상변화형 광디스크의 보호막으로 사용되는 ZnS-SiO2 유전체막을 RF magnetron 스퍼트링방법에 의하여 제조하는 경우에 기판 바이어스전압의 영향을 조사하기 위하여, 알곤가스 분위기에서 ZnS(80mol%)-SiO2(20mol%)타겟을 사용하여 Si Wafer와 Corning flass 위에 박막을 증착시켰다. 본 실험에서는 여러 실험 변수를 효과적으로 조절하면서 실험의 양을 줄이고 도시의 산포를 동시에 만족시키는 최적조건으로 타겟 RF 출력 200W, 기판 RF 출력 20W, 아르곤 압력 5mTorr과 증착시간 20분을 얻을 수 있었으며, 신뢰구간 95%에서 확인실험을 수행하였다. 증착된 박막의 열적 저항성을 측정하기 위해 300˚C와 600˚C에서 열처리시험을 수행하였고, Spectroscopic Ellipsometry 측정을 통한 광학적 데이터를 바탕으로 Bruggeman EMA(Effective Medium Approximation)방법을 이용하여 기공(void)분률을 측정하였다. 본 연구결과에 의하면 특성치 굴절률에 대하여 기판 바이어스인자와 증착시간 사이에는 서로 교호작용이 강하게 존재함을 확인할 수 있었다. TEM분석과 XRD 분석 결과에 의하면 기판 바이어스를 가한 최적조건에서 증착된 미세조직은 기존의 바이어스를 가하지 않을 조건에서 증착시킨 박막보다 미세한 구조를 가지며, 또한 과도한 바이어스전압은 결정구조의 조대화를 야기시켰다. 그리고 적절한 바이어스전압은 박막의 밀도를 증가시키며, 기공분률을 약 3.7%정도 감소시킴을 확인할 수 있었다.

The purpose of this study is to evaluate the cognitive perceptual performance skills in relation to activities of daily living(ADL) by using Lowenstein Occupational Therapy Cognitive Assessment(L0TCA) to measure the cognitive perceptual performance and FIM to measure the ADL. The subjects in this study were 24 stroke patients who were admitted for intensive treatment at Department of Rehabilitation in Samsung Medical Center from December. 1997 to June. 1998. SAS was used to analyze data. Using simple regression analysis was used to measure influence of LOTCA on FIM at discharge and to measure influence of patient's concentration on both FIM and LOTCA. Stepwise multiple regression analysis was used to confirm the relationship of FIM to each subtest of LOTCA. The results of this study are as follow : 1. Statistically. LOTCA score at admission showed correlationship with FIM score at discharge. (R2 = 0.50. p<0.0001) 2. Visuomotor organization showed the most significant correlation between LOTCA on FIM at discharge. Motor FIM with perception and visuomotor organization, and cognitive FIM with perception showed significance. 3. The relationship between each subtest of FIM and each subtest of LOTCA. self-care was significantly correlated with visuomotor organization and perception. sphincter control was significantly correlated with orientation and perception, mobility and locomotion was significantly correlated with orientation and visuomotor organization, communication was significantly correlated with perception, social cognition was significantly correlated with perception and thinking operation. LOTCA is significantly correlated to FIM at discharge. Therefore, LOTCA can predict the ADL performance skills. Also, orientation and perception are the most predictable area of LOTCA throughout the entire subtests.

Yeats remarked, two years before his death, that it is the poets’ first business to describe desirable persons, desirable places, and states of mind. One of theses excellent persons and places in Last Poems―ascetics and the “half-way house” the Chinamen of “Lapis Lazuli” climb towards. Here we notice how many topographical associations lay everywhere: “the mountain,” “Alt” and the central character climbing some high point. Having lifted himself to the vantage point of age, Yeats is able to form a final altitude. The last poems are mainly set in the location of the open field, that dominates the poetic landscape. ‘The whole system’ of A Vision ‘is founded upon the belief that ultimate realit y…falls in human consciousness into a series of antinomies.’ Since he had long arranged his thought and disciplined his imagination by ideas of antithesis, it is natural that his later work should play out an extended series of oppositions: knowledge and ignorance; day and night; time and eternity. In the process of consciousness they have a tendency to be separated from each other into various sets of the opposite; while their attendant logic characterizes a struggle towards harmony. ‘Logical and emotional conflicts alike lead towards a reality which is concrete, sensuous and bodily.’ “Meru” invokes an image of human being in conflict with the cyclicity of a cosmic rhythm. Yeats, identified with the oriental hermits in the ascetic attitude to life, sees “the naked bodies” to awake to the realities of life, he is reassured that the higher perception should be gained through their sensuous experiences in the darkness of night. According to St. John of Cross, ‘the nature of the soul requires complete renunciation of the world.’ The darkness brings wisdom, emptiness sight. Yeats would describe it as ‘the luminous dark.’ This implies in ‘via negativa’ that one is nothing, paradoxically, to become everything. The open region for everything is the place Heidegger called ‘clairiēre,’ which Yeats would like to paint in his poetry. Its openness let brightness play with darkness in it. The relation to light and darkness characterizes as ‘a double’ like the dawn image. This curious relation Adams claims to name ‘identity.’ Identity has the same form, as does a metaphorical trope, where sameness and difference coexist in language. He would write a poem ‘cold and passionate as the dawn.’ The important metaphor, which Yeats uses to describe the intersection of the two worlds, is that of dawn. In this paper I was concerned with both the realm where religion, art, personal consciousness converge and the place in which gathers and protects everything. Yeats was life long a man who practiced both absolute integrity of craft and perfection of personality, the perfection of its surrender. I take poetry to be an exploration of human consciousness, where it faces time and eternity in their play. Equally it is an exploration of words.

