically based on the reviews of experts. The results are as follows. Since the 2014 SS season, retro fashion has focused mostly on the 1970s and 1980s styles. Expressional features of retro fashion appeared as a modern reproduction of fashion houses' famous works, archives and fashion icon styles, a reinterpretation of the era style, a reproduction of the analogue sensitivity of the past, and an eclecticism and fusion of the era style and culture. Retro fashion meant recalling and re-experiencing of the past and the emotions, connecting past and present, value inheritance of history and heritage, and individuality expression. Also, retro fashion reflected the cultural phenomenon of rediscovering and re-experiencing the past. Some fashion houses expressed retro as a way to inherit their prime time and design identity. Retro fashion was a creative way of expressing the individuality of designers and consumers, expressing sympathy for the spirit of the past and exploring new and unfamiliar past. In conclusion, retro fashion can be said to create newness through exploration of and empathy with the spirit of the times and aesthetics of the past.

패션은 인간이 가지고 있는 욕망을 담아내고자 하는 미적 도구로서 개인과 사회가 관심을 가지고 추구하 는 가치를 알아낼 수 있는 중요한 단서를 제공한다. 다원화된 현대 패션의 변화 중 하나인 남녀 통합 컬렉션 의 진행은 동시대의 미적 가치를 담아낸 특성을 가지고 있으며 이에 대한 해석은 기존의 관점에서 벗어난 해석이 요구된다. 따라서 본 연구에서는 새로운 해석을 위한 방법으로 포스트모더니즘과 모호성 이론을 도입 하였다. 연구의 대상은 런던, 파리, 밀라노 컬렉션을 대표하면서 변화를 이끌어가고 있는 버버리, 발렌시아가, 구찌의 컬렉션 중 남녀 통합 컬렉션이 진행된 2017 SS 시즌부터 2019 FW 시즌까지 한정하여 분석하였다. 이 연구에서 탈 경계, 다원성, 해체의 특성을 가지고 있는 포스트모더니즘과 다양한 해석의 가능성을 통해 창의적인 발상을 유도하는 모호성은 의미의 재구성과 확장이라는 내적 의미로 분석되었다. 포스트모더니즘 의 미적 특성과 엠슨의 모호성 이론을 바탕으로 현대 남녀 통합 컬렉션에서 나타난 변화에 대한 미적 특성을 분석한 결과 환상성과 표현 확장, 불확실성과 이질적 결합, 개별적 유희성이 도출되었다. 환상성과 표현 확장 은 이질적인 코드를 기반으로 시공간의 복합적 사용과 개인의 독특한 경험을 존중하면서 표현의 다양성을 인정하고 확장하는 미적 특성을 말한다. 불확실성과 이질적 결합은 상호 다른 요소들이 인위적으로 결합되어 만들어진 미적 특성을 말하는 것으로 다양성과 가변성을 전제로 한다. 개별적 유희성은 서로 다른 표현 의미 가 동시에 발생하면서 나타난, 의외의 결과로 생기는 의외성과 재미를 말하는 것으로 이와 관련된 개인의 취향에 대한 존중을 말한다. 이 연구는 모호성 관점으로 현대 남녀 통합 컬렉션의 미적 특성 분석함으로써 다변화된 현대 패션의 표현에 대한 대안적 탐구 방법을 제시했다는데 의의가 있다.

Fashion is an aesthetic tool to capture human desires, providing important clues to the values individuals and society are interested in and pursuing. The progress of the men's and women's integrated collections, one of the changes in diversified modern fashion, has the characteristics of capturing the aesthetic value of the contemporary era, and the interpretation of this requires an interpretation that deviates from the existing perspective. A new way of interpretation was to introduce postmodernism and ambiguity theory. The subjects of the study were analyzed in a limited way from the 2017 SS season to the 2019 FW season, particularly for the men's and women's integrated collections of Burberry, Balenciaga and Gucci, who are leading the changes while representing the London, Paris and Milan collections. The study was analyzed with the inner meaning of reconstruction and expansion of meaning, In this study, ambiguity was analyzed as the inner reconstruction and expansion of meaning, and it induces creative ideas through postmodernism and the possibility of various interpretations, which have the characteristics of post-boundary, plurality and deconstruction. Based on the aesthetic characteristics of postmodernism and Empson's theory of ambiguity, the analysis of aesthetic characteristics of the changes in the modern coalescence collection resulted in fantasy and expressive expansion, uncertainty and heterogeneity, and individual amusement. The expansion of fantasy and expression refers to the aesthetic characteristics of recognizing and expanding diversity of expression while respecting the complex use of space-time and individual's unique experiences based on heterogeneous codes. Uncertainty and heterogeneous combination refer to aesthetic properties created by artificially combined different elements, assuming diversity and variability. Individual amusement refers to the unexpectedness and fun that result from the simultaneous occurrence of different meanings of expressions. The study has significance in that it presented alternative exploration methods for expression of diversified modern fashion through analysis of aesthetic characteristics of modern men's and women's integrated collections via ambiguity.

