김춘수의 무의미시(론)의 기원에 관한 기존 연구는 다음의 두 가지로 수렴된다. 관념을 언어로 포착할 수 없다는 한계 의식에서 무의미시(론)이 비롯되었다는 견해, 개인적 체험에서 촉발된 역사와 이데올로기에 대한 환멸이 원인이라는 견해가 그것이다. 그러나 이와 같은 두 가지 상이한 요인이 단일한 사건에 대한 기원으로 동시에 승인되는 것에 대한 문제 제기는 찾아보기 힘들다. 본고는 이러한 의문에서 출발하여 두 가지 상이한 요인이 무의미시(론)의 발생이라는 단일한 사건의 기원으로 파악될 수 있는 토대를 밝히고자 했다. 이를 위해 무의미시에 관한 김춘수의 대표적인 시론, 「의미에서 무의미까지」와 「처용, 그 끝없는 변용」을 비교·분석했다. 두 시론은 각각 관념과의 대결을 중심으로 하는 언어-시학적 서사와 이데올로기(역사)와의 대결을 중심으로 하는 자아-탐색 서사로 구성되며, 이는 상이한 서사화 전략과 동인을 취한 결과이다. 그럼에도 불구하고 무의미시(론)의 발생을 설명하는 두 개의 상이한 서사는 각각의 타당성을 얻으며 동시에 상호 호환된다. 이는 김춘수 자신, 그리고 우리가 재현적 사유를 따르고 있기 때문이다. 재현적 사유란 우리의 사유의 지반을 이루는 공리들, 즉, '사유의 이미지'에 의해 사유하는 패러다임으로서, 김춘수가 도피하고자 했던 관념, 이데올로기, 역사 등은 바로 이 재현적 사유 체제 내에서 언어를 매개로 하여 차이를 지우는 동일성의 기제이다. 김춘수는 타자가 불러일으키는 '짜증'이라는 정념을 인정함으로써 '우리'라는 '사유의 이미지'의 허구성을 직시하고 이 '우리'라는 관념-언어가 뿌리내린 재현적 사유 체제를 문제화한다. 따라서 무의미시와 시론은 '재현적 사유로부터의 도피'에서 더 나아가 '재현적 사유 너머의 탐색'을 위한 철학적이고도 미학적인 도전으로 새롭게 자리매김할 수 있다.

Kim, Chun-Su's 'Nonsense' poetry and poetics has been pointed out as a direct cause of the awareness of impossibility that the idea cannot be captured in language, and disillusionment with history and ideology. However, attention was neglected on the relationship between the two origins, awareness of the limitations of language and personal experience of history and ideology. This paper began by questioning how these two events can be admitted as the origin of a single event of the occurrence of 'Nonsense' poetry and poetics without any conflict, and attempts to uncover the basis for making this possible. To this end, I compared two main poetics of nonsense poetry, from “From Sense to Nonsense”(「무의미에서 의미까지」) and “Cheoyong, the endless transformation”(「처용, 그 끝없는 변용」). As a result, it was found that these two poetics were built around two different narrative strategies and drivers for the occurrence and development of nonsense poem. The former is a linguistic-poetic narrative centered on the confrontation with ideas, the latter is a self-exploratory narrative centered on the confrontation with ideology(history). Each gets justification and is compatible with each other at the same time becaues of the representational thinking system. The representational thinking is a paradigm of thinking in which the “thought image” the axioms that form the basis of our thoughts and the horizon for thinking. The ideas, ideology, and history that Kim Chun-su tried to escape have in common that they are 'the One(=same) within the framework of this representational thinking. Language mediates differences and the others to reduce these to 'the One'. Kim, Chun-Su faces the falsehood of 'us' by acknowledging emotion of 'annoyance' to the other's, and problems the representative thinking system rooted in this notion of 'us'. In this regard, the non-sense poetics and poems are a philosophical and aesthetic challenge to go beyond the 'fleeing from representative thinking' and to 'explore beyond representative thinking'.