W. B. Yeats and Thomas Hardy, as poets, were contemporaries. Their long careers spanned the transition from Romanticism to Modernism and their poetry constitute two of the most powerful dealings with that transition and those traditions. Younger poets after Yeats and Hardy have attested to their significant influences on their works respectively. Until 1930s it seems that the poets preferred Hardy as their poetic model, but after the 30s such a stand has become unpersuasive. Considering the course and interdependence of these two poets’ reputations and influences, we are led to acknowledge that Yeats and Hardy defined the options for poets for the whole period of the 20th century and that consequently poets have tended to be divided into two distinguishable streams. This paper aims to distinguish those different streams through the poetic works of Yeats and Hardy. There is some hint of determinism in both Yeats and Hardy, but with very important difference. In Yeats’s early poetry human weakness is implied despite a heavy-handed insistence on nature’s sympathetic; identification with man. But Hardy’s poetry implies a human strength in the face of a nature indifferent to man’s social arrangements and adjustments. Yeats proceeds dramatically to make a system, a private mythology; Hardy shows the structure of a mind capable of coming to a disturbing conclusion. Both Yeats and Hardy find nature for the most part unsympathetic to man, but while Yeats prefers to escape to a dreamy or fairy land or The Great Mind, Hardy illustrates man’s own resistance and adjustment within this world of reality. So, while Yeats offers a vision of a higher reality beyond or behind nature, Hardy, as a result of his acute scrutiny of appearances of the real world, offers us personal and narrative instances of man’s responses to the neutrality of nature. Hardy’s dealings with reality are for the most part moral, while those of Yeats’s incline to amorality, which means that Yeats allows himself to wander far from an acknowledgment of the limits of our individual lives and strengths. These different attitudes to reality lead to their poetic tone: Hardy’s-control of tone, Yeats’s being high and energetic. Considering the comparative characteristics of Yeats and Hardy we are led to conclude that they defined the options for the younger poets following after then: experimental and traditional, modernist and anti-modernist visionary, and discursive and rhetorical and plain.

Trunk holding test (Sorensen test) appear to have more value than strength test in prediction the occurrence of low back pain. Electromyographic activity of trunk extensor muscles during these test may provide clues to the etiology of neuromuscular-based low back pain. This study investigated the difference in back muscle endurance between healthy adult men and women using surface electromyographic (EMG) power spectral analysis. Thirty hea1thy subjects (15 men and 15 women) performed an unsupported trunk holding test for 60 seconds. Recording surface electrodes were placed over the erector spinae medially and laterally at vertebral levels of and . Slope of total frequency was evaluated using the MP100WSW Fast Fourier Transform spectrum analysis program. The slopes of all indices of back muscle fatigue, except right , were significantly steeper in men than in women (p<0.05). Our results indicated that the trunk holding test using EMG power spectral analysis of erector spinae muscles is useful for the evaluation of fatigue rate of these muscles. Our results also showed a higher muscle endurance in healthy adult women than in men.

자동차용 캠 샤프트의 표면경화를 위해 TiG 용접공정에 의한 재용융처리가 실시되었다. 재용융처리는 캠축에 평행한 방향으로 행하여졌다. 캠 샤프트 소재의 조직은 편상의 흑연과 퍼얼라이트의 회주철 조직으로 구성되어 있으나 재용융 처리후 미세한 퍼얼라이트 및 세멘타이트와 구상 오스테나이트의 레데브라이트 조직으로 변화하였다. 캠 샤프트 모재의경도는 HRc 25~28에서 재용융 처리후에는 HRg 53~55정도로 증가하였다. 다층 용융 처리시 비드가 겹치는 경계에서 검은띠가 관찰되었는데 이 검은띠는 흑연으로 판명되었다. 이 검은띠는 전층의 레데브라이트 조직이 변태된 것으로 주로 세멘타이트와 기지조직의 경계에서 생성되었다. 고밀도 에너지인 레이저 용융처리시에도 재흑연화 현상은 TIG의 경우처럼 관찰되었다. 재흑연화 현상의 확인을 위해서 Gleeble 1500을 이용하여 1100˚C와 1000˚C에서 0.5, 1, 3, 5 및 10초동안 유지한 모의실험을 하였다. 1000˚C에서 0.5초 유지했을 때도 흑연이 발견된 것으로 보아 재흑연화 현상은 어떠한 재용융 처리 공정을 사용하더라도 피할 수 없는 현상임을 확인할 수 있다.

