‘明末淸初의 사상과 日本儒學에 대하여’라는 문제 설정은 江戶사상사 연구의 문맥 안에서 11세기 이전 일본 사회의 ‘주자학적 사유의 존재’라는 丸山眞男의 주장에 대한 비판 · 수정의 흐름 속에 자리 매김할 수 있다. 그러나 17세가 일본에서 수용된 명말청초의 사상을 무익하게 주자학과 떨어진 곳에서 파악하려는 것도 橋狂過正의 폐해에 빠질 가능성이 있다. 근년 중국 근세 사상 연구에서는 양명학은 주자학적 문제의식을 계승 · 발전한 것으로 보아야 한다 는 주장이 점차로 힘을 얻어가고 있다. 이러한 연구 동향으로부터 이 논문에서는 中江藤樹의 사상을 ‘주자학’적 전개의 가능성 안에서 재구성해 보려 하였다. 그려고 이에 있어 藤樹의 사상에 대해 종래처럼 일부러 세세하게 시가를 구분하는 방법을 취하지 않았다. 그러한 시가 구분은 藤樹사상의 ‘ 日新’성을 강조하려는 의도를 가진 『藤樹先生年諸』의 기술에 의해 도출된 것으로， 오히려 이 논문에서는 초기에서부터 만년에 이르기까지 변하지 않는 藤樹學특질의 추출을 기도하 였다. 그 특질은 藤樹의 사상에 합리성 • 질서성에 대한 합리적 신비 事象에 대한 신념이 공존하고 있다는 점이다. 종래에 이 문제는 藤樹가 주자 학에서처럼 ‘理’의 자기관철을 무조건적으로 믿는 것이 불가능했기 때문이라고 이해되어왔지만， 이 에서는 오히려 藤樹가 ‘理’블 인간의 可知• 不可知에 미치는 모든 영역에 있어서 관철시켜왔기 때문에 표면상에서 그와 같은 모순이 나타남을 논하였다. 이와 같이 불가지의 영역을 신비적 인것으로 보류하지 않은 태도는 주자의 ‘象 數易’에 대한 태도와 공통된다. 또한 이것은 서구 17세기의 과학자들과도 유사한 점이있으며， 이러한 의미에서 藤樹의 사상을 ‘주자학’ 안에서 이해하려는 것은， 藤樹사상의 해명에 기여하는 것뿐만 아니라 동아시아 사상사 전개의 재조명에도 이바지할 수 있는 가능성을 지니고 있다고 생각한다.

Alkaloid producing species of plants have long been a major component of the medicinal social and magico-religious aspects of human culture. A diverse array of biological activities has been attributed to different alkaloids including numerous members of benzylisoquinoline family of alkaloids. For biotechnological approaches of alkaloid biosynthesis in poppy family, plant regeneration protocol through somatic embryogenesis or shoot organogenesis is a first step. This paper describes the methods and applications of plant regeneration of poppy family.

Arnold Scho¨nberg used three twelve-tone series in the first movement of his 「String Quartet no.3」. These twelve-tone series are used in both melodies and accompaniment. But sometimes he did not follow this fundamental rule to pursue musical thought even though he made use of the twelve-tone system in this piece. This thesis is focused on not only theme melodies, but also first ostinato motive of accompaniment and the relationship of balance between Scho¨nberg's primary and secondary musical thought can be considered in the theme melodies and the first motive of accompaniment. That is to say, Scho¨nberg shows how the main melodies and the supported ostinato motives match well together from the examples of his own musical main thought, environs thought, and relative thought. This is an specific example that Scho¨berg can develop his musical logic in his piece perfectly only when all of musical elements are in harmony. This is different with tonal music which is depends on the development of just main melody. Scho¨nberg says that the meaning of composition skill of the twelve-tone system is a reproduction of the traditional tonal harmony and is for systematization of the process of entire musical elements. So, he unites between the traditional composition techniques with and his twelve-tone system. 「String Quartet no. 3」 is also composed using both old and new. Unusually, there was no sensation in the first performance of the 「String Quartet no. 3」. But his critics said Scho¨nberg could not overcome his fantastic musical theory deeply and this piece was an expression of the Dadaism.1」 However, When it was performed at Frankfurt in 1928, Adomo was fascinated with this 「String Quartet no. 3」 and he evaluated this piece as a 'very influential music'. The article 「Why is it difficult to understand Scho¨nberg's music」 of Alban Berg says several common characteristics of atonal music. these characteristics include similar variety of harmonies, various methods of cadences, equal use for each tone in twelve-tone system, well-matched harmonies with melodies, unsymmetrical and unlimited composition in musical theme, abundant variation skills, inclusive polyphony, and various and subdivisible rhythms. Scho¨nberg's 「String Quartet no. 3」 uses abundant various rhythms, variation skills with motive, counterpoint skills, and musical theme development based on traditional harmonic function. This piece includes various characteristics of atonal music which Alban berg notes in his article. Scho¨nberg's 「String Quartet no.3」, composed with abundant musical skills, shows the serious musical thought of the composer and his musical beauties. This breaks general opinions that Scho¨nberg's piece is difficult to understand.

