서울시 경동시장 및 인근 대형마트에서 유통 중인 건조 수산물 150여 건을 시료로, ICP-MS를 이용하여 규격 미설정 중금속인 비소, 크롬, 니켈에 의한 오염도를 확인하고 그에 따른 위해도를 분석하였다. 크롬과 니켈은 검출량 및 위해도 분석 결과, 유의할 만한 결과를 확인할 수 없었다. 비소 검출량의 경우 건조어류 1.76±1.36 (0.00- 7.34), 건조연체류 3.38±2.42 (0.06-7.89), 건조해조류 1.99±1.33 (0.28-5.97), 건조갑각류 6.62±2.50 (3.30-13.57) ppm으로, 현재 건조 농산물 일부 및 한약재에서의 3 ppm 이하 규정을 간접적으로 적용했을 때, 건조갑각류는 분석에 사용된 시료 21건 모두 기준 이상으로 검출되었고, 건조연체류는 총 20건 중 50%에 해당하는 10건이 기준 이상, 건조 어류는 총 108건 중 15건(13.9%)이 기준 초과, 건조 해조류는 35건 중 6건(17.1%)의 시료가 기준을 초과 한 결과를 보였다. 시료 건수에 따른 한계에도 불구하고, 위 결과를 통해 각 품목별 및 세부 품목별 미 규격 중금속 오염에 대한 지속적인 자료 축적과 규격 설정의 필요성을 확인할 수 있었다. 비록 %PTWI 분석 결과 아직은 안전한 것으로 확인되었지만, 중금속은 여러 경로로 인체 내로 유입되며 위해도는 총합으로써 평가해야 하므로, 해양 및 수산물의 오염으로 인한 건강 위해 가능성에 대한 확인은 다각적인 연구와 검토가 필요할 것으로 판단된다.

서울약령시장과 서울경동시장 등에서 유통되고 있는 식약공용 농·임산물 29품목 171건에 대하여 ICP-MS와 수은 분석기를 이용하여 중금속(납, 카드뮴, 비소, 수은) 함량을 분석하고 위해도를 평가하였다. 납, 카드뮴, 비소, 수은의 검출 범위는 각각 ND-4.719 mg/kg, ND-1.019 mg/kg, 0.002-8.696 mg/kg, ND-0.058 mg/kg로 나타났다. 171건의 검체 중 Artemisiae Capillaris Herba(인진호) 1건과 Actinidiae Ramulus et Fulium et Fructus Vermicultus(목천료) 1건에서 각각 카드뮴과 비소 항목이 허용기준을 초과 하여 부적합 판정을 받았으며 나머지는 모두 허용기준 이내였다. 위해도를 평가 했을 때 비발암위해도지수(HI)가 1을 초과한 품목은 없었고, 발암위해도가 납은 모든 품목에서 10-6 이하였으며 비소는 10-4-10-6 으로 나타나 전반적으로 안전한 수준으로 평가되었다. %PTWI는 납, 카드뮴, 비 소, 수은 모두 100이하로 나타났다. 유통중인 식약공용 농 ·임산물의 중금속(납, 카드뮴, 비소, 수은) 함량을 분석하고 비발암위해도지수(HI), 발암위해도, %PTWI를 평가한 결과 안전한 수준으로 평가되었다.

가열하지 않은 간편섭취 농산물의 섭취를 통한 세균 감염의 가능성을 줄이고자, 가정에서 쉽게 구할 수 있고 잔류에 대한 염려가 없는 천연 항균성 식품을 이용하여 세척할 경우, 물 세척에 비해 세균의 감소효과가 있는지 확인하고자 하였다. 여러 가지 항균성 식품성분 중 마늘의 allicin, 생강의 gingerol, 녹차의 catechin, 계피의 cinnamic aldehyde, 고추냉이의 allyl isothiocyanate의 단계별 희석액으로 세척한 후, 단순 물 세척의 세척효과와 비교한 결과, 단순 물 세척에 비하여 세균 감소의 효과가 큰 것으로 통계적으로 확인되었다. 간편섭취 농산물에서 검출된 Bacillus cereus 오염의 유래 및 연관성을 확인하고자 유전적 상관성을 분석해 본 결과 유사도가 매우 높은 균주들이 많이 검출되었다. 이 사실을 통해 간편섭취 농산물의 생산, 가공, 포장, 유통 등의 과정에서 공통적인 요인에 의한 지속적인 오염의 가능성 및 소비자의 감염 가능성을 파악할수 있었으며, 감염을 예방하기 위한 사전적이고 체계적인 관리가 필요함을 확인하였다.