Thick and dense deposit of higher than 97% of theoretical density was formed by induction plasma spraying. To investigate the effects of powder morphology on the density of deposit, two different kinds of Yttria-Stabilized-Zirconia powder, METCO202NS (atomized & agglomerated) and AMDRY146 (fused & crushed), were used and compared. After plasma treatment, porous METCO202NS powder was all the more densely deposited and its density was increased. In addition to the effect of powder morphology, the process parameters such as, sheath gas composition, probe position, particle size and spraying distance, and so on, were evaluated. The result of experiment with AMDRY146 powder, particle size and spraying distance affected highly on the density of the deposit. The optimum process condition for the deposition of -75 of 20%-Yttria-Stabilized-Zirconia powder was 120/201/min of Ar/ gas rate, 80 kW of plasma plate power, 8 cm of probe position and 150 Torr of spraying chamber pressure, at which its density showed 97.91% of theoretical density and its deposition rate was 20 mm/min. All the results were assessed by statistical approach what is called ANOVA.

For the study of courtly love poetry, which is one of the oldest literary conventions, I attempt to read both Yeats and Shakespeare. The relationship between time, love, and art has been a motif on which the poets of all ages have speculated. Perfect love between lovers fades with time and deep furrows on the tender face of the young beloved take place because of an inexorable time. Against such an irresistible time, artists make creative efforts to preserve the lover’s beauty in their works. In Sonnets, Shakespeare feeling nervous about the youth’s beauty ending just in his own lifetime, intends to write poems to keep the beauty eternal. As the poet admires the young handsome man, he wants to make his beauty and friendship with him everlasting in his poetry. In his Sonnets the poet neither deals directly with the destructive time nor shows the paradoxical will against it. Simply adapting to the powerful time and accepting the weakness of man, the poet wishes that beauty will live for good. Meanwhile, as modern poet Yeats started with romantic lyrics and wrote many love poems reflecting the traditional conventions. Yeats accepts certain conventions such as the woman as goddess, Muse and aesthetic object (Cullingford 20). As a presence in real life, the woman extolled by the poet throughout his whole life cannot escape the influence of time. Saddened by the fact that his love is forgotten from the memory of people, the poet chooses to remain the last to write poetry for her. And he shows a strong will to overcome the destructive time and portrays time as a positive influence that deepens the beloved’s nobleness. As mentioned above, though two poets’ responses to time are different, there seems to be an agreement in their poetry as to the fact that love and beauty can be made eternal through art and poetry. These great poets confirm the truth that the immortality of art goes beyond time.

This paper aims to explore the processes of poetic transformation of Ireland matter in W. B. Yeats and Seamus Heaney and compare the two poets’ characteristics of attitudes to Irish politics. Even though one does not have any idea of their poetic prepositions in their poetry, there can be some understanding of the relationship between each poet’s poetic material and his works of poem. Yeats and Heaney keep distances themselves from Ireland in their poetry as a man does to woman. Some critics’ attacks that the contamination of literary discourse by political statements points to the poetics of Yeats and Heaney, and those attacks are resulted from the notion of the identification of woman with the land, which are the characteristics of these two poets. To the tradition of romantic love poems Yeats admires the Ireland and its people and transforms them into a sort of mythology. That is to speak that love poems and patriotic poems are blended in Yeats. With this point of view one feels in reading Yeats’s poems the period after the Easter Uprising of 1916, like “Nineteen Hundred and Nineteen” or “Easter 1916” and “September 1913,” a terrible new beauty that changes the old political and moral landscape. He struggles to question the situations caused the bloody violences and sacrifices. With this questioning he mystifies the imagined or ideal community. The essential Yeatsian themes and attitudes sound through the earlier works of Heaney. He draws an analogy between the preserved bodies of human sacrifices in the peatbogs of Denmark and corpses on the streets of contemporary Northern Ireland. And He employs gender stereotypes and myths to describe the violent and depressive situations in Ireland in his poems. Sometimes he uses myths, whether of apocalypse or sacrifice. But he always takes a questioning stance toward the power of mythic signification. In “The Tollund Man” the speaker comprehends the transforming and eternalizing power of myth and he also recognizes that power as a ‘blasphemy’ because it averts his, and the reader’s, eyes away from the specific victims and from the horror of the individual violent act.With this focusing on the individual victims, Heaney gives voice to those victims who can no longer speak, not silencing their individual voices on favour of a single voice and eternalizing their mythic power.