The form of the first movements of Mozart's Concerto for T재 pianos andOrchestra, K.242(1776) and Concerto for Three Pianos and Orchestra, K.365(1779)is the topic of this paper, from the point of views of Johann Christian Bach'sConcerto for Harpsichord and Orchestra, Op. 7 as a model and of Robert Levin'sformal skim of Mozart's mature piano concertos.Among concertos composed in Salzburg during the same years, there is no significant difference in formal organization. The double and triple concerto havesome common features. The concertos are based on the three-tutti from: opening,middle, and final. The layout of thematic materials is very systematic--regular use of sujet libre is a notable feature. The placement of half-cadence(in the tonic anddominant) is rather regular and important. The duplication or proliferation of the closing material are found. The formal organizations of the first movements of these two concertos follow not only Mozart's model concertos, J. C. Bach's Op. 7,but match well with Levin's formal skim of Mozart;s mature solo piano concertos.

자연 생물자원 관리를 위해, 광양만내 인공적으로 폐쇄된 슬라그 적재장내에 서식하는 암컷 피뿔고둥 Rapana venose(Valenciennes)를 대상으로 조직학적, 육안적 관찰에 의해 군성숙도, 성비, 산란빈도, 난낭 산출 및 포란수를 조사하였다. 암컷 개체들의 군성숙도(%)는 각고 7.1~8.0 cm의 경우 51.6%이었고, 9.1 cm 이상인 개체들의 경우는 100%이었다. 개체당 총난낭수 및 난낭내의 평균 난수는 각각 192~382개와 500개

GnRH는 10개의 아미노산으로 구성된 호르몬으로서 생식기능을 조절, 관장하는 중요한 역할을 담당하는 것으로 알려져 있다. 특히 임신 중에는 태반에서 hCG의 분비를 조절하는 중요한 역할을 한다. 최근 사람의 두 번째 GnRH 유전자가 발견되었으며 그 10개의 아미노산 서열은 닭에서 두 번째로 발견된 GnRH (chicken GnRH-II)와 동일한 것으로 확인되었다. 이제까지 사람에서의 두 번째 GnRH (GnRH-II)의 발현은 중뇌와 신장에서 보고

Dr. Ha's compositional style, up to this point in time of new millenium, may be divided into three periods. His early period reveals both tonal and atonal practice, while his maturing second period shows atonal practice only. The third period since 1990, almost exclusively, has been dedicated to writing music for church. His piano suite, DIABOLUS belongs to the first period written in dodecaphonic stlyle. However, it displays typical Baroque suite formet of four movements. The suite uses a tone row which is systemetically constructed in such a way that the second half of the tone row is the retrograde inversion of the first. The entire composion uses only four rows: O-0, O-6, R-0 and R-6. The four movements are as follows: Praeludium is in unipartite form. Menutto is in composite tripartite form. Sarabande is in simple tripartite form. Giga, which uses canonic imitation, is in composite tripartite form. It is noticeable, as is implied in the title, that the interval of tritone predominates throughout the work. The term "diabolus" is borrowed from the medieval expression which describes the difficulty of singing the augmented fourth interval, the devilish interval. The tone row is strictly used throughout except a few places where three, four and six-notes are used as a group. The use of tritones and note-groupings is outstanding, particularly, in Giga. The significance of this analytical study of Jae Eun Ha's composition lies in the fact that the first hand informations concerning not only the composition itself but also the composer himself may be obtained from the composer, who is still living and active, thereby leaving a valuable material to similar studies to come such as this. It is hoped that such analytical studies on Korean native composer's works may continue in the years to come so that future generations may benefit from enrichment of modern scholarship.

이 논문에서는 Washita '92 자료를 이용하여 토양수분의 1차원 및 2차원 통계특성을 추출하였다. 아울러, 토양수분과 토양, 밝기온도(brightness temperature), 식생지수 사이의 상관관계가 어떤지를 선형회귀분석에 근거하여 조사해 보았으며 결과로서 토양수분은 밝기온도와 유의할만한 상관성이 있는 것으로 나타났다. 토양수분의 시간에 대한 감쇠(decay)계수를 각각의 토양군별로 추정하였고, 역으로 이 값을 이용하여 관측전 마지막 강우의