In this paper we attempt to introduce a new teaching method for Spanish grammar education, based on the Movement theory of the Generative Grammar and we want to show that this new method can explain Spanish grammar phenomenon more easily and effectively than the existing school grammar. For this purpose, we start with some nominal phrases and simple sentences of the Korean and Spanish languages. We find out the basic difference of the two languages by comparing their nominal phrases and simple sentences from the point of view of Movement theory. The difference is that the Korean language does not have movement phenomenon but the Spanish language does. This difference is consistent in all of complex clauses with relative pronouns. We show that with this theory we can teach Spanish nominal phrases, simple clauses, exclamative clauses and relative clauses in a unitary and effective method of explication without a supposition ad hoc.

Colin Rowe's 'Transparency' is one of core ideas applied to 20th Modern Architecture. It implies not only an optical characteristic, the perfectly clear, but also a broader spacial order, a simultaneous perception of different spacial locations. The former connected with physical attribute itself, and the latter deeply with the metaphorical idea of time, 'Simultaneity', embodying a new spacial quality. However, If we analyze the meaning of "Simultaneity" implicated in "Transparency" with the perspective of Henry Bergson's "Duration", there would be only little possibility as a solution to the problem of embodying a new spacial quality in architecture. As such a question emerging, this paper attempts to point out the problem of Colin Rowe's idea, "Simultaneity", and suggest a new architectural design method to overcome its inconsistency by interpretation and application of Bergson's "Image and Rhythm".

Physical Surroundings have been identified by a number of researchers as a powerful tool that can manipulate people's mood and cognition. A number of marketing practitioners have accepted this notion, given that physical surroundings are increasingly used as atmospheric stimuli in various retail environment as well as in restaurant. Yet there have not been practical reviews on consumer responses in restaurant setting/environment. By means of a literature review, this study examines how physical surroundings in restaurant settings function on displaying dinning atmosphere. It includes the conceptual definition and classifications of physical surroundings, effect of physical surroundings on customers' internal responses and behaviors, and testable research propositions and directions for future researches. This study is expected to make a substantial contribution to the understanding of restaurant manager and dinning atmosphere displayer about function of physical surroundings in dinning context.

본 연구에서는 지진하중을 받는 교량의 거동을 확률밀도함수를 통하여 분석할 수 있는 기법을 개발하였다. 확률밀도함수의 전개는 추계론적 이론을 이용한 반해석적 방법을 통하여 구하였으며, 반해석적 방법은 교량운동방정식으로부터 상응하는 Fokker-Planck equation을 구한 후, path-integral solution을 유도하여 이를 수치적으로 해석함으로써 구할 수 있다. 교량거동의 확률밀도 함수전개로부터 교량거동의 확률적 특성을 파악하고 확률밀도함수의 범위로부터 교량응답거동의 포락선을 얻을 수 있으며 이를 이용하여 최대응답의 범위를 결정할 수 있다는 것을 밝혔다.