In order to find out the musical features of the Ci Yue works of women writers in the Song Dynasty, this paper confirms all the wo rks of women writers in the Song Dynasty that have survived as c i collections and music scores, and interprets the music features of women writers in the Song Dynasty. This manuscript identifies the features of the Song Dynasty femal e writers’ Ci Yue works, identifies all recorded Song Dynasty femal e Ci Yue(詞樂) writers and their works, and analyzes the musical features of Song Dynasty female Ci Yue. All kinds of word sets and music sets of Ci Yue were statisticall y sorted out, and the development process of Ci Yue was sorted ou t. 〈Song of Bai Shi Dao Ren〉by Jiang Kui in Song Dynasty is t he only Song Dynasty ci score that has been preserved, but it does not include female works. In the collection of Poems in the Grass Hall, there are many female works, and many female works were a dded in the Ming and Qing Dynasties. Based on the female ci recor ded in 〈Cao Tang Shi Yu〉 and the study of various ancient music scores, it can be confirmed that there are four kinds of music score s for recording female Ci Yue, which are left over in China and Jap an in the 17th century, 〈Wei’s Music〉, 〈Jiugong Dacheng North-S outh Ci Gong Music〉 and 〈Sui Jin Ci Music〉, 23 female Ci Yue works of the Song Dynasty, 16 writers and 25 scores can be seen. In order to understand the meaning of lyrics and music in the wo rks of female writers, the authors were first divided into upper clas s, common class, and lower class according to their identities, and t he worldview of the lyrics in the works of each class was observe d. Taking advantage of the education and social environment of the ruling class, women of the upper class left a relatively large numbe r of works, as well as many works with themes of love and patriot ism. The works of common women, based on the education they received in their families, generally express the personal emotions of men and women in love and family life. In addition, the lower-class female writers who used to be geisha or maidservants mainly expre ss their resistance to fate and longing for free love in their works d ue to the particularity of their status and occupation. In order to grasp the characteristics of female ci music works, th e composition, rhythm, rhythm and music category are observed. Th e result shows that the female works mainly use the FanZi(凡字)k ey (1=e) and the XiaoGong(小工) key (1=d). The works of the uppe r class women are mainly in seven-tone mode, with the most “Ling” and the second most “Man”. The Meter(節拍) are mainly 2/4 and 4/4. The works of civilian women are mainly in pentatonic mode, a nd the Meter(節拍) are mostly in 2/4 time and Senza Misura(自由節 奏). The number of “Ling” and “Yin or Jin” is more. The works of lower-class women are mainly in pentatonic mode, and the Meter is Senza Misura(自由節奏). There are a large amount of “Ling” and “Y in” in the works. As mentioned above, this manuscript is a translation and musical analysis of ancient music scores from the 17th century, and attempt s to reinterpret the results in the development of Song Ci Yue. The result proves that female Ci Yue in Song Dynasty developed in vari ous forms, and its musical characteristics were developed to the extent that it was clearly distinguished by class. Through this study, we got rid of the previous research on female ci music and proved that it is possible to study music. This paper puts forward the nece ssity of changing the perspective and method of Chinese women’s music research in the future.

In human language, a single linguistic form can be used to convey different meanings. One of the most representative forms which involve such a relation between form and meaning in Korean is the verbal inflectional morpheme (e/a)ss. This morpheme is responsible for the past tense by default, but in more than a few cases it does not necessarily denote an event that happened in the past. This article probes into the past tense morpheme in Korean (e/a)ss in a way of comparative corpus linguistics. In order to create the findings using a data-based method, the present study explores a bilingual parallel corpus in which a sentence in one language is aligned to the corresponding sentence in the other language. The parallel data the current work makes use of is the Sejong English-Korean Bilingual Corpus. Exploring the parallel data, this corpus study provides a quantitative analysis of (i) which linguistic form in English the past tense morpheme in Korean corresponds to and (ii) which verbs are more frequently associated with the non-past meanings when they are combined with (e/a)ss.

본 연구는 오픈스튜디오에서의 미술작업이 인생 후반기를 준비하는 중년여성에게 자기치유로서 어떠한 경험이 되었는지 탐색하는 것이다. 나아가 경험의 의미를 분석하고 경험을 돕는 요인은 무엇인지 논하는 것을 목적으로 한다. 이를 위하여 미술을 전공하지 않은 50대 중년여성 3인을 대상으로 내러티브 탐구 방법론을 적용하였다. 내러티브 탐구는 인간 삶의 경험을 연구대상으로 하며 참여자의 경험을 이야기하기와 다시 이야기하기를 통해 연구한다. 내러티브 탐구의 진행을 위해 Clandinin과 Connelly(2007)의 시간, 공간, 관계의 삼차원 공간을 활용 하여 내러티브를 파악하였다. 연구 결과, 오픈 스튜디오에서 중년여성의 미술작업을 통한 자기치유로서의 경험은 중년이라는 타이밍에 미술을 시작하게 되면서 ‘기회가 왔다’, ‘오픈 스튜디오 공간에서’, ‘소통하다’, ‘발견하다’, 마주하다‘의 상위범주가 도출되었고 이를 이루는 하위주제로는 ‘표현’, ‘표출’, ‘자기이해’, ‘통찰’로 나타났다. 연구 결과를 통해 오픈 스튜디오에서 미술작업을 통한 자기치유를 돕는 요인들이 발견되었는데 제3의 손인 치료 사의 역할이 ‘표현’과 ‘표출’을 촉진시키는 요인이 되었고 오픈스튜디오가 이야기 공간으로 작용하면서 ‘자기이해’ 와 ‘통찰’을 돕는다는 것을 알 수 있었다. 결과적으로 오픈스튜디오에서의 미술작업을 통한 자기치유 경험은 인생 후반기를 준비하는 중년여성에게 자신을 발견하고 사회와 소통하는 기회를 부여함으로써 그들의 삶에 의미 있는 경험이 되었음을 밝혔다는데 의의가 있다. 본 연구 결과를 토대로 중년여성의 삶에 자기치유로서의 경험을 가져다주는 오픈스튜디오의 인식이 높아지고 활성화되기를 기대한다.

