황색 꽃의 압화 후의 변색의 원인이 무엇인지를 모색하기 위해 나리, 온시디움, 장미, 튤립, 금어초, 카네 이션, 프리지아, 칼라, 거베라, 해바라기와 라넌큘러스 황색 절화 11종을 식물재료로 사용하였다. 이들 식물 재료의 꽃잎의 특성과 화색소를 분석하고 압화 후의 변색 정도와의 상호 관련성을 검토하였다. 꽃잎 두께, 꽃잎의 장폭비, 그리고 꽃잎의 수분함량은 압화의 변색 에 크게 영향을 미치지 않았다. 카로티노이드에 의해 황색이 발현되는 종은 나리, 온시디움, 장미와 튤립이 었으며, 플라보노이드에 의해 황색이 발현되는 종은 금 어초, 카네이션, 프리지아와 칼라였으며, 카로티노이드 와 플라보노이드가 공존하면서 황색이 발현되는 종은 거베라, 해바라기와 라넌큘러스였다. 카로티노이드가 단 독이거나 플라보노이드와 공존하거나 상관없이 카로티노이드에 의해 황색이 발현되는 경우는 압화의 변색 정도가 심했다. 그러나 플라보노이드에 의해 황색이 발 현되는 종은 거의 변색 되지 않았다. 암처리 한 압화 는 거의 변색되지 않았으나 광처리 한 것은 변색의 정도가 심했다.

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors?space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

Foreigners who arrived in Korea after the age of enlightenment were Japanese,Chinese and‘Westerners’who were Europeans and Americans. The westerners werediplomats who visited Korea for colonization or for increasing their economical profits bytrading after the spread of imperialism, and tourists curious of back countries, artists,explores and missionaries to perform their roles for their religious beliefs. They contactedwith Korean cultural and educational people as missionaries and instructors duringJapanese colonial period. In 1945, the allied forces occupied Korea under the name oftakeover of Japanese colony after Japan’s surrender and the relation between foreignersand Korean cultured men enter upon a new phase. For 3 years, American soldiers enforcedlots of systems in Korea and many pro-American people were educated. This relationshiplasted even after the establishment of the government of Korean Republic and especially,diplomats called as pro-Korean group came again after Korean War. Among them, therewere lots of foreigners interested in cultures and arts. In particular, government officialsunder American Forces who were influential on political circles or diplomats widened theirinsights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote theirimpressions about Korean cultural assets on newspapers or journals after visitingcontemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and theHendersons were dominant. They thought the artists had great interests in compromisingand uniting the Orient and the West based on their knowledge of Korean cultural assets,and they advised. However, it was different from Korean artist’s point of view that theforeigners thought Korean art adhered oriental features and contained western contents. From foreigners’point of view, it is hard to understand the attitude Korean artistschose to keep their self-respect through experiencing the Korean war. It is difficult todistinguish their thought about Korean art based on their exotic taste from the Koreanartists’local and peninsular features under Japanese imperialism. We can see their thoughtabout Korean art and their viewpoint toward the third world, after staying in Korea for ashort period and being a member of the first world. The basic thing was that they couldsee the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists’pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party’s view, foreignersrepresented their thoughts through it that their economical, military superiority goes withtheir cultural superiority. The Korean artist’s thought of emphasizing Korean history andtraditions, reexamining and using it as an original creation may have been inspired bywesterners’writings. ‘The establishment of national art’that Korean artists gave emphasis then, didn’tonly affect one of the reactions toward external impact,‘the adhesion of tradition’.In theprocess of introducing Korean contemporary art and national treasure in America, differentview caused by role differences-foreigner as selector and Korean as assistant-showed thefact evidently that the standard of beauty differed between them. By emphasizing that thebasis to classify Korean cultural assets is different from the neighborhood China and Japan,they tried to reflect their understanding that the feature of Korean art is on speciality otherthan universality. And this make us understand that even when Korean artists professmodernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners’view on Korean art that Koreanartists’ conception of modernism and traditional roots are inherent in Korean history. In1950s, after the independence, Korea had different ideas from foreigners that abstract wasto be learned from the west. Korea was enduring tough times with their artists’self-respectwhich made them think that they can learn the method, but the spirit of abstract is in theorient.