제 7차 교육과정에서 한문 교과가 ‘선택 과목’으로 전환되면서 한문 교과의 위상은 더욱 어려운 국면을 맞이하게 되었다. 한자와 한자어가 다른 교과의 학습을 돕는 도구교과라는 점을 강조함으로써 한문교과의 필요성을 주장하고 있으나 그것만으로 한문 교과의 정체성 확립은 물론 존립마저 보장받기 어렵다. 보다 근본적인 문제 해결의 방안으로 한문 교과의 정체성 확립을 위한 다각도의 노력이 필요한 때라 할 수 있다. 한문 교과의 정체성 확립을 위한 일환으로 본고는 구성주의와 구성주의 문예학 이론을 바탕으로 한시 교수-학습의 원리와 모형을 설계해 보았다. 구성주의를 선택한 이유는 한시를 교육함에 반드시 고려해야하는 교육적 보편성과 한시 영역의 특수성을 가장 근접하게 충족시켜줄 수 있다고 판단했기 때문이다. ‘구성주의’는 기존의 인식론이 지식의 대상에 대한 존재론적 물음에 치중해온 것에 대한 반동으로, 지식은 ‘어떻게’ 성립되는가라는 방법적인 물음으로 전환한 - 즉 지식이 형성되고 습득되는 과정에 대한 - 현대 인식론적 동향이라 할 수 있다. 이것을 교육적 관점에서 다시 정의해 보면 ‘상대주의적 인식론’을 토대로 학습자 중심의 능동적 지식 구성을 강조하는 ‘학습이론’이다. 구성주의는 제 7차 교육과정이 지향하는 교육적 인간상을 길러내기 위한 철학적 기반으로 교육학계에서 새롭게 조명되어 학습자 중심 학습이론의 주도적 위치를 점유하고 있는 추세다. 한시 교수-학습 모형을 설계함에 학습자의 능동성, 창의성, 자기주도성, 학습에서의 책임을 중시하는 구성주의의 교수-학습 원리를 바탕으로 하여 학습자를 학습의 주체로 세우고 학습에 대한 흥미와 성취감을 높일 수 있도록 하였다. 모형 설계에서 구성주의 문예학은 텍스트 이해에 대한 구체적이고 절차적인 지식-즉 학습자가 텍스트 이해에 도달하기 위해서 개인적인 인지과정과 커뮤니케이션 과정을 거쳐야 하며 작품 해석의 범주는 ‘책임감 있고’ ‘설득력 있게 확신시키는’ 것임-을 제공하였다. 즉 한시 작품의 번역과 해석을 학습자가 해나감에 개인별 학습-모둠별 토론-전체 토론의 3단계를 거치도록 설계하는 기틀이 된 것이다. 본고에서 구안한 모형을 실제 수업에 적용하면 교사의 ‘시범’을 보고 학습자 스스로 한시를 ‘번역’해 본 뒤 모둠별 토론과 전체 토론을 거쳐 정합적인 번역과 해석을 찾아나가게 되는데, 그러한 과정을 통해서 한시 작품에 대한 깊은 이해와 주체적인 감상을 할 수 있게 될 것이다. 나아가 비평적 에세이를 쓰면서 한시 작품이 학습자 자신의 현재의 삶과 관계없는 고답적인 것이 아니라 어떤 유의미한 연관이 있음을 느낄 수 있게 될 것이며 그런 경험을 통해 학습자는 한시라는 것이 어렵기만 한 것이 아니라 흥미롭고 즐거운 것임을 인식하게 될 것이다.

Statistical Process Control and Process Adjustment theory is gaining recognition in the process industries where the process frequently experiences a shift mean. This paper aims to study, the theory difference between Statistical Process Control and Process Adjustment in simple terms and presents a case study that demonstrates successful integration of Statistical Process Control and Process Adjustment theory for a product in drifting industry.

Roland Barthes (1915-1980) has been a leading French semiotician, philosopher and cultural critics, along with Michel Foucault, Jacques Lacan and Jacques Derrida. Barthes began his academic career as a freelance-writer for Comba during the late 1940s and for Le Lettres nouvelles during the early 1950s in Paris. His early writings on various topics, based on his existentialism and Marxist critique, were collected in Mythologies (1957) and the publication of the book was the beginning of Barthes'semiological research. His early semiology in Mythologies exposes the process of ideological distortions in the meaning of the sign. He calls the distorted sign as "myth." All kinds of sign in modern capitalistic society became "myth" through the process of "a tri-dimensional pattern" in the interaction of the signifier, the signified and the sign. A newly-defined meaning of the sign becomes to function as a new signifier. When this new signifier is interrelated with the signified of the sign tautologically, it produces another "sign" which is called "myth." From the process of "a tri-dimensional pattern" in myth-making, we missiologists may learn some important semiological lessons from Barthes' scholarship. Missionary translators have the similar task in mission field when they want to translate the terms and concepts of Christian faith into the local languages. When they translate the Christian term, they experience the same process of myth-making: the newly-translated term becomes a new sign, to which new religious meanings are accumulating. The sign becomes a new signifier after missionaries' translation of the term. But the most important aspect that we may learn from Roland Barthes's semiology is that it is local people who relate or accumulate new religious meanings into the newly translated terms. Through their acceptance and/or rejection of the term as their religious term, the newly-translated term, i.e., a new Christian sign, begins to possess new Christian meanings.