This study explores the experiences of art work in open studios as self-healing for middle-a ged women preparing for the second half of their lives. Furthermore, the purpose is to analy ze the meaning of experience and discuss the factors that help the experience. To this end, narrative inquiry methodology was applied to three middle-aged women in their 50s who did not major in art. Narrative inquiry is the subject of research on the experiences of human life and is studied through telling and retelling the experiences of participants. For the progre ss of narrative inquiry, the narrative was grasped using the three-dimensional space of time, space, and relationship of Clandinin and Connelly (2007). As a result of the study, middle-ag ed women's experience as self-healing through art work in open studios was derived from the start of art under the name of middle-aged, and the upper categories of "opportunity came," "communicating," "discovery," and "face-to-face" were derived. The study found that factors that help self-healing through art work in open studios were found, and the role of a third hand therapist became a factor in promoting "expression," and it was found that open studios help "self-understanding" and "intelligence" by acting as a story space. As a result, the experience of self-healing through art work in open studios is meaningful in that it has revealed that middle-aged women preparing for the second half of their lives have become meaningful experiences in their lives by giving them the opportunity to discover themselves and communicate with society. Based on the results of this study, it is expected that the awareness of open studios that bring experiences as self-healing to middle-aged women's lives will increase and revitalize.

본 연구는 미술비전공 미술치료사가 다양한 미술작업을 체험하며, 그 과정을 통해 경험하는 것은 무엇인지, 미술 작업들이 미술비전공 미술치료사에게 주는 의미는 무엇인지를 탐구하고자 하는 목적을 가진다. 본 연구참여자는 미술치료사 중에서 학부, 석사과정에서 미술을 전공하지 않은 자로 선정하였으며. 연구참여자는 연구자를 포함하 여 총 4명이며 연구자의 저널과 참여자를 대상으로 한 서면인터뷰, 참여자들과 연구자의 미술작업을 통해 자료를 수집하였다. 질적 연구 방법 중 하나인 Giorgi의 현상학적 연구 방법을 적용하여 자료를 수집, 분석하였으며 총 7개의 핵심구성 요소와 21개의 하위구성요소가 도출되었다. 본 연구를 통해 미술비전공 미술치료사들이 미술 작업 경험에 관한 연구는 다음과 같은 결론을 얻었다. 첫째, 미술비전공 미술치료사는 미술작업 수행에 있어서 저항감과 어려움을 경험하면서도 동시에 미술에 대한 애정을 가진다. 둘째, 미술비전공 미술치료사는 다양한 미술작업 체험을 통해 미술에 대한 인식변화와 성장을 경험한다. 셋째, 미술작업은 미술치료사에게 주요한 자원이 자 힘이 되는 것을 재확인하였다. 이를 통해 미술치료사 중 많은 비중을 차지하는 미술비전공 미술치료사들의 미술작업에 대한 이해를 돕고 그들의 성장을 돕는 기초자료를 제공할 수 있을 것이라고 기대한다.

The purpose of this study was to inquire what non-art majored therapists experienced in creating artworks, and the meaning of these experiences. Participants in this study were selected among art therapists who did not major in art during their undergraduate or master' s degree. There were a total of four participants in the study including the researcher, and the data was collected through the researcher's journal, written interviews with participants, and artwork created by the participants and the researcher. For this qualitative research, Giorgi’s phenomenological method of analysis was adopted to analyze the collected data. The analyzed data by Giorgi’s analysis method produced seven core components, and twent y one sub-components. The result of what non-art majored therapists experienced in creati ng artworks in the study is as follows. First, these therapists not only experienced resistanc e and difficulties in creating artworks, but simultaneously showed affection towards creatin g art. Second, through the various experiences towards creating artworks, participants felt growth and changes in their perception towards art. Third, it was reconfirmed that the proce ss of art was a powerful tool to art therapists. As the researcher, hope is that this study can become base data to help non-art majored therapists who occupy a large portion of the art therapy profession in their understanding and growth.

최근 젊은 세대를 중심으로 생활한복이 인기를 끌고 있다. 그러나 여전히 생활한복은 일상복으로 많이 착용되지 않고 있으며, 한복에 들어가던 전통문양과 그 의미도 사라져 가고 있다. 본 연구의 목적은 전통문양, 생활한복, 커스터마이징에 대해 알아보고, 전통문양을 이용한 생활 한복 커스터마이징 애플리케이션을 통해 자신의 개성이 담긴 생활 한복을 제작 할 수 있도록 한다. 그리고 생활한복 시장의 활성화를 위한 방향성을 제안한다. 연구 방법은 각 의미별로 해당하는 전통 문양들을 총 22가지를 분류하였고, 문양별로 4가지의 디자인 을 선정하였다. 생활한복 모델링은 성별마다 저고리, 치마, 바 지, 철릭 원피스, 두루마기 등이 작업 되었다. 패턴에 사용될 컬러는 한국 전통 표준색 90선을 사용하였다. 한복 스튜디오의 인테리어를 참고하여 애플리케이션 공간을 디자인하였다. 연구 결과 현재 다양한 분야에서 커스터마이징이 이용되고 있으며, 패션에서 커스터마이징은 소비자의 개성을 잘 드러 내도록 하는 데 큰 역할을 한다. 본 연구의 커스터마이징 서 비스는 생활한복 시장에 아직 남아있는 기존 한복의 고전적 인 틀을 벗어나 앞으로 젊은 세대를 중심으로 생활한복이 나 가야 할 방향성을 제시한다. 그러므로 본 연구는 향후 생활한 복 시장의 새로운 판매 전략과 기술의 융합사례로 참고가 될 것으로 기대한다.

