In this paper, the intensity ratio of [O I] λ6300 and Hα lines, which plays an important role in the study of warm (or diffuse) ionized interstellar medium, is calculated assuming collisional ionization equilibrium (or coronal equilibrium). The calculated ratio is compared with the previous works, and with the observations, obtained by Reynolds (1989) and Reynolds et al. (1998) with the Wisconsin Ha Mapper facility, toward the directions that sample the faint interstellar emission-line background. The comparison confirms that most of the Ha originates from nearly fully ionized regions along the lines of sight rather than from partially ionized H I clouds or layers of H II on the surfaces of H I clouds.

The purpose of this study was to offer the basic data that are necessary for us to seek for the concretized direction of the Korean physical education in the 21st century by comparing the purposes and characteristics of physical education of Korea with th

This study is to comprehend the interior space of the Royal Palace in the 15th Century, the early years of Joseon Dynasty. The subject of this study is limited to the center of the Royal Palace, that is Jeongjeon(正殿, the royal audience chamber) and Haengrang(行廊, which encloses Jeongjeon on four sides and has many rooms). It is very important to understand the usage of the interior space because the architectural space consists of the space unified by the organic function of the interior and the exterior space. But there are few studies on the interior space of Jeongjeon and Haengrang at the Royal Palace. Therefore, the purpose of this study is to understand the interior space of those buildings. The result of this study is following. Haengrang has several uses such as a night duty room, a storehouse, a government office or a banquet hall etc. So the interior spaces were finished with various methods that were suitable for the use of each room, and the material of the floor were the ground, Maru(the wooden floor) or Ondol(the Korean traditional heating system) There were held many kinds of ceremonies in Jeongjeon, and the government officials could not enter the inside of that building and took part in the ceremony on the front court of Jeongjeon, except the men performing the ceremony. But the high ranking officials could enter the inside when King gave a banquet and there, they prostrated themselves before King. They sat down with their legs crossed on the ground floor instead of sitting on a chair. When King held tea ceremony with Chinese envoys in Jeongjeon, they sat on Gyoui(交倚, a kind of armchair). Then, the government officials performing the ceremony in Jeongjeon prostrated himself around the King and the Chinese envoys and others stood around them.

본고는 10세기 중·후반에 한문학 진흥을 위한 다양한 노력이 경주 되었음에도 불구하고 가시적인 성과가 나타나지 않은 원인을 밝힌 것이다. 10세기 중·후반은 한문학을 진흥시키기 위한 다양한 정책을 시행함으로써 이전 시기와 성격을 달리하기 시작한다. 그러나 통치자의 기대와는 달리 가시적인 성과가 나타나지 않았다. 한문학의 부진에 대한 원인은 크게 세 가지를 들 수 있을 것이다. 먼저 일방적이고 몰주체적인 중국 문화 수용에 대한 반발 분위기가 집단적으로 존재하였다는 것에서 찾을 수 있다. 중국 문화를 전범으로 해서 한문학을 향상시키려는 정책에 대한 비판의 목소리를 최승로, 이지백을 통하여 확인할 수 있다. 두 번째는 지속적으로 향가가 향유되고 있는 현실에서 원인을 찾았다. 이 시기에 향가는 한시와 동등하게 가치를 부여받으며 특히 감흥의 영역을 담당하였다. 향가가 큰 비중을 차지하고 있었다는 것은 한시의 영역이 확장되지 못하였다는 것을 말해준다. 마지막으로 정착되지 않은 과거제도이다. 과거제도를 통해 성취하는 사회적 영달은 곧 가문의 영달이라는 의식이 아직 보편화되지 않은 사실은 과거제도가 아직 정착되지 않았음을 알려준다. 이러한 원인으로 인하여 10세기 중·후반의 한문학은 적극적인 진흥책에도 불구하고 가시적인 성과가 나타나지 않았다.

The $18^{th}$ century's Industrial Revolution brought about influx of commerce, industry, and agricultural population into the urban areas, entering the $19^{th}$ century. Quality of rural communities declined, and the exploding population in the cities gave rise to various problems. 'Mietskaserne' Blockhousing was constructed by the 'Hobrechtplan', but led to social problems such as poor living conditions, insufficient sunshine due to overcrowding, slums due to incomplete urban infrastructure, epidemics, and so on. Starting in the early $20^{th}$ century, Berlin has driven forward a remodeling plan under the motto of 'critical reconstruction (kritische Rekonstruktion)'. It is performed in the place, which represents the vicissitudinous history of Berlin with site plans coexisting past with presence, using modern vocabulary of architectural forms. Reconstructing a city is a process which not only raises the economic value of each building consisting a city, but also a redevelopment process that brings out cultural value of an era. When a new era emerges buildings get reconstructed or rebuilt, and thereby form the identity of a city by reflecting its society, culture, politics, economy, and history. Old German architecture were not destroyed or rebuilt recklessly just by the fact that they are functionally or aesthetically outdated. Each building is treated as precious cultural heritage reflecting the history. This is how Berlin is being transformed today.