William Blake, regarded as one of the great Romantic poets, was a prolific painter, printer, and engraver as well. Yet, he did not receive due credit for his work during his time. For a long time, his graphic art and literature were treated in isolation from each other; literary critics focused only on his poems and art historians on his engravings or paintings. Recently, attempts to see his work, particularly his illuminated books, as a “composite art” or as a synthesis of word and image have increased. I will also consider his work as a kind of open text in a poststructuralists’ notion, which blurs the boundaries between them and encourages readings as textual performance. In this paper, I will first show how Blake differentiated himself from other painters, engravers, and publishers by devising his own way of creating and printing illuminated books. Next, focusing on his earlier work, Songs of Innocence and of Experience, I will briefly discuss the characteristics of his illustration and the content of his poems. Finally, I demonstrate how Songs makes for unique reading in which the reader is an ongoing participant in its textuality, crossing between words and words, and words and images. The advent of the Industrial Revolution brought with it an increase in mass publication, and the distinction between fine art and designs or craftsmanship was yet to be clarified. Against such distinction, Blake created a unique method of "relief-etching", through which he combined text and engraved illustration on a single copper plate and hand-colored the prints. Each copy thus remains a unique work of art. His illuminated books envision interdisciplinary and multimedia text and question the modern system of classification and hierarchies between poem and painting, painting and engraving, art and literature. In the images of Songs, we see Blake’s profound interest in Gothic art as “divine” work. For example, he persisted in using firm outlines that were characteristic of Gothic art. Like other Romantic poets, Blake believed the imagination and God’s spirit to be manifest in outline rather than color. The letter was regarded to be appealing to the sensuality of the eyes. On the other hand, the poems in Songs reflect the dialectical relationship and synthesis in which “innocence” might be wedded to “experience,” as its subtitle Shewing the Two Contrary States of the Human Souls implies. Songs is, however, not to be read by isolating the poems from the illustrations. In the introduction of Songs of Innocence, Blake proposed the intricate and conflicting relationship between speech, writing, and painting. The title page also suggests that children are not merely passive learners imitating the nurse’s reading but active readers-seers who may better understand Blake’s illuminated books. Further, this paper, after the examination of a few poems, attempts to show that the images do not necessarily illustrate the poems and can rather create a link between different parts of the text. This rejects the traditional critical hierarchy of word over image. Blake’s work indeed opens up an infinite vortex, that is, the textuality, as Roland Barthes or other post-structuralists might call it, and invites us to participate as active readers.

이 논문은 아이돌 가수 소속 기획사 담당자 및 대중음악 작사가, 전직 아이돌 가 수를 포함한 대중음악 생산자들과의 심층 인터뷰를 통해 한국의 대중음악과 연예 산업 전반에서 두드러지게 나타나고 있는 아이돌 편중현상과 그 원인을 분석한다. 연구 결과 한국 대중음악의 아이돌 편중에는 세 가지의 주요인이 작용하고 있음을 밝혀냈다. 첫째, 디지털 기술의 발달로 인해 대중음악 시장이 듣는 음악 시장에서 보는 음악 시장으로 변화하였고, 이로 인해 화려한 퍼포먼스와 풍부한 볼거리를 제 공하는 아이돌 그룹이 선호되기 시작했다. 음악의 주요 시장이 오프라인에서 온라 인으로 바뀌면서 온라인을 가장 자유롭게 이용하는 청소년과 20대가 가장 중요한 음악 소비자로 인식되면서, 이들이 가장 선호하는 비슷한 또래의 아이돌 그룹이 인 기를 누리게 되고 다른 세대들이 선호하는 음악은 설 자리를 잃게 되었다. 둘째, 리스크가 높은 연예사업의 특성상 대규모의 자본력을 갖춘 소수의 대형 기 획사에서 거의 독점적으로 아이돌 가수 양성을 전담하는 구조가 형성되었고 이로 인해 대형 기획사와 방송사간에 카르텔이 형성되었다. 방송사가 가장 인기 있는 소 수의 기획사 소속 아이돌 가수들을 각종 프로그램에 섭외하기 위해 가요프로그램 에 주요 기획사 출신의 아이돌을 대거 출연시킬 수밖에 없고 이는 방송의 전 연역 에 걸친 아이돌 편중현상을 심화시킨다. 마지막으로, 가수로만 활동하는 아이돌은 상업적 가치가 떨어지므로 연예기획사는 아이돌을 만능 엔터테이너로 트레이닝 시키고 활용시키는데, 이는 기획사의 수익을 극대화 할 수 있는 방안이자 아이돌 편중현상의 중요한 요인으로 작용한다.

This article is concerned with the theory of mimesis that had impact on the history of art from the antiquity to modern times. It tries to show its connection to the historical change of the poiesis concept, and purposes thus to approach a hitherto little known background of music history. Furthermore it seeks an answer to the question for which reason the theory of mimesis influenced the history of art for so long and so broad in the historical discussion on the legitimacy of art.

In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano’s human rights and as a tool to recover the Chicano people’s cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca’s works, and the Balmy Alley Mural Environment project in San Francisco’s Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.