The purposes of this study were to examine the effect of two different pelvic alignments and the Valsalva maneuver on electromyographic (EMG) activity of the erector spinae during squat lifting and lowering, and to find an efficient method for squat lifting and lowering. Twenty hea1thy men in their twenties lifted and lowered loads using four different methods: 1) anterior pelvic tilt position with the Valsalva maneuver, 2) anterior pelvic tilt position without the Valsalva maneuver, 3) posterior pelvic tilt with the Valsalva maneuver, 4) posterior pelvic tilt without the Valsalva maneuver. The EMG activity of erector spinae was recorded during both lifting and lowering with each method. The EMG activity of each individual was normalized to EMG activity produced by muscle during maximal voluntary contraction. Two-way analysis of variance for repeated measures () was used to analyze the effect of the two factors: 1) pelvic tilt position (anterior pelvic tilt, posterior pelvic tilt), 2) the Valsalva maneuver (with and without). Analysis was performed separately for the lifting and lowering. The results were as follows: 1) EMG activity of erector spinae was greater when the pelvis was tilted anteriorly than when the pelvis was tilted posteriorly during squat lifting and squat lowering. 2) There was no difference between EMG activity of erector spinae with the Valsalva maneuver and EMG activity of erector spinae without the Valsalva maneuver during squat lifting and squat lowering. These results suggest that the greater EMG activity of erector spinae with an anterior pelvic tilt position during squat lifting and squat lowering may ensure optimal muscular support for the spine while handling loads, but the Valsalva maneuver may have less effect on erector spinae.

This paper is not primarily about Blake’s influence upon Yeats, though it is concerned about the question of influence and tries to suggest what influence Blake has upon Yeats. Rather, its main concern is about how Yeats wages “Mental Fight” with Blake, his “master,” in order to define himself. Indeed, the figure of Blake stands like a pair of bookends around the literary career of Yeats. But Yeats’s relationship with Blake was a constant warefare between a poetic odd couple. In fact, Yeats’s whole career might be compared to beating on a wall, which Blake managed to pass through like a ghost. According to Yeats, Blake failed to eliminate himself properly from his poems. Because he was “a man without a mask,” he could not efface his own presence from his work. In other words, he could not become an impersonal medium for the voices out of the spiritual world. To outwit Blake and, in effect, to stake out his own spiritual territory, Yeats rejects not only Blake but also, in a sense, that part of himself which he has created in the mythic image of Blake. As the result of it he can subvert Blake. Now for Yeats, a “master” is not someone he emulates. Or he does not embody the way one has hoped to embody the voice of the Immortal Blake; rather, a “master” was his opposite or contrary, someone against whom he struggles to define himself. Even after “The Symbolism of Poetry” Yeats was not prepared to look like Blake, “a man without a mask.”

Though all of the poems including Yeats’s Last Poems were written during the last years of his life, the remarkable vigor of thought and of imagination, which increased with the poets’ years, is shown here once more. However, compared with the powerful impact of The Tower and The Winding Stair, the accent of their nonchalant freedom and more colloquial style was one principal source of the reviewers’ dissatisfaction. And T. R. Henn suggested that we should perceive the philosophical and satirical implications behind so many seemingly personal poems, even in the accent of lust and rage of the Last Poems. The primary concern of philosophy is the problem of the self, while the philosophical implication of Last Poems is the self itself. Yeats’s final aim in writing poetry is the perfection of the life and of the work in the process of creating the true self. In his last letter he said, “man can embody truth but he cannot know it, but he must embody it in the completion of his life.” In this sense, the life itself is the total work of art, the completed symbol. When he elucidated that he would write a poem “cold and passionate as dawn,” the pregnant word “dawn” is to be the completed symbol of the work of art. This passage concerns those transformations which are endemic to art. The prime idea must be that necessary infusion of joy in the most tragic contents - the incoherence of the actual life and the limitation of human life. It is the poetics of his itself which achieves “the dawn,” the twilight zone of the darkness of night and the light of day. Yeats found that his place could be the trysting-place of the extremity of sorrow and the extremity of joy, the perfection of personality, and the perfection of self-surrender, passion, and stillness. “Lapis Lazuli’s” “Black out: Heaven blazing into the head” means that the dark grow luminous while the void fruitful. Yeats wrote, “when I understand I am nothing and nobody” through the state of darkness, . . . there must be the dance at the trysting-place or at ‘the clearing’ Heidegger might coin, in the mingling of the contraries. The nobleness of art exists in playing together the contraries. Where all the contraries can play together, the dawn will break. As Yeats can embody the truth, his form of self-conquest should be achieved through the self-surrender and the transformation endemic to art.