Graft-versus-host disease (GVHD) is rare complication after simultaneous pancreas-kidney transplantation (SPK). Here, we present a rare case of GVHD that developed in a SPK recipient. A 38-year-old female patient with end-stage renal disease due to type 1 diabetes mellitus underwent SPK from a deceased female donor. Four months after transplantation, she was readmitted with fever and abdominal pain and computed tomography revealed a retroperitoneal abscess. While being treated for the retroperitoneal abscess by percutaneous drainage and antibiotics, the patient developed skin rash and diarrhea. A skin biopsy performed at the time showed vacuolization and peri-venular lymphocytic infiltration compatible with GVHD. High-dose steroids resulted in complete remission of GVHD, and the patient was discharged after 2 weeks of treatment. This case demonstrates that early diagnosis of GVHD followed by timely treatment may led to a favorable outcome, and cautions that GVHD can occur in SPK patients.

Amyloid light-chain (AL) amyloidosis after kidney transplantation is a rare disease in the world, and only one case of systemic AL amyloidosis after kidney transplantation is reported in Korea. We here report a 46-year-old woman with AL amyloidosis developed after kidney transplantation. The underlying disease of our case was focal segmental glomerulosclerosis (FSGS), and was admitted to hospital for evaluation of proteinuria developed 2 years after kidney transplantation. The patient was initially diagnosed as recurrent FSGS on light microscopy. But, electron microscopic finding was suggestive of amyloidosis and systemic evaluation was consistent with systemic AL amyloidosis. This case provides the importance of differential diagnosis of proteinuria in kidney transplant recipients.

Euro-centrism has been accepted as the unconscious premise of universal music discourse in Korea. In this essay, I took issue with this colonial dichotomy of "The West and the Rest," and sought alternative ways of thinking for overcoming it. My views on this is summed up by the phrase “from ethnicity/nationality to locality.” This means that the word "Korea" in "Korean music" would cease to be an essentialist sign of "ethnicity/nationality," and instead refers to a physical and specific place where bodily experiences and cultural memories are entangled. In this case, the institutional dichotomy between Western music and Korean music would lose effect, and the boundary and contact zone would be productively highlighted. Overall, I am looking for a path to what Walter D. Mignolo calls “cosmopolitan localism” or “decolonial cosmopolitanism,” which aims for a polycentric and “pluriversal” world based on “border thinking.” This could ultimately be shaped in translocal encounters that are set against globalization

This study traces various ways in which Western Bach scholarship has changed its aim, direction, and methodology for the last three decades, implicitly or explicitly, reflecting new criticism and attitude perceived in the studies of the Western musicology for the last couple of decades. It also illustrates that Bach scholarship in West has moved from the traditional source studies to the contextualized discussions in which Bach's music is read in respect to the emergence of Postmodernism and even Globalization. Finally, this study turns its attention to Bach reception here in Korea, pointing out the critical and indigenous efforts to read Bach's music given by Korean musicologists since 1980s. And this study argues that the kind of effort need to be carried out by our generation as well.

Since the beginning of the 20th century, music of Joseon have been studied by various scholars and writers including Western missionaries, Japanese musicologists and local Korean scholars and musicians with various backgrounds. Even though their studies encompass various areas of study, yet, their studies have remained at the boundary of colonial modernity.
After the independence, an institutionalized Korean musicology has established by several individual scholars including Yi Hye-ku, Chang Sa-hun and former musicians of the Yi Wangjik Aakpu, a former court musicians of Joseon. Along with endeavors to establish the rightful history and theory for Korean traditional music after 36 years of colonial period, the field of Korean musicology have developed during last 70 years. However, the aim and purpose of Korean Musicology remained narrow while its perspectives and methodologies were limited, mostly focus on music analysis which resembles the attitude and direction of colonial modernity. To overcome colonial modernity in current Korean musicology, this paper suggests that Korean music should be treated as a process not as a product. At the same time, scholarly perspective of Korean musicology should be broadened including examination of context and culture, away from a simple musical analysis and examination of historical documents and music books. By doing this, Korean musicology would achieve its contemporary meaning in a changing society in Korea and beyond.

The purpose of this article is to examine the process of becoming a ology of popular music studies and to examine its significance and limitations. The period when the humanities interest in popular culture and popular music rose rapidly in Korea was a turning point from the 1980s to the 1990s, when the "cultural thing" that had been considered secondary to issues on political and social expanded enough to embrace the existing metadiscourse and various academic approaches to popular culture have exploded. Under the evaluation, that in the last three decades popular music studies has exploded on its extension, but the academic integrity has not been imploded, this paper focuses on aspect of historiography and aesthetics of Korean pop music.