This paper presents a six sigma project for improving customer satisfaction of a franchise store. The project follows a disciplined process of five macro phase : define, measure, analyze, improve, and control(DMAIC). Due to the limitation of existing methodologies, numerous difficulties arise during the six sigma application to transactional processes. This paper expected to be helpful to service industry in which is very difficult to measure and implement.

The principal objective of this study was to develop and standardize a preparation method for low-sodium tomato jangachi (traditional Korean pickle) via short-term fermentation with immature green cherry tomatoes. In order to determine the preferred concentrations of soy sauce and soaking temperatures of immature cherry tomato pickles in different stages of storage, we conducted an analysis of physico-chemical characteristics and microbiological properties, and also performed a preference test on samples of immature green cherry tomato pickles. Immature cherry tomatoes were prepared in three different soy sauce concentrations --20, 40, and 60%-- and three different soaking temperatures --60, 80, and 100℃-- and then stored for 28 days at 5℃. As a result, the pH increased significantly with increases in the amount of soy in the dipping solution (p〈0.05). The saltiness was maintained at levels of approximately 0.17~0.28% (20% group), 0.32~0.67%% (40%group), 0.48~1.00% (60% group) during storage periods. These results show that the saltiness of immature cherry tomato pickles was substantially lower than that of commercial pickles. The contents of reducing sugar and lightness decreased significantly with increasing concentrations of soy dipping solution. The redness and yellowness values of the tomatoes decreased significantly with increasing concentrations of soy sauce. Additionally, the lower the concentration of soy sauce used, the more rapidly the hardness of the immature cherry tomato pickles was reduced at 100℃. PME activity moved within a narrow range, and then stabilized during the storage period. With regard to the results of the consumer preference test, 20%-100℃ was the most preferred condition overall, 40%-80℃ was the condition in which the texture was most preferred, and 40%-80℃ was the condition that yielded the highest color scores.

The cultural debates between conservatives and liberals at the end of the 1980s andin the early 1990s were termed as “culture wars.”The “culture wars”involved a diverserange of controversial issues, such as the introduction of multicultural curricula ineducational institutions, prayers in schools, whether to allow gays to serve openly in themilitary, and whether abortion should be permitted. The most heated debates of the“culture wars”regarding art raged over the NEA and the question of whether AndresSerrano’s works should have been publicly funded, in addition to the exhibition “RobertMapplethorpe: The Perfect Moment”which were charged as projecting “obscene”or“blasphemous”images. This paper examines the development of culture wars in art and focuses on severalissues invoked by the NEA debates. However, it is not a detailed chronologicalinvestigation. Rather it pays attention to the several phases of the debates, analyzing andcriticizing the clashes of the political and esthetical points of views between conservativesand liberals. How could NEA funding, a mere fraction of the federal budget, have become socritical for both sides(conservative and liberal), for politicians and artists’groups, and foracademics and the general public? The art community was astounded by this chain ofevents; artists personally reviled, exhibitions withdrawn and under attack, the NEA budgetthreatened, all because of a few images. For conservative politicians, the NEA debate wasnot only a battle over the public funding of art, but a war over a larger social agenda, awar for “American values and cultures”based on the family, Christianity, the Englishlanguage, and patriarchy. Conservative politicians argued the question was not one of“censorship”but of “sponsorship,”since the NEA charter committed it to “helpingmuseums better serve the citizens of the United States.”Liberals and art communitiesargued that the attempt to restrict NEA funding violated the First Amendment rights ofartists, namely “free speeches.”“No matter how divided individuals are on matters oftaste,”Arthur C. Danto wrote, “freedom is in the interest of every citizen.” The interesting phase is that both sides are actually borrowing one another’s point of view when they are accompanied by art criticism. Kramer, representative of conservativeart critic, objected the invasion of political contents or values in art, and struggled to keepart’s own realm by promoting pure aesthetic values such as quality and beauty. But, whenhe talked about Mapplethorpe’s works, he advocated political and ethical values. Bycontrast, art experts who argued for Mapplethorpe’s works in the Cincinnati trial defendedhis work, ironically by ignoring its manifest sexual metaphor or content although theybelieved that the issues of AIDS and homosexuality in his work were to be freelyexpressed in the art form. They adopted a formalistic approach, for example, by comparinga child nude with putti, a traditional child-angel icon. For a while, NEA debates made art institutions, whether consciously orunconsciously, exert self-censorship, yet at the same time they were also producingpositive aspects. To the majority of people, art was still regarded as belonging to the pureaesthetic realm away from political, economical, and social ones. These debates, however,were expanding the very perspective on the notion of what is art and of how art isproduced, raising questions on art appreciation, representation, and power. The interestingfact remains: had the works not been swiped in NEA debates, could the Serrano’s orMapplethorpe’s images gain the extent of power and acceptance that it has today?