Recently, Modernized hanbok has become popular amon g the younger generation. However, Modernized hanbok is’t worn much as a daily clothing, and the traditional pat tern and meaning of hanbok are also disappearing. Object ives To learn about traditional patterns, Modernized hanb ok, and customization, and to create Modernized hanbok with one's personality through a Modernized hanbok cust omization application using traditional patterns. It propos es a direction for revitalizing the Modernized hanbok mar ket. Methods A total of 22 traditional patterns correspond ing to each meaning were classified, and 4 designs were selected for each pattern. Jeogori, skirt, pants, Chulik dre ss, and Durumagi were worked on for each gender. All 90 colors of Korean traditional standard colors were adop ted as the colors to be used for the pattern. The space was designed by referring to the wooden window frames and furniture of hanbok Studio. As a result of the study, customization is currently being used in various fields, an d customization plays a big role in revealing the individu ality of consumers in fashion. The customizing service su ggests the direction in which Modernized hanbok should move forward, centering on the younger generation, beyo nd the classic framework of hanbok, which still remains in the Modernized hanbok market. Therefore, this study is expected to help new sales strategies in the Modernize d hanbok market in the future.

친환경 디자인이란 환경과 생태적 측면을 고려한 제반 디자인 활동이나 경향을 의미하며, 최근 많은 기업체에서 친환경 제품이 나 서비스를 통해 일반 소비자들과 소통하는 중요한 분야로 인식 되고 있다. 따라서 본 연구에서는 백화점 쇼핑백 디자인의 재활용 여부와 경험, 횟수, 관심도, 조형성 평가를 통해 주요 3개국(한국, 일본, 미국) 백화점 쇼핑백에 대한 일반 소비자들의 친환경적 소구 에대한인식과선호도연구결과를조사하는데목적이있다. 본 연구에서는 분석을 위해 연구 범위를 주요 3개국 고급백화점으로 제한하였으며, 분석 대상 업체의 개수를 한국 4업체, 일본 4업체, 미국 6업체 등 최종 3개국 14업체를 분석 대상으로 선정하고 통계 분석(spss win 18.O) 하였다. 분석 결과, 다음과 같은 결론을 얻을 수 있었다. 첫째, 일반 소비자들은 평소 친환경적 소구에 비교적 높은 인식과 반응이 나타났다. 둘째, 특성별 차이에서는 의외로 젊 은 20대와 주사용 계층인 여성이 재활용에 대한 관심도가 높았다. 셋째, 일반 소비자들은 화려한 유채색이나 복잡한 일러스트로 표 현된 쇼핑백보다 단순한 흑백의 색상이나 공간 여백의 미를 표현 한 쇼핑백을 선호한다는 것이 조형성 평가 결과 나타났다. 넷째, 일반 소비자들은 쇼핑백을 단순히 상품을 포장.보호하고 이동시 키는 매개체로만 생각하지 않고 개인의 디자인 성향이 쇼핑백 선호와 선택에 포함시킨다는 것을 선호도 결과를 통해 확인할 수 있 었다. 본 연구는 주변의 다양한 신업태에서 등장하는 다양한 쇼핑 백들 중 대표적으로 범위를 고급백화점 업태로 제한하고 통계적 접근을 통해 일반 소비자들의 친환경적 인식과 조형적 선호도를 도출하였다는 측면에서 학문적 의미가 있다고 생각된다.

Eco-friendly design means all the design activities and tre nds considering environment and ecological aspects. Nowada ys many companies recognize it as an important part in whic h they can communicate with the consuming public through eco-friendly products and services. Therefore, the purpose o f this study is to investigate the consuming public's awarene ss and preference on three countries(Korean, Japan and Ame rica)' shopping bag design's eco-friendly resources through an evaluation on department shopping bag design's recyclin g, experience, frequency, interest and formativeness. This st udy limited the research scope to high-end department store s in main three countries and selected 4 Korean stores, 4 Jap anese stores and 6 American stores as the analysis targets. I conducted a statistical analysis(spss win 18.O) about these final 14 stores from 3 countries. The analysis could draw a conclusion as follows. First, the consuming public showed relatively high awareness and response to eco-friendly resou rces at ordinary times. Second, in the case of characteristic difference, surprisingly the people in their twenties and wom en who are the main users showed high interest in recycling. Third, the formativeness evaluation showed that the consum ing public prefer simple black-and-white color or shopping bags that expressed the beauty of space to shopping bags th at expressed complicated illust. Fourth, the preference invest igation showed not only that the consuming public regarded shopping bag as a simple medium that packs, protects and move products, but also that the individual design tendency is included in shopping bag preference and selection. This st udy has academic meaning given that it drew the consuming public's eco-friendly awareness and formative preference th rough statistical approach by limiting the scope of shopping bags to various new business conditions around us.