종합적 유해생물 관리(Integrated pest management)라는 용어가 최초로 제기된 것은 30년 전의 일이었다. 물론 그 기원은 방제에 있어서 생태학적 지식이 기초가 되어야 함을 주장하기 시작한 19세기 후반이었다. 그 후 종합적 유해생물관리의 개념은 해충 뿐 만 아니라 식물병이나 잡초 등 유해 생물 전반에 걸쳐 다양한 발전을 거듭하여 왔으며 그 철학은 식물보호학의 기본으로 확고한 자리를 잡게 되었다. IPM의 개념은 현재 널리 인식되어 있으나 그 개념의 내용이 다면적이기 때문에 연구자나 기술자들 간에도 상당한 혼란이나 오해가 있어 왔다. 본 논문은 이와 같은 이론상의 혼란을 정리하고 IPM의 이념과 기술개발 간에 존재하는 괴리를 해소하려 노력 하였다. 이러한 측면에서 개념 발달의 역사적 배경과 개념의 기본이 되고 있는 EIL의 개념을 설명하여 기본개념의 이해를 돕고 관리 수단의 합리적이고 효율적인 적용에 필수적인 해충 개체군 생태학과 관련 표본조사법과 밀도변동동태를 논하여 이론발전을 위한 중요한 연구 방향을 논하였다. 한편 IPM의 이론이나 실험적 연구가 아무리 발전하여도 IPM은 과학이기 이전에 기술이기 때문에 그것을 사용하는 현장의 조건에 맞는 것이어야 하며 그러기 위해서는 사용자인 농민에게 신속히 전달되어야 하며 현재와 같은 다양화된 농업생산 체제에서는 농민각자의 자발적 참여가 중요하다고 생각되며 우리나라 병해충 발생예찰 체제와의 관계에 대하여 단견을 피력하였다.

Data mining is widely used for turning huge amounts of data into useful information and knowledge in the information industry in recent years. When analyzing data set with continuous values in order to gain knowledge utilizing data mining, we often underg

This paper investigates morphological theory as an intellectual framework for research and design. The first part of the paper will review morphological studies in the fields of urban geography, urban planning and architecture, particularly in England from the 1940s to the 1980s. While urban geographers and planners were concerned primarily with town plans, building forms and land use, architectural theoreticians were more interested in the topological relationship between urban and architectural space. The underlying premises and principles of these two approaches will be reviewed. The second part of the paper will focus on typology in Europe and North America. The reinterpretation of typology by Italian architects helped to bridge the gap between individual elements of architecture and the overall form of the city. However, typological theory became less accessible in post-war England and the United States. After 1980, the debate on typology became muted by the onset of vague notions such as functionalism, bio-technical determinism, and contextualism. This paper will propose a redefinition of morphology as a heuristic device, in contrast with the dichotomic view of urban morphology and architectural typology. Morphology will be shown to combine the geometrical and topological; the intentional and accidental; the real and abstract; and a priori and a posteriori. The last part of the paper discusses the lack of comparative theories and methods surrounding the physical form of architecture and the city by Korea commentators. Empirically rooted facility planning, non-comparative historical studies, and iconographic criticism emerged as a central preoccupation of architectural culture between the 1960s and 1980s, a time when international debate on architecture and urbanism was most intense. This paper will give consideration to the built environment as a dynamic physical entity and space as an epiphenomenon of daily urban life, such that collaboration between urban designers, architects, and landscape architects is seen as both beneficial and necessary.

Studies on western art in Korea has been caught in a dilemma that they could deal with only those things which had been arranged according to their ‘historical generalization’ in their contexts because of the bounds of time and space. It is not trivial that such conditions affect art studies in Korea. Access to the original texts and to their contexts of production is so restricted that the studies on them are prone to be superficial. And it is not independent on the politics of Korean art scene. Such factors are on the background of Korean art’s excessive ‘assimilation or accordance’ with western art. The domestic studies on western art history and art theory have failed to notice the differences in context and Korean art has simply mediated or reproduced the restricted information by those studies. Also the studies on western art in Korea have been made use of as a justifying method of one’s own academic domains. In such situations we should lead the studies on western art history and western art theory to a more reflective direction and confirm that the studies should not have any privileges of the realities. And we should try to reform a scholarship which participates in our life and existence. The field of domestic studies on western art history and western art theory should free itself from the invention of objectivity or the neutrality of mechanical reading and turn its eyes to the realities of life where events happens. Constantly suggesting which way Korean art and world art should go has to be the field’s new coordinates.

EPC seeks to minimize variability by transferring the output variable to a related process input(controllable) variable. In the case of product control, a very reasonable objective is to try to minimize the variance of the output deviations from the target or set point. We consider an alternative EPC model with first-order autoregressive disturbance.