It is well known that oral pathology is an essential bridge between basic and clinical science in dental field. Although oral pathology has been introduced to Korean dental science since 1945, there is not yet presented about oral pathologic history. The purpose of this study was to summarize and to introduce Korean oral pathologic history in serial form for Korean oral pathologist.

Bruce Nauman committed himself to installation art works for 4 to 5 years around 1970 by making a corridor along the walls with some added devices like CCTV, lightings and mirrors including "Live-Taped Video Corridor." Nauman was able to control viewers' movement at his will by creating narrow corridors along the walls in these installation works. In these works, the walls, cameras and closed circuits in TV monitors control the viewing mode by changing the space and influencing viewers' perception of the space. In this system, Nauman discovered a possibility to create a new representation of space, that is, the attribute of 'surveillance' and to manipulate time and space. Nauman's installed corridors offer 'virtual reality' and enable the viewers to directly experience new possibilities of art, creating new mode of reception. Nauman's corridors are a little different from general surveillance situations as they interrupt and deconstruct visual compositions and images to some degree to make us see things 'differently.' Exposure to unexpected strange situations stimulates anxiety, creates the sense of lacking and imperfection between the subject and the object in the corridors, and deprives the rights as a subject of the subject of seeing.One of the important recurrent themes in his installation works is to make the viewers focus on their own senses so that they can feel their own perception processes. Creating disparities between what the viewers perceive in the corridors and the reality is the way to reveal the perception processes in the corridor installation works.A series of Nauman's Corridor installation works rendered an opportunity to establish him as an artist through performances and performing arts in videotapes, and are considered a critical art work in its pursuit of the meaning of art in the midst of confusion in the world of art at that time. While his works before 1970 could not distinguish themselves from other artists' works, the space of 'corridor' became a footing for him to etablish himself as an artist.

배 주요해충인 꼬마배나무이의 효과적인 방제를 위하여 배나무 단과지에 월동 성충이 이동시기인 2월 하순~3월 상순, 5월 중순 및 7월 상순에 기계유유제와 살 충제를 혼용하여 방제효과를 비교하였다. 월동성충 이동시기에 기계유유제와 살 충제 혼용살포는 혼합약종에 따라 다소의 차이가 있었으며 처리 7일후 살충율이 약 92~95.6%를 보였고, 살충제만 처리하였을 경우는 약 30~65%, 기계유유제만 살포한 경우는 살충제와 혼용하여 살포하는 것과 유사한 95.9%를 보였다. 5월 중 순과 7월 상순에 기계유제 200배와 디노테퓨란수화제 추천농도, 100배와 디노테 퓨란수화제 추천농도를 혼용 처리한 결과, 5월 중순 처리 10일후 기계유제 농도에 따라 각각 살충율이 93.8%, 95.0%를 보였고, 7월 상순에는 각각 90.6%, 80.8%를 보였다. 기계유제 200배, 100배를 5월 중순 살포시 처리 10일 후에 91.7%, 93.3%, 7월 상순에는 83.2%, 76.0%를 보여 7월 상순 방제 효과가 다소 낮았는데, 이는 꼬 마배나무이가 배설물인 감로에 덮여 생활하는 생태적 특성에 기인한 것으로 판단 된다. 더불어 배나무 잎이 있는 상태에서 기계유제 살포는 약해가 발생될 수 있고 광합성 효율에 영향을 미치기 때문에 추후 보다 정밀한 검토가 필요하다.

现代汉语疑问代词除了表示疑问外还具有几种表示非疑问的功能，在现实语言活动中，其使用频率也十分高。汉语语法学界对疑问词的非疑问用法一直关注，而迄今为止在非疑问用法的名称和再次划分的划分标准上存在分歧。因此本文以 ‘哪’，‘哪儿’，‘哪里’ 为主要分析对象，从认知量的角度对疑问词的非疑问用法，尤其是一般所说的任指用法和虚指用法进行描写和划分，也介绍表示遍指用法的一种句法形式。 本文研究的结果如下： 第一，邵敬敏（1996）对疑问代词“什么”的非疑问用法进行细致分析而得出八种引申用法。文章中明确表明以语法意义为划分标准，而研究结果却表示用了语法意义和句子结构两种划分标准。石毓智（2001）以句法结构为划分标准对疑问词的两种引申用法——遍指和虚指进行了分析。他的说法相当一部分跟汉语的实际使用情况一致，但表虚指的疑问代词只能出现于动词之后的观点只限于受事用法，因此在解释汉语语言现象上仍然具有限制性，缺少说服力。 第二，任指用法也称为‘全指’、‘遍指’、‘周遍性’，从认知量的角度看这种引申用法具有两种不同的量——全量和单一量（或部分量）。因此，本文认为表示不同认知量的这种用法应该划分开来，表全量的就是说所指的范围内无一例外的应该称为‘遍指’用法，表单一量（或部分量）的就是说指示范围内的任何一个成员或者部分成员的应该称为‘任指’用法。 第三，特指反问句中的疑问代词—— ‘哪’，‘哪儿’，‘哪里’，无论其指示功能强还是弱都表示范围内的所有成员。因此可以说反问句是疑问代词非疑问用法表示遍指意义的句法形式之一。

This paper presents a study on the Palazzo Firenze of B. Ammannati, designed between 1550~1572. He was active in Rome and Firenze in the middle of 16th Century. His most important project, such as Palazzo Pitti, is located in Firenze. But there are some projects that are important as well as Palazzo Pitti in Rome, such as villa Giulia and Palazzo Firenze. Usually, in the history of Western Architecture, the period in which Ammannati was active is denominated as late-Renaissance or Mannerism. In this period there was very important progress in field of artistic theory. There were active many great Masters such as Michelangelo, Vignola and Giulio Romano. But, over the all, the most important characteristic of this period was a transition period between Renaissance and Baroque. This paper try to reveal such characteristics reflected in architectural projects designed in this period, focusing on, over the all, B. Ammannati and his Palazzo Firenze project..