This study explores the emergence of the 吃-passive construction based on the semantic feature of the verb ‘to eat’ and its cross-linguistic grammaticalization path. The 吃-passive construction first appears in biànwén 變文 during the Tang dynasty. It was broadly used in the Ming dynasty vernacular novels. Its use drastically plunged after the early Qing. In modern Chinese, 吃-passive exists vestigially only in some lexicons such as 吃虧 ‘suffer losses,’ 吃苦 bear hardships,’ 吃驚 ‘be startled.’ By analyzing the occurrences of 吃 in modern Chinese, it is argued that the core meaning of 吃 is not just ‘to eat,’ but ‘to take,’ ‘to accept,’ or ‘to absorb.’ Due to its immanent semantic features of ‘to eat’-type verbs, 吃 was very prone to be grammaticalized into a passive marker. Kuteva et al. (2019) provided 14 different origins of the passive markers. ‘To eat’-type verbs are one of the common sources of a passive marker cross-linguistically. This study explains the development of the ‘to eat’-type verb into a passive marker using the concept of transitivity suggested by Næss(2007). The verb ‘to eat’ type developed into a passive marker via two possible intermediate stages(i.e. reflexive and anticausative). The grammaticalization path of ‘to eat’> reflexive > anticausative > passive marker was instigated due to the (1) low transitivity of the ‘to eat’-type verbs and (2) its inborn nature of “agent affectedness.” As the grammaticalization continues, the verb’s transitivity gradually weakens, and the degree of agent affectedness increases. Finally, the passive construction shows the minimal degree of transitivity. Its subject, whose semantic role is the patient, shows the maximal degree of agent affectedness. In sum, the passive construction is the opposite of the maximally transitive clause.

Two roads to genuine criticism in the study of art and literature runs parallel. Kantian aesthetician says that art, transcendent from all interests, is beautiful as art itself. Hegellian aesthetician regards art as way to telos. Semiotic criticism analysed the internal structure and forming principles of text. Marxist criticism synthesized literary works as super-structure and socioeconomic base. Marxist criticism subordinated literature to socioeconomic content and deprived literary text of literariness while evading the problem of poetic construction. Formalism was not able to admit that an external social factor could become an intrinsic factor of literature. Bakhtin's sociological poetics went far beyond the non-social poetics of pure Formalism as well as the non-literary sociology of crude Marxism contributing both a genetic structuralist approach. Bakhtin defined the task of sociological poetics as grasping the concrete and material unity of poetic construction both in relation to its semantic meaning and ideological significance. However, we realize limitation to apply this theory to poetic text and draw meanings and aesthetic value. Social semiotics synthesize text and ideology, structure and history. It criticize the ideology in discourse. However, it is very difficult to find literariness in literary text while applying to this theory. Because, I look at the two ways beyond sociological poetics and Social semiotics. The one is the synthesis of semiotics and cultural studies. The other is Hwajaeng Semiology. Hwajaeng semiology is my original theory which synthesize ss and cultural studiesociology. This theory synthesize text and context, text and ideology, code and message, author as a ssnder and reader as a recedies through Wonhyo(元曉: 617-686)'s Hwajaeng philosophy. It i686ossible to colligate formalism poetics and l studiesociologyeso that we may poeticpoey and sciencioicpoey analyze the structure s th text while at the same time interpret and evaluates the value of the text in its sociocultural context.

This paper analyses Spanish anterior preterite(pretérito anterior) ‘hube + past participle’ which means the immediate past viewed at a past and Korean ‘-ass-?ss-’ which means isolated past from the present, in other words, the past situation which does not continue to the present. For these two different tenses this paper proposes a homogeneous tense meaning structural formula based on the morphological analysis and two distinct interpreting parameters which make different tense meanings in each language.

The purpose of this study was to present an effective nursing intervention for helping the patients of mental illness by determining the effect of nursing-logotherapy on purpose in life and finding meaning, and hope of the patients of mental illness by developing and applicating program of nursing-logotherapy The data was collected from March to September in 1995, and its subjects were the patients of mental illness who was appropriate to the standard of this study among the patients of mental illness who hospitalized into Neuro-Psychiatric ward of M. and B. hospital located in Pusan area. They were all 60 subjects, thirty of them for an experimental group and the rest for a control group. The research design was an equivalent control group pre-test and post-test design as an quasi-experimental research and the conceptual frame- work was an interpersonal model. The data analysis was computerized by using SP-SS/PC$^{+}$ and hypothesis testing was done with 2-way ANCOVA and simple correlation. Results were summarized as follows : 1. There were significant changes of purpose in life and finding meaning in an experimental group be-fore and after treatment and a control group be-fore and after. 2. There were significant changes of hope in an experimental group before and after treatment and a control group before and after. 3. The positive correlation between purpose in life and finding meaning and hope of the patients of mental illness were observed. Consequently, nursing-logotherapy could significantly increase the purpose in life and finding mean-ing, and of hope, so it could be said an effective nursing intervention for helping the healing of the patients of mental illness.s.

본 연구는 역량기반 교육과정에서 기능의 의미와 역할을 고찰하고 외국 사례를 분석함으로써 교과 교육과정 설계에 대한 시사점을 제공하는 것을 목적으로 한다. 이를 위해, 먼저 역량과 기능, 지식과 기능의 관계를 검토하여 역량기반 교육과정에서 기능의 의미와 역할을 정립하였다. 이어서 우리나라 2015 개정 사회과 교육과정 문서에 제시된 기능과 성취기준 분석을 통해 문제점을 제시하였고, 역량 교육을 실시하고 있는 호주와 캐나다 온타리오 주의 사회과 교육과정 문서를 분석하여 다음과 같은 주요 특징을 도출하였다. 첫째, 두 국가는 사회과 교육과정에서 학습할 기능을 ‘탐구’로 설정하고, 둘째, 사회과 지식과 기능이 상호 긴밀한 관련을 가지도록 교육과정을 구성하였다. 셋째, 기능 영역은 탐구 단계 및 학년(군)에 따라 학생들이 갖추기를 기대하는 수준으로 계열화되었으며. 넷째, 탐구 과정 속에서 사회과 고유의 기능을 학습할 수 있도록 설계되었다. 마지막으로 탐구 과정을 학습하는 것이 어떤 역량의 계발과 관련되는지 명시함으로써 역량과 기능의 관계를 밝히고 있다. 호주와 온타리오 주의 기능 설정 및 교육과정 제시 방식은 교과 기능을 통해 역량 함양을 추구하는 교과 교육과정 설계에 적용 가능한 시사점을 제공한다.

