다짐은 포장 공용성에 중요한 영향을 미친다고 알려져 있다. 따라서 이 다짐공정을 포장의 소성변형과 근본적으로 동일하다고 가정하여, 다짐밀도를 롤러다짐수의 항으로 표현하는 이론 모델링식을 정립하였다. 정립된 식의 우수한 데이터 예측능력은 유도과정에 세운 가정들의 검증과 더불어 이 식의 사용 정당화에 대해 확신시켜준다. 유도된 식에 의하면, 대수 밀도 차를 대수 다짐회수의 항으로 그림을 그리면 일차함수의 직선관계식이 주어진다. 그러나 이 직선관계는 공기온도에 의한 냉각과 진동롤러의 진폭과 주기 등의 효과가 존재하면 더 이상 성립되지 않음이 판명된다. 본 연구에서는 이러한 세 요인들에 대한 영향도 함께 연구하여 더 전반적이고 성공가능성을 보여주는 새로운 다짐밀도 식을 제안하였다. 이 제안식을 응용하여 특정다짐공정에 요하는 전체 롤러다짐회수와 최종다짐밀도를 구하는 관계식을 다짐 연구 중 최초로 제시하였다.

고분자/용매계에서 물질전달현상에 이용되는 용매의 상호확산계수를 예측하기 위하여 기존의 UNFACFV을 적용한 확산식을 유도하였으며, 상호확산계수를 계산하였다. 또한, 새로운 모델식에 의하여 계산한 값을 실험치 및 Vrentas-Duda의 이론치와 비교하였다. 상화확산계수를 구하는데 필요한 자기확산계수는 Vrentas-Duda의 이론을 이용하고, 용매의 화학포텐셜의 농도 미분항은 original UNIFAC-FA와 modified UNIFAC-FV를 사용하였다. Flory-Hugginstlr을 이용한 Vrentas-Duda의 상호확산식은 용매의 화학포텐셜의 농도 미분항을 표현하기 위하여 매개변수 x를 온도와 농도에 무관한 상수로 가정한 단점을 가지고 있으나, 본 연구에서 제시한 방법에서는 이러한 가정이 없으며, 여러 가지 고분자/용매계(polyisobutylene homopolymer 및 polyisobutylene-poly(pmethylstyrene) copolymer와 cyclohexane, n-hexane, n-pentane, chloroform, toluene)에서의 상호확산계수를 잘예측하였다. 특히 PIB/toluene계의 경우, 본 논문에서 사용된 방법이 Vrentas-Duda 이론에 의한 것보다 실험치에 더 가까웠다. 또한, 아무런 가정이나 제약없이, 넓은 온도 및 농도 영역에서 고분자/용매계의 상호확산계수를 예측할 수 있는 좋은 방법임을 알 수 있었다.

다짐은 포장 공용성에 중요한 영향을 미친다고 알려져 있다. 따라서 이 다짐공정을 포장의 소성변형과 근본적으로 동일하다고 가정하여, 다짐밀도를 롤러다짐수의 항으로 표현하는 이론 모델링식을 정립하였다. 정립된 식의 우수한 데이터 예측능력은 유도과정에 세운 가정들의 검증과 더불어 이 식의 사용 정당화에 대해 확신시켜준다. 유도된 식에 의하면, 대수 밀도 차를 대수 다짐회수의 항으로 그림을 그리면 일차함수의 직선관계식이 주어진다. 그러나 이 직선관계는 공기온도에 의한 냉각과 진동롤러의 진폭과 주기 등의 효과가 존재하면 더 이상 성립되지 않음이 판명된다. 본 연구에서는 이러한 세 요인들에 대한 영향도 함께 연구하여 더 전반적이고 성공가능성을 보여주는 새로운 다짐밀도 식을 제안하였다. 이 제안식을 응용하여 특정다짐공정에 요하는 전체 롤러다짐회수와 최종다짐밀도를 구하는 관계식을 다짐 연구 중 최초로 제시하였다.