Through the volume change of Sn in a low-temperature phase transformation, the Sn nanopowder with high, purity, was fabricated by an economic and eco-friendly process. The fine cracks were spontaneously generated. in, Sn ingot, which was reduced to powders in the repetition of phase transformation. The Sn nanopowder with 50 run in size was obtained by the 24th repetitions of phase transformation by low-temperature and ultrasonic treatments. Also, the powder was fabricated by the oxidation of the produced Sn powder to the ingot and milled by the ultrasonic milling method. The nanopowder of 20 nm in size was fabricated after the milling for 180 h

복잡한 산악지형과 숲이 있는 나로 우주센터의 미규모 바람장을 MUKLIMO를 사용하여 모의하였다. 지형과 나무가 있을 때 모델의 민감도를 실험하기 위하여 각종 초기조건하에 수치모의를 수행하였다. 실험결과 나무는 평지 위에 서는 큰 영향을 미치나 언덕지형에서는 큰 영향을 미치지 못함을 알았다. 이러한 실험결과를 이용하여 나로 우주센터의 10m 상공에서의 미규모 바람장과 또, 발사장의 건설전후의 바람장도 모의하였다. 본 연구결과 MUKLIMO는 복접한 지형에서도 바람장의 수치모의가 가능하며 매우 유용함을 알았고 우주센터에서의 바람의 특성이 규명되었다.

Im 18. Jahrhundert stritt man um allgemeingültige Kriterien für die Kunstkritik, welche ebenda aufzblühen begann. Im Zent ru, dieser Auseinandersetzung die uns als "Laokoon-streit" bekannt ist, befanden sich Johann Winckelmann einerse its und ein französischet Bildhauet Etienne-Maurice Falconet(1716-1791) andererseits. Die beiden waren von gamz unterschied lichen Kunstideen überzeugt. Obwohl sie niemals zusammentraf, fielen sie in eine hegtige schriftliche Diskussion. Wie bekannt, vertrat Winckelmann den aufkommenden Klassizismus. Er setzte die griechische Kunst auf die höchste Rangstufe auf und bezeichnet sie als Träger der sogenannten "edlen Einfalt und stillen Größe, doe sonst in der Natur verborgen bleibe. Nach Winckelmann sollte der Künstler die griechischen Vorbilder wie Apollo von Belvedere und Laokoon nachahmen, um das wrsentlich Schöne zu erlernen. Falconet übte eine scharfe Kritik gegen die Meinung Winckelmanns und die Diletantismus in der Kunstkritik aus. Selbst als Theoretiker warf er vor, dass die Klassizisten um ihr dogmatisch struktuiertes Lehrgebäude willen alle andere Eigenschagten der Kunst sowie Kunstwerke übersahen und ihre Apotheose der klassischen Kunst auf die Entwicklung der Kunst eher als Hindernis wirkte. Im besonderen Hinblick auf den Aus druck der menschlichen Leidenschaft distanzierte Falconet sich von der Lehrmeinung des Klassizismus, nämlich Zurüakhaltung derselben Leidenschaft wegen der idealen Schönheit. Vor dem Laokoon teilten Falconet und die Klassizisten ihre Meinung unüberbrückbat coneinander. Für diese war der Laokoon die Repräsenta- tion des erhabenen Menschen, der leidet, ohne seinen Affekt zu en- thüllen. Im Gegensatz sah Falconet in demselben Werk einen erlungenen Ausdruck des menschlichen Gefühls. Sein Debütwerk <Milon von Croton> ist also die Visualisierung seiner Kunstauffassung. Unter Einfluss Pierre Pugets sowie seines Lehrers Jean-Baptiste Lemoyne bemüht er sich darum, den Ausdruck der menschlichen Leidenschaft durch kunsttechnische Lestung und wissensch aftliche Forschung zu erstarken. Daraus ergab sich die expressive Ausdrucksform des Affekts. In diesem Fall verband sich Falconet mit der Tradition des barocken Kunstwollens, aber er ging einen Schritt weiter, indem er die Ausdrucksweise noch realistischer und lebendiger zu machen vermag. Faconet war vielleicht der einzige Künstler, der Vorteile der barocken Kunst ausnut zen konnte, ohne dabei die klassische und realistische Formensprache zu verlieren. Dutch sein Werk und seine theoret ischen Schriften eröffnete er neue Prinzipien sowohl für die Kunstpraxis als auch für die Kunstkritik, deren wesentliche Sinn jedoch erst in der Romantil anerkannt wurde.