The purpose of the study is to identify the meaning and the role of skills in competency-based curriculum and to analyze social studies curriculum documents in order to get the implications for curriculum design. To achieve the purpose, we first reviewed the relationship between competency and skills, knowledge and skills in detail to define the meaning and the role of skills in competency-based curriculum. And we critically examined skills and achievement standards in the Korean 2015 revised social studies curriculum document. Then, we drew implications for competency-based curriculum design by comparing it with the Australian HASS curriculum and Canada Ontario SS Curriculum. Implications drawn from the comparative analysis are as the following. First, both the Australia and Ontario Social Studies curriculum document highlight importance of inquiry skills and specify the inquiry skills as learning content. Second, the documents provided the ways of integrating knowledge and skills. Third, the inquiry skills as learning content included skills applied to specific areas in social studies. Fourth, inquiry skills are categorized into five components(questioning, researching, analysing, evaluating and communicating) and the sequence of content in each component is presented in the document. Fifth, the documents presented how the learning of inquiry skills is related to key competencies. Based on these findings, implications for competency-based subject curriculum design were suggested.

하나의 어휘 항목이 지니는 의미는 실제 언어 사용 현장에서의 다양한 쓰임에 따라 끊임없이 변화한다. 이 글의 목적은 이러한 일련의 과정을 ‘공시적 변이’와 ‘통시적 변화’의 통일된 시각에서 ‘단일어의 의미확장’, ‘복합어의 어휘화’, ‘통사적 구성의 문법화’를 대상으로 고찰하는 데에 있다. ‘변이’의 측면에서는 화용적 맥락에 따른 이들 대상의 다양한 해석 가능성에, ‘변화’의 측면에서는 ‘의미확장’, ‘어휘화’, ‘문법화’가 보이는 평행한 양상에 초점을 둔다. 무수한 ‘변이’의 가능성 가운데 일부 특정한 대상만이 ‘변화’에 참여한다. 그 과정의 중심에 ‘등재’가 있다. 등재는 고정되어 있지 않은 다양한 맥락의존적 양상 가운데 일부를 골라 기억하는, 일종의 ‘어휘부 내 고정화 과정’이다. 전체 과정은 다음과 같다. 공시적 변이/결합 → 통시적 변화단일어의 의미비유 등 단일어의 의미확장복합어의 형성 재 복합어의 어휘화통사적 구성의 형성 통사적 구성의 문법화 맥락의존적 측면에서 ‘단일어’의 의미비유와 ‘복합어, 통사적 구성’의 형성이 보이는 ‘공시성’에 주목할 수 있다. 또한 위 그림을 통해 ‘어휘화’와 ‘문법화’의 평행한 양상을 포착할 수 있다.

The meaning of a lexical item is continuously changed by various usages particular to the situations in which the language is used. Accordingly, the aims of this paper are to examine 1) the meaning extension of simple words, 2) the lexicalization of complex words, and 3) the grammaticalization of syntactic constructions. It is considered that they have a variety of possibility of interpretation in the viewpoint of variations by pragmatic contexts, and have parallel phenomena in the viewpoint of changes such as meaning extension, lexicalization, grammaticalization. The particular lexical items in various possibilities are able to participate in changes and consequently, in the middle of the process a phenomenon called listedness occurs, which is a kind of the fixation in the lexicon allowing the speaker to memorize some parts of a variety of context-dependent state. The process is as follows: The synchronic variations/combinations → The diachronic changes The metaphor and metonymy li The meaning extension of simple words st of simple words The formation of complex words ed The lexicalization of ne complex words The formation of syntactic ss The grammaticalization of constructions syntactic constructions On the aspect of context-dependency, it is important issue that the metaphor and metonymy of simple words, the formation of complex words and syntactic constructions have synchronic properties. Besides, we can find the parallel relationship between the lexicalization and the grammaticalization.

This paper was to investigate subject-to-subject [SS] raising and subject-to-object [SO] raising constructions in English as well as the linguistic factors which affect the Korean translations of the raising constructions. This study mainly discussed four main concerns. First, there is difference in the markedness of the raising depending on the SS or SO raising in terms of the frequency of tokens in English and Korean. Second, SS raising constructions in both languages are prominently used for the topicality of the raised subject, and the topicality in the SS raising is reflected in the Korean translations by the choice of the topic marker or nominative marker. However, the topicality in the SO raising in English is not clearly reflected by the SO raising in the Korean translations. Third, it is claimed that the modality predicates in English induce much more SS raising than their corresponding non-raising construction. In the translated version, almost all instances of the SS raising are translated with the raising construction in Korean. Fourth, the SO raising in the translations are conditioned by the feature of contrastive meaning.

