Orientalness is a concept that express the collective identity of the Orient in relation to the West. THe concept itself is mutable and defined by the relationship between the two regions art different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative sheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism art times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent tranformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period(1910-1945) it took on a new form. Establishment of the concept of "Orient" as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commandinf center. IT has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. WHen the notion of a geographical unit of Asia was replaced by the cencept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had ti be defined in ciltural terms, as the political notion of a nation was non-existent at that time. THe definition if udentity was pursued at two levels, pan-Asia and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious trditions, localized Orientalism was a popular dis-course emphasizing locality as the byproduct of natural geographic condition. After the liveration in 1945 from colonial rule, a thrust of movement across towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the paintinf themes were selected from Korean history, the tradition of usinf history paintinf as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. THe elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distict modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also degined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after the aesthetic ideal of the modern Korean art.

환경 스트레스에 의해 야기되는 활성 산소종에 의한 피해에 내성을 가지는 식물의 개발을 위하여 딸기 유래의 cytosolic ascorbate peroxidase 유전자(ApxSC7)를 Agrobacterium tume-faciens LBA4404를 매개로 형질전환 시켰다. Hygromycin으로 선발된 캘러스로부터 재분화 된 식물체는 야생형과 비교하여 형태적으로 차이를 나타내지 않았다. PCR 및 Southern blot 분석을 통하여 형질전환 식물체의

In order to obtain the nano size composite powders by mechanical alloying method for useful composite catalysis, the effects of mechanical alloying time on the formationof composite powders were analyzed. The phase transformation behaviors were experimented as the heat treating temperature increased. Homogeneous 10wt% Cu-rutile type composite powders were synthesized in 40 hours by mechanical alloying. After 60 hours mechanical alloying 50 nm size powders were obtained. Both the phase of mechanically alloyed 10 wt% and pure powders were not transformed to anatase after annealing at the temperature range between 350 to 500 . The intermetallic compound of O was formed after 10 hours mechanical alloying, however it could be considered that this intemetallic phase dose not prevent the transformation of rutile to the anatase phase after heat treatment at the temperature between 350 and .

내열성 유전자인 BcHSP17.6를 갖도록 제작한 발현벡터 pBKH4를 Agrobacterium tumefaciens LBA 4404에 도입후, Agrobacterium과 알팔파 캘러스의 공배양을 통해 감염시킨 캘러스를 의 kanamycin과 의 cefotaxim을 첨가한 SH-kc배지에서 배양하며 형질전환된 캘러스를 선발하였다. 식물체 재분화는 SH- nk-c, SH-sp-c, SH-11b-c, SH-1BA 배지에서 약 4개월간 배양하여 재분화를 완성

This study was conducted to obtain the transformed birdsfoot trefoil (Lotus corniculatus L.) plants with BcHSP17.6 gene using Agrobacterium turnefaciens LBA4404 and we confirmed transformed gene from the regenerated birdsfoot trefoil plants. The expressio

환경 스트레스에 의해 야기되는 활성 산소종에 의한 피해에 내성을 가지는 목초의 개발을 위하여 오차드그래스의 배반 조직 유래의 캘러스에 배추유래의 cytosolic glutathione reductase 유전자(BcGRl)를 Agrobucterium tumefaciens EHA101을 매개로 형질전환시켰다. Hygromcin으로 선발된 캘러스로부터 재분화된 식물체는 야생형과 비교하여 형태적으로 차이를 나타내지 않았다. PCR 및 Southern blot

Ti-50Ni(at%) and Ti-40Ni-10Cu(at%) alloy powders have been fabricated by ball milling method, and their microstructure and phase transformation behavior were investigated by means of scanning electron microscopy/energy dispersive spectrometry, differential scanning calorimetry (DSC), X-ray diffractions and transmission electron microscopy. In order to investigate the effect of ball milling conditions on transformation behavior, ball milling speed and time were varied. Ti-50Ni alloy powders fabricated with the milling speed more than 250 rpm were amorphous, while those done with the milling speed of 100rpm were crystalline. In contrast to Ti-50Ni alloy powders, Ti-40Ni-10Cu alloy powders were crystalline, irrespective of ball milling conditions. DSC peaks corresponding to martensitic transformation were almost discernable in alloy powders fabricated with the milling speed more than 250 rpm, while those were seen clearly in alloy powders fabricated with the milling speed of 100 rpm. This was attributed to the fact that a strain energy introduced during ball milling suppressed martensitic transformation.

Ni-36at.%Al을 함유하는 나도 결정립의 NiAl 합금이 기계적 합금화법에 의해 제조되었다. 제조된 분말은 방전 플라즈마 소결법에 의해 만들어졌다. 상변테에 영향을 주는 인자는 냉각속도와 열처리 시간의 조건으로 논의되었다. 소결체의 상변태 거동은 시차 열분석(DSC)과 X-선 회절(XRD) 분석법에 의해 조사되었다. 미세구조는 주사전자현미경(SEM)으로 관찰되었다. 마르텐사이트 격사상수와 체적 분율은 X-선 회절분석법 중 직접비교법에 의해 계산되었다.

Zr-0.86Sn 합금이 β→α상변태 특성에 미치는 Fe와 V의 영향을 광학현미경과 투과전자현미경으로 연구하였다. 공냉의 경우에는 V의 첨가량이 증가함에 다라 β→α+β변태온도가 감소하여 미세한 α-lath들의 폭을 더욱 감소시켰으나, Fe의 경우에는 첨가량이 증가함에 다라 오히려 α-lath의 폭이 약간 증가하였다. 수냉의 경우에는 모든 합금에서 martensite 미세구조를 보였다. 수냉한 Zr-0.8Sn, Zr-0.8Sn-0.1Fe, Zr-0.8Sn-0.2Fe, Zr-0.8Sn-0.4Fe, Zr-0.8Sn-0.1V 그리고 Zr-0.8Sn-0.2V 합금에서는 주로 slipped martensite 미세구조가 형성된 반면에 수냉한 Zr-0.8Sn-0.4V 합금에서는 twinned martensite 미세구조가 관찰하였다. 수냉한 Zr-0.8Sn 합금에서 V의 첨가향이 증가함에 따라 slipped martensite에서 twinned martensite 미세구조로의 천이는 M(sub)s 온도의 감소에 기인한 것으로 생각된다.

알루미나 여과막은 boehmite 분말 (-AlOOH)을 이용하여 졸-겔법으로 준비되어졌다. 제조된 여과막은 상전이 온도와 미세구조 변화를 관찰하기 위해 지지체 없이 형성된 여과막을 제조하였다. 여과 공정의 응용에서 균일한 기공크기와 분포를 제어하는 것이 중용하다. 다공성 담체 위에 형성된 여과막과 다공성 담체 없이 형성된 여과막의 θ-to α-AL2O3로의 상전이는 박막 XRD를 이용하여 분석하였고, 미세구조의 변화의 관찰은 주사전자현미경(SEM)을 사용하여 관찰하였다. XRD에서 분석된 결과는 다공성 담체 위에 형성된 여과막이 다공성 담체 없이 형성된 여과막과 비교하여 100˚C 더 높은 상전이 온도를 가지는 것을 보여주었다. 이런 유사한 효과는 여과막의 미세구조 변화에서도 관찰되었다.