It is the purpose of this study to document the decline of modal theory in the seventeenth century and the concurrent emergence of major-minor key theory. Emergence of major-minor key theory in the seventeenth century put an end to virtually unbroken tradition of modal theory which had endured for at least two millennia. Glarean and Zarlino are linked directly to the recognition of major-minor key theory in recent literature. In reality, however, there is not a trace major-minor thinking in Glarean's Dodecachordon. For from trying to isolate the new Aeoliean and Ionian modes, Glarean argues that he is only trying to complete an imperfect system of eight modes by correcting a misunderstanding of the nature of mode as octave species. One of the earliest indications of new direction in modal thinking is found in Zarlino's Istitutioni harmoniche. After acknowledging the existence of twelve different modes, Zarlino goes on to state that all of them could ultimately be broken down into two groups: 1) Those with a major triad on the final or mediant. 2) Those with a minor triad on the final or mediant. Zarlino maintains, furthermore, that it is the presence of major or minor triads on these particular scale degrees which determines the affection of music. During the period transition from modal theory to major-minor key theory, roughly coextension with the seventeenth century, elements and characteristics of modes are often found intermingled with key traits. But to say, in effect, that four of six mode pairs fell into disuse leaving only Aeolien and Ionian, and that these two pairs were identical to minor and major, respectively, is to ignore the historical evidence of seventeenth century music treaties. To say that major and minor descended from Ionian and Aeolian is misleading for two reasons: 1) Those who dealt with two modes and treated them as "modes," i. e., subjected them to transition, generally chose Ionian and Dorian. 2) Those who dealt with two modes, one on C and one on A, treated them as keys from the start and ignored their fortuitous to Ionian and Aeolien respectively. In conclusion, it can be seen that Ionian octave-scale pattern becomes the major mode. It is impossible, however, to provide such a tidy picture for the ancestry of the minor mode because no single scale is used exclusively and not all forms of minor scale (i. e., harmonic and melodic minor) correspond to one of the earlier modes. Yet despire the variability of minor mode, theorists are still able to speak of the major-minor mode since what they consider to be the most essential property of their two modes-the third above the tonic consisting of either a ditone or a tone semitone-is present in the single major scale as well as in each of the diverse forms of the minor scale.

결정성장 도중 전류에 의해 고/액 계면에서 발생하는 Peltier 열을 이용하면 온도구배의 증가와 이에 따른 성장속도의 증가 및 결정성의 향상에 기여할 것이라 예상되어, 고/액 계면에서 복합적으로 발생하는 Peltier 효과를 조사하였다. 전류 밀도, 극성 및 온도구배의 변화에 따른 고상과 액상 및 그 계면에서의 온도변화로부터 이론적 추론에 의해 Peltier 열, Thomson 열 및 Joule 열만의 영향으로 분류할 수 있었고, 고상/액상 계에 대한 Peltier 계수 및 Thomson 계수도 구할 수 있었다.

This study tries to compare the architectural thought of Michel Foucault with that of Manfredo Tafuri in order to make clear the architectural identity as a social institution. In Michel Foucault's case, the archeology of discourse and the geneology of power were central method to understand the history of occidental society since the Renaissance. Four him, architecture is assumed as a mechanism of operation which make the power effectively radiate in th space. He thinks that a new discursive space was arranged since the 18th century in Europe, the architecture played a role to coordinate divers powers. Mafredo Tafuri, architetural historian, depends on the criticism of ideology in search of the relation between the economic system of capitalism and modern architecture and urbanism. He thinks that all architecture is an institution. And any attempt to overthrow the institution, is bound to see itself turned into a positive contribution and into an ideology, So all architectural attempts to conceal the contradiction of capitalism are negated. This different perspective on architecture exposes many points of dispute: historical periodization, disciplinary limit of architecture, understanding of Enlightenment architecture, utopia and heterotopia, etc.

The Budget method used currently in Codex for estimation of use levels of food additives was investigated and the specific approach that can be applicable for Koreans has been proposed. Theoretical maximum daily intakes(TMDIs) of benzoate, p-hydroxybenzoic acid ester, butylated hydroxyanisole(BHA), butylated hydroxytoluene (BHT), t-butylhydroquinone(TBHQ), nitrite, nitrate, sorbate, and sulfite were estimated and compared with corresponding acceptable daily intakes(ADIs). Additives requiring further precise evaluation were screened. TMDIs of benzoate, BHA, BHT, TBHQ, nitrite, and sulfite exceeded ADIs. On the other hand, it appeared that TMDIs of p-hydroxybenzoic acid esters, nitrate, and sorbate were below ADIs. It is expected that the Budget method may be used as one approach for the estimation of use level and risk assessment.

The purpose of this paper is to apply Stephen C. Pepper's contextualism to architecture: to interpret the former in the light of architectural theory, and ultimately to liberate architecture from the Western 'Idea' and return it to its context. The major concepts of Pepper used in the paper are quality, texture, spread, change, fusion, strand and context. Pepper's contextualism makes us realize that architecture cannot be separated from its context where human beings, history, neighborhood, and nature are all interpenetrating, and create a quality. Contextualism thus teaches us to make an effort to understand the region where we belong, and to create an architectural device that interrelates form and function of an architecture with its space-time environment, or its strand, texture and context.

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his <Archeology du savoir>. The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

The essence of Chinese landscape architecture is realization of a space that embraces nature and human integrating the openness and encloseness. The concept of landscape architecture that artificially furnishes natural elegance into urban areas coincides with the spiritual basis of Chinese literati-painting which subjectifies the scenery of objective world and entrusts personal feelings on that. In other words, the ultimate ideal of Chinese landscape architecture is embodying the Utopia of confucian intellectual in a city. This paper has tried to shed a light on inter-relationship of literati-painting theory and Chinese landscape architecture theory through comparing them. It is the identical spiritual basis they shared harmoniously that made landscape architecture, poetry and painting possible to meet.