본 논문은 과학의 시간적 존재 방식에 따라 보편과학과 한계과학으로 나눈다. 전자 의 존재방식은 연대기적이고 후자의 존재 방식은 서사적이다. 기호학은 인류학이나 정신분석학과 더불어 한계의 과학에 속한다. 본 논문은 한계의 과학으로서 기호학의 과거, 현재, 미래를 진단한다. 한계의 과학으로서 기호학이 자신의 과거와 맺는 관계는 서사적이다. 기호학자는 자신의 학문의 과거를 재서술함으로써 한계를 드러내고 새로 운 의미의 가능성을 열어야 한다. 한계의 과학으로서 기호학이 자신의 현재와 맺는 관 계는 비평적이다. 기호학자는 우리가 살아가는 현재를 이해 가능한 것으로 만들기 위 해 부재의 신호에, 죽음의 호소에 응답할 책임이 있다. 한계의 과학으로서 기호학이 자신의 미래와 맺는 관계는 대화적이다. 기호학자는 공통의 관심사 속에서 다른 학문 과 대화하며 자신의 의미를 추구해야 하고 이 의미를 전달 가능한 형태 속에 담을 수 있어야 한다. 이를 위해서는 소통 가능한 공통의 언어를 개발할 필요가 있다.

This paper proposes to distinguish between the science of universality and the science of limit based on the mode of existence of the science. The mode of existence of the former is chronological while the mode of existence of the latter is narratological. Semiotics belongs to the science of limit along with anthropology or psychoanalysis. This paper diagnoses the past, the present and the future of semiotics. The relationship that semiotics establishes ss a science of limit with its past is narratological. Semioticians open up a new possibility of meaning by retelling the past of their science and revealing its limitation. The relationship that semiotics establishes as a science of limit with its present is critical. Semioticians have to respond to the apeal of the death or absence to produce the intelligibility of our time. The relationship that semiotics establishes as a science of limit with its futre should be diological. Semioticians should share the common interest with other sciences to pursue the meaning of their science and be able to make this meaning tramsmissible. For this purpose they have to create a language that is communicable with others.

This paper provides a corpus study on subjunctives in Korean in a way of comparative semantics. The whole arguments of this paper are bolstered by distributional evidence taken from naturally occurring bitexts (i.e. a bilingual corpus), in which one sentence in a language is aligned with one translation in the other language. Since previous studies regard past tense morphology as the main component to express irrealis and uncertainty, this paper accordingly checks out whether the past tense morpheme (e/a)ss in Korean is also responsible for conveying the meaning of subjunctives. My finding is that the past tense morpheme (e/a)ss is a sufficient condition for forming subjunctives in Korean. The current corpus study verifies that the past tense morpheme is not obligatorily used in present conditional counterfactuals in Korean, unlike English. Yet, if (e/a)ss is used and the antecedent denotes a present situation, the conditional sentence can only be interpreted as conveying counterfactuality. On the other hand, wish constructions in Korean, irrespective of the semantic tense, often contain the past tense morpheme. Hence, this work substantiates Iatridou (2000)'s theory of 'fake past tense' is applicable to Korean subjunctives. The present corpus study, additionally, reveals that a conditional marker telamyen is a component of expressing past counterfactuals in Korean.

신현규, 2021, ‘-을까’ 의문문의 대화 참여자 정보 분포와 공손성 연구, 어문연구, 190 : 135~161 본 연구는 현대 한국어 종결 어미 ‘-을까’의 공손 용법을 제시하고 그 획득의 요체가 무엇인지에 대하여 논의하였다. 여기에서 다루는 공손 용법은 상대방이 확실하게 가지고 있을 정보를 요구하는 질문에서 ‘-을까요’를 사용하는 경우에 해당한다. 예컨대 ‘식사하셨을까요?’, ‘어디쯤 오셨을까요?’와 같은 경우에서의 사용을 볼 수 있다. 선행 연구 및 한국어 사전에서는 ‘-을까’의 이와 같은 기능에 대한 정보를 알 수 없다. 이는 비교적 최근에 획득된 용법으로 추정된다. 본 연구는 ‘-을까’가 기본적으로 청자의 정보 보유 여부에 대해 가부를 상정하지 않는 [불확정성] 표현이라는 점에 주목해 연구를 진행했다. [불확정성]을 가진 의문 표현을 통하여 화자는 청자에게 정확한 답변을 요구하는 것이 아니라는 의미를 전달한다. 이로써 ‘-을까’는 상대방의 소극적 체면을 위협하지 않으려는 장치로서 기능한다. 이와 유사한 예로 일본어의 ‘-でしょう(か)’ 역시도 ‘-을까’와 같은 공손 용법을 가지고 있는데, 본 연구에서는 이 두 언어의 형식이 모두 [불확실성]에 바탕을 두고 있다는 점이 용법 획득의 핵심이라고 주장하였다.

This paper presents the politeness function of the ending ‘-eulkka’ in modern Korean and discusses the primary cause of the acquisition of the usage. The politeness use we’re dealing with here is the case of using ‘-eulkka’ in the question that requires the information that addressee has with certainty: For example, you can see the use in cases such as ‘siksa-ha-ssyeo-ss-eulkkayo?(Did you have a meal?)’, ‘eodijjeum-o-ssyeo-ss-eulkkayo?(Where are you?)’. We can not noticed the information about such function in previous studies and Korean language dictionaries. Therefore, It can be presumed to be a relatively recent formed usage. This study focused on the fact that ‘-eulkka’ is basically an expression of the speaker’s [uncertainty] that if the addressee has the information. Through the expression of the question with this kind of uncertainty, the speaker conveys the meaning that they do not require the correct answer to the addressee. Through this process, ‘-eulkka’ functions as a device that does not threaten the negative face of the listener. As a similar example, ‘-deshouka’ in Japanese also has politeness usage likes ‘-eulkka’. The meaning [uncertainty] is the primary cause of the acquisition of the usage that both forms of these two languages.