In the early twentieth century, many eastern European composers show the pervasive absorption of structural melodic characters of folk sources into more abstract contemporary music idioms. Pitch structure in that century music has become more explicit in recent analytic writings. Scriabin derived his compositional materials from more abstract sources that were identical to those found in the folk sources. Scriabin moved towards an increasingly systematic handing of pitch set constructions. This paper proposes a theoretical model for a study of collection in post tonal music. It is the aim of this paper to focus on collection in Scriabin's Op. 58, Feuillet d'album(1909). His output is often split into three periods. : Op. 1-29, Op. 30-57, and Op. 58-74. Op. 53-58 pieces are of primary importance in Scriabin's transition to atonality. It is precisely between the second and third periods that something very important happened in Scriabin's musical mind. In particu]ar, his Op. 58 was written while Scriabin was composing Prometheus. The composition employs 6-34 : in a sense the piece is a study of the properties of 6-34, with which Scriabin wad the preoccupied. The most famous variety of this chord is known as the Mystic, or also as the Prometheus as it is ubiquitous in that work. It should be emphasized that Scriabin's small pieces stand in a special relationship to his larger works. Thus the links between his last are strong, as will be seen in the course of this paper.

This article works on the development process of the Buddhist Temple with two pagodas in the Eastern Asia. in 7-8th centuries. This study was motivated from the observation that why there are many the Buddhist Temple having two pagodas only around the late 7th century, roughly around 670 A.D.. This period corresponds to the Silla Dynasty(in Korean History) and Hakuho Period(in Japan History) among the Eastern Asia while the composition of the temple being changed as Buddhism spreads out from China. The results of this study are the followings. The appearance of the Buddhist Temple having two pagodas was resulted from the representation of the Ideology in Botabpum(dogma of pagoda security) of the Saddharmapundarika Sutra, that is to say, two Buddhas sit side by side and iconography of Esoteric Buddhism dogma supports the spirit for defending one's country. Buddhist Temple having two pagodas in China had separate tab-won(areas with pagodas outer temple building block). Buddhist Temple having two pagodas in Korea had begun with sacheunwangsa temple in Unified-Silla. But it had two pagodas with inner temple area instead of outer. This was different from the composition of China. It can be related to the layout of the temple haying two pagodas in East-Jin(in China History) and the sculpture of two pagodas in Ungang-stonecave(in China). Thus the layout of the Buddhist Temple having two pagodas in Silla had been originated from that of China, but was developed to the main temple layout on her own accord. As Japanese Temple having two pagodas had been influenced diplomatically, it had two pagodas inner area as like the layout in Shilla. But later under the influence of Tang it was modified to the layout having them in separate area. And this influence can be seen for example Tangchojaesa temple. For the more, We call see that the diplomatic trends according to the policies in East asia affected to Buddhism and then naturally also to the layout of the Buddhist Temple.

The Chosun Dynasty in the 18th century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's 60th birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's 60th marriage anniversary by an unknown artist presumably in the 18th century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

It is the purpose of this study to document the decline of voice leading concept for the twentieth-century tonality.In this essay I shall try to show how Shostakovich achieves a sense of unity through the association of interval structures made up of linear melodic patterns and of the voice leading provided by accompanimental harmonic figures.Some twentieth-century music seems to invite the use of traditional analysis.Lots of music by Stravinsky, Bartok, Berg, and even Schoenberg has a kind of tonal sound, at least in certain passage. But on closer inspection, we generally find that tonal theory has little to tell us about most twentieth-century music. When twentieth-century composers create a tonal sound, they usually do so by using non tonal means. And for a piece to be tonal, it must have two things: functional harmony and traditional voice leading. But, a piece is not tonal, does not mean it can't have pitch or pitch-class centers. All tonal music is centric, but not allcentric music is tonal.Post-tonal voice leading models are 3 patterns. The first has its bases in the theories of Heinrich Schenker. The second has its the pitch-class set of Allen Forte and others. The third has its bases in recent theoretical work by David Lewin. The prolongational analysis identifies some tones as structural and others as embellishing. Associational analyses linear projections of harmonic type from musical surface. Transformational model shifts our attention from the chords themselves operations, transformations, that connect them.Nowadays, many composers are again exploring the possibilities of synthesis of tonal and atonal procedures. The time is ripe to approach voice leading techniquesanalytically.

This thesis has been compossed the changes of corrections theory on treatment of offenders as well as the changes of policies on the criminal justice in the ROK. It has been made a conclusion after involving consideration of the new system of community-based corrections applicable to the ROK.