This study was implemented to offer materials for the activation of On-line food shopping mall though census about purchasing food. A percentage of people who had accessed to On-line food shopping mall was 53.8%, and who had an experience of purchasing food at the On-line sopping mali was 18.9%. The number of food purchasing in On-line food market is 1~3 times(67.7%). It is general that an amount of food purchase is less than 100,000 wons. And the health assistant food is the most interesting item followed by Meet, Special products like a laver and mushroom, and an anchovy. in purchasing food at On-line market, customer thought that the confidence and the freshness of food are important because customer can't choose a product directly. In the future of food purchase using On-line shopping mall, 38.1% of people show their intend of purchasing at the mall. People who had experience of food purchase though the Internet have more positive view about repurchase than ones had not.

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or ‘Visual Culture Studies’ insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered ‘tradition-less’. It does not mean that a work of art stands aloof from the past attainments, but modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, art historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should be reexamined now. Because artists’ concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

This study was designed to observe the body growth and components of edible mugwort (Artemisia sp.) and medicinal mugwort(Kanghwa medicinal mugwort). Twenty-four young rats of Sprague Dawley strain, body weight of about 89g were used in this study. They were fed on the basal diet(control diet) supplemented with 5% edible mugwort powder(EM diet) and 5% medicinal mugwort powder(MM diet) for 4 weeks respectively. In proximate composition of nutrients of mugwort in dry basis(100g), crude protein(16.4g) and crude ash(11.8g) contents of EM were higher to about 2% than that of MM, but crude lipid content(4.3g) of EM was lower to about 2% than that of MM. However, the contents in calcium(6.9g) of MM was higher to 5.3 times than that of EM, but in Mn(17㎎), Zn(0.5㎎), Fe(131㎎), Mg(337㎎) of EM were higher to 2.8∼2.3 times and vitamin A(39, 776 IU) of EM was higher to 2.9 times than that of MM respectively. Body wight gain rate and diet efficiency ratio of EM and MM diet group were similar to that of the control group. The contents of total protein, albumin, urea nitrogen, creatinine, uric acid, total cholesterol, HDL-C, LDL-C, glucose, amylase, transaminase(GOT, GPT) in serum exhibited no remarkable difference among of the EM and MM diet group but the level of LDH activity of MM diet group were significantly lower than that of the control group and EM diet group.

Participants of this 1998 survey included 100 physical therapists working in hospitals located in Andong City. 77.7% of the participants were in their twenties and 20.2% in their forties. 46.4% of the participants were 3rd year students at a junior college, and 1.0% were college graduates. 67.6% of the participants had less than 5 years experience and 1.0% 16 years experience in their field. 59.6% of the participants were married. Regarding questions about occupational satisfaction, many of the participants replied "normal" for the first and third questions, and few answered "very much". Most of the participants answered "normal" for all the questions concerning their work environment with few replying "very much". With regards to awareness of the physical signs of fatigue, "occasionally, yes" were the most frequent answers. Regarding awareness of the psychological signs of fatigue, the similar proportions of participants answered "occasionally, yes" as that for "feeling nothing". Similarly, with regard to awareness of the neuro-sensitive signs of fatigue, there was a similar ratio of participants answering "occasionally, yes" and "feel nothing". It can be concluded that there are many causes of fatigue amongst physical therapists. Improvements in daily nutrition, mental health and general well-being are important in tackling these problems. It appears that fatigue amongst physical therapists may be cumulative and due to prolonged working hours To promote better daily functioning and early recovery from fatigue, appropriate assignments of working and resting hours are necessary. They would also benefit the prevention of symptomatic problems in the waist and shoulder.