본 논문은 독일강점기 프랑스에서 나치 독일이 자행한 최악의 전쟁범죄인 오라두 학살에 대해 그 원인과 전후(戰後)의 재판 및 그 재판이프랑스 역사와 집단적 기억에서 어떠한 의미를 갖는지를 중심으로고찰한 것이다. 오라두 학살은 1944년 6월 10일 독일 무장친위대의다스라이히 사단 부대가 중서부 프랑스 리무쟁 지역의 오라두쉬르글란(약칭 오라두)에서 643명의 주민을 학살한 사건이다. 오라두 자체에는 레지스탕스 대원이 전혀 없었고 인근에도 항독유격대가 없었지만 독일군은 연합군의 노르망디 상륙작전(1944년 6월 6 일 시작) 나흘 뒤, 항독 투쟁이 활발했던 리무쟁 지역의 주민과 레지스탕스 세력에게 충격과 공포를 주고 항독 의지를 꺾기 위해 그러한학살을 자행했다. 오라두 학살의 전범들에 대한 재판은 8년 반 뒤에 가서야 보르도에서 열렸는데 법정에 학살 책임자인 장교들은 전혀 나오지 않았고 21 명의 피고인 중에 프랑스인이 오히려 독일인보다 두 배나 많았으며프랑스 피고인들 14명 중에 13명은 알자스 출신의 강제징집병이었다. 재판 과정 내내 자기 지역의 강제징집병들이 법정에 선 것에 분개한알자스 지역 주민들과 단죄가 제대로 이루어지지 않는 데 분노한 리무쟁 지역 주민들이 충돌했다. 이는 독일강점기에 대한 두 지역의 상이한 두 기억의 충돌이기도 했다. 재판이 한창 진행중일 때 법(1948 년 9월 15일 법)이 바뀌기도 했고, 결국 판결이 내려지고 불과 1주일뒤에 사면법이 통과되어 13명의 알자스인들은 곧바로 석방되었다. 이는 프랑스 정부와 의회가 ‘국민통합’과 ‘국익’의 이름으로 알자스의기억을 선택한 결과였다. 그러한 선택에는 알자스 지역이 리무쟁 지역보다 인구가 많고 부유하다는 사실, 그리고 두 지역의 정치적 성향차이가 크게 작용했다. 아울러 1950년대 초의 프랑스는 당시 좌파가선호한 항독의 과거와 강점기에 대한 기억보다 우파가 선호한 용서와 화합, 이를 위한 망각과 사면이 더 우세한 시대였다는 점도 그러한 선택적 국민통합에 유리하게 작용했다

This article attempts to examine one of the worst war crimes by Nazy Germany in France, the massacre at Oradour with a special emphasis on its causes, the postwar trial of the war criminals and its meaning in French history and collective memory. The Oradour massacre on June 10th 1944 was a shocking event in which the soldiers of the German Waffen SS division Das Reich killed 643 civilians at Oradour-sur-Glane(called Oradour for short), a town in the Limousin region in midwestern France. Although there had been no resistance fighters in Oradour and its environs, the German massacred the villagers to shock and terrorize the inhabitants and the resistance forces in the Limousin region where the resistance action had been strong. The German made the massacre in order to demoralize them four days after the Allied landings at Normandy. It was not until January 1953, eight and a half years after the ev ent that the trial of the war criminals of the Oradour massacre began in Bordeaux. But out of the 21 accused in the court, there was no military officer responsible for the massacre, and the French accused were two times more than the German, 13 of 14 French accused the forced conscripts from Alsace. Throughout the trial, clashes broke out between the Alsatians who resented the presence of their forced conscripts as the accused and the Limousins who were enraged at the belated and ill-starred justice. It was also a conflict between two different memories on Nazi-occupied France. The law of September 15th 1948 was revised in the midst of the trial, and the amnesty law was passed only a week after the verdict. 13 Alsatians were released thereupon. The result was mainly due to the preference of Alsatian memory chosen by the French government and parliament in the name of ‘national unity’ and ‘national interests’. The choice was strongly influenced by the fact that Alsace was more populous and prosperous than the Limousin region, and the political difference of the two regions. And the early 1950s in France tended to pay more attention to the pardon and unity preferred by the right, and the resultant oblivion and amnesty than the past of resistance and the memory on the German Occupation favored by the left. The climate of the time contributed to favoring such selective national unity.

The purpose of this paper is to present failure analysis, of the heat exchanger tube in a district heating system. SS304 stainless steel is used, as material for the heat exchanger tube. The heat exchanger operates in a soft water environment containing a small amount of chloride ions, and regularly repeats operation and standstill period. This causes concentration of chloride ions on the outer surface of the tube, as well as repeat of thermal expansion, and shrinkage of the tube. As a result of microscopic examination, cracks showed transgranular as well as branched propagation, and many pits were present, at the initiation point of each crack. Energy disperstive spectroscopy analysis showed Fe and O peak, as well as Cl peak, meaning that cracks were affected by Cl ion. Failure of the tube was caused by chloride-induced stress corrosion cracking by thermal stress, high temperature, and localized enrichment of chloride ions.