Three films feature Clara Schumann (1819-1896) as a character: Song of Love (1947), Fruhlingssinfonie (1983), and Geliebte Clara (2008). While all three films deal with same topic―Robert and Clara Schumann's life together―they differ in several details. Song of Love, directed by Clarence Brown, was produced and distributed by a major film company in the United States; Brown's film covers the longest period, from the couple meeting in the 1830s to Clara's death in 1896. Fruhlingssinfonie, directed by Peter Schamoni, was produced in the former West Germany; Schamoni focuses on the musicians' love story, from their courtship to the 1840 premiere of Robert's Symphony No. 1 “Spring”, soon after their wedding. Geliebte Clara, directed by Helma Sanders-Brahms, was the product of a “Franco-German-Hungarian” collaboration, spanning the couple's move to Dusseldorf and Robert's last years.
As the Schumanns left extensive archival resources regarding their life together, audiences are apt to believe their cinematic representations are largely based in fact. Yet in comparing the films, the portrayal of Clara differs dramatically depending on the time, place, and director of each film, raising the question of the extent to which her image was constructed according to fact and fiction. By analysing and comparing Clara's characterization in each film, this paper explores how the history of a real woman musician was altered to reflect the contemporary interpretation - among the film maker, audience, and in the wider cultural context - of a woman's role and position: from a traditional mother who willingly manages both domestic work and a professional career, to a more realistic woman who struggles to survive in the face of her husband's illness. This will ultimately lead to consideration of the relationship between musicology and artistic representation of music history.

In the middle of 1880s, Korea started to open the gate to the western. Homer B. Hulbert (1863~1949) in his age of mid 20s came to visit Korea in 1886 as a English teacher of the nation first Royal English College. His first mission was teaching English to the future hierarchy of Korean government in national college, but he broadened his occupation in various field like Koreanology scholar, Seoul correspondent in American Newspaper, diplomat and a magazine publisher and editor. The most significant Hulbert's publication will be the book of Korean history The Passing of Korea(1906), and the main field of his research will be the Koreanology.
Most of his papers are published through the monthly magazine The Korean Repository and The Korea Review which was published by the Western missionaries in Seoul. Until now, Korean musicologist value of his paper 'Korean vocal music' (1896) because of the significance of the music script of Korean folk song Arirang which was the first folk song written in western score. Also, scholars recently find out that the first Korean national anthem which was composed by the german composer Eckert was not composed by him but revised melody from Hulbert's song Parami-Punda. Because of the significance of these scholastic finding, Hulbert's research paper Korean Vocal Music regained attention from the Korean musicologist.
Homer Hulbert came to Korea when the westernization wave was just begun. It means that the relationships between cultural context and the musicing are still bonded strong. As a former Seoul correspondent and missionaries who conveyed the realities of Korean to the United States, he preserved the records in terms of conveying detailed information and respecting local culture, preserving the pre-western music culture and the way of existence in traditional society.
In this paper, we reviewed the existence of music related to the customs of traditional society and reconstructed the performance of music in the traditional society that has disappeared through Hulbert's paper. It is a great achievement of this paper that we confirmed the archetypes before the decontextualization of traditional music, such as festival performances related to New Year's Day in Seoul, women's musical activities, and specific aspects related to shamanism.

Objectives: For testing asbestos stabilizer products which are used for the maintenance and management of asbestos-containing materials, durability assessment should accompany the evaluation of basic properties and performance. Therefore, in this study we designed a testing method and constructed a database of durability performance, thereby providing basic data for reliability studies of asbestos stabilizer.
Methods: Since the ceiling materials targeted in this study are interior materials, test conditions of 95% relative humidity and 60℃ temperature were designed in consideration of the effect of high relative humidity in summer and seasonal indoor temperatures. Plate-shaped specimens treated with asbestos stabilizers were maintained in a thermo-hygrostat for 5, 10, and 20 days, and then the asbestos scattering prevention rate was measured by air erosion testing.
Results: The scattering concentration tended to increase with time under the single humidity condition, and exceeded the indoor air quality standard of 0.01 f/cc, during the 20 days of maintenance. On the other hand, there was little change according to the temperature condition. In the case of a complex condition with temperature and humidity, the results were similar to the humidity test, but the scattering concentration increased more sharply at 20 days.
Conclusions: The main deterioration factor that affects the durability of asbestos stabilizer is humidity, and the deterioration is caused by a mechanism in which the stabilizer coated on the surface is re-dissolved by moisture and evaporates or the coating layer is peeled off, which is accelerated by high temperatures.