The present study examined the characteristic of regional food culture observed in prehistoric Daegok-ri petroglyph based on the history of art, archeological materials and existing whale eating customs. Daegok-가 petroglyph expressed animals in the sky, on the land and in the sea. According to the relic, the most preferred land and marin animals were deer and whale, respectively. In terms of petroglyphic techniques. earlier patch engraving was used mainly to express marin animal whale, and later line engraving to express land animal deer. This implies the possibility that as whale hunting declined due to regional environmental change the source of protein was switched to land animals. Among relics found in Dongsam-dong shell mound, which is a remain from the Neolithic Period, whale bones appear only in shell mounds of the Neolithic Period in coastal areas, and shell mounds until the Ironze Age, which were the agricultural Age, were found the bones of land animals such as deer and wild boar. This shows that in the petroglyph thematic land animals expressed in line engraving, which is a technique later than patch engraving, were major food resources for the supply of protein. Moreover, in terms of art, Daegok-ri petroglyph describes 'advanced hunters', suggesting that it was the Neolithic Period and showing 문 aspect of regional food culture based on hunting and fishing. The credibility, which prehistoric men expressed in Daegok-ri petroglyph before the invention of letters, was also proved by archeological articles.

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.

From the late 1920s to the 1930s, Korea’s fine art community focused on traditionalviewpoints as their main topic. The traditional viewpoints were discussed mainly byKorean students studying in Japan, especially oil painters. Such discussions on tradition canbe divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937)periods. Before the war, the modernists among Korea’s fine art community tried to gain afuller understanding of contemporary Western modern art, namely, expressionism,futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from theseschools’in order to create their own works. Furthermore, proponents of Joseon’s avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditionalviewpoints. After the Sino-Japanese War, these artists continued to embrace Westernmodern art on the basis of Orientalism. However, since Western modern fine art wasregressing into Oriental fine art during this period, Korean artists did not need to researchWestern modern fine art, but sought to study Joseon’s classics and create Joseon’s ownavant-garde fine art in a movement led by the Munjang group. This research reviews thetraditional view espoused by the Munjang group, which represented the avant-garde fineart movement of the post-war period. Advocating Joseon’s own current of avant-garde fine art through the Munjang literarymagazine, Gil Jin-seop, Kim Yong-jun and others accepted the Japanese fine artcommunity’s methodology for the restoration of classicism, but refused Orientalism as anideology, and attempted to renew their perception of Joseon tradition. The advocation ofthe restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to thatof the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Sillaperiods, which Japan had promoted as a symbol of unity among the Joseon people;instead they sought classicism from the Joseon fine art which the Japanese had criticized asa hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japanwas upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the styleof women, especially women’s writings on the royal court, as represented by Hanjungnok(A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of notonly literary paintings, but also of the authentic landscape paintings refused by, and thevalues of the Chusa school criticized as decadent by, the colonial bureaucratic artists,thereby making great progress in promoting the traditional viewpoint. Kim Yong-junembraced a painting philosophy based on the painting techniques of Sasaeng (sketching),because he paid keen attention to the tradition of literary paintings, authentic landscapepaintings and genre paintings. The literary painting theory of the 20th century, which washighly developed, could naturally shed both the colonial historical viewpoint whichregarded Joseon fine art as heteronomical, and the traditional viewpoint which regardedJoseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source ofclassicism amid the prevalent colonial historical viewpoint, presumably as it hadaccumulated first-hand experience in appreciating curios of paintings and calligraphicworks, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, definedartistic forms as the expression of mind, and noted that such an artistic mind could beattained by the appreciation of nature and life. This is because, for the Munjang group, theexperience of appreciating nature and life begins with the appreciation of curios ofpaintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valuedartistic style, the concept of individuality presumably was an engine that protected themfrom falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang groupconcurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the1910s. This theory had a great influence on South and North Korea’s fine art theories andcircles through the Fine Art College of Seoul National University and Pyongyang Fine ArtSchool in the wake of Korea’s liberation. In this sense, the significance of the theoryshould be re-evaluated.

Korea is closed to China in the geographical position and is related to China as two countries have developed similar culture, art, and social systems. Architecture is a kind of culture and has advanced in the wooden architecture with a considerable change. The study investigated a phylogenetic relationship between two countries based on characteristics of architectural universality. With comparison and analysis on the common feature and difference of the beam and structure in the wooden architecture from the Koryo and Zhejiang Province(China), the systemicity of the wooden architecture was examined. The beam is a part of timber which is consist of the wooden structure frame and also a crucial subject to understand a development process of the wooden architecture.

Mg-Zn-RE alloys had a novel lond period stacking ordered (LPO) structure. Their rapidly solidified powder metallurgy (RS P/M) alloys exhibited a combination of high strength and god ductility (tensile yield strength above 550 MPa and elongation above 5%). The LPO Mg-Zn-RE RS P/M alloys had high elevated temperature strength (tensile yield strength above 380 MPa at 473 K) and exhibited a high-strain-rate superplasticity at higher temperatures. In Japan, a national project for developing high strength LPO Mg-Zn-RE RS P/M alloys has started at 2003 for 5 years, which is founded by the Ministry of Economy, Trade and Industry (METI) of Japan. In the national project, project targets in materials performances have been achieved. The developed LPO Mg-Zn-RE RS P/M alloys exhibited higher tensile yield strength, fatigue strength and corrosion resistance than high strength aluminum alloys of extra-super-duralumin (7075-T6).

Insect pests attacking the leaf of lettuce (Lactuca sativa) were surveyed in environmentally frendly leaf-lettuce-greenhouses in Hwaseong, Namyangju, and Suwon from 2003 to 2004. Sixteen insect species of eleven families in eight orders were collected in greenhouses. Among them, Acyrthosiphon solani, Frankliniella occidentalis, and Autographa nigrisigna were the most serious pest species because of their damage ratio was over 30%. Population of Acyrthosiphon solani showed the highest peak one or two times between mid-April and early June in both the second and the third cropping period. Frankliniella occidentalis reached the highest peak one or two times, the first peak between mid-June and the late July, and the second peak between the mid-August and the mid-October. Autographa nigrisigna reached the highest peak one or times between early June and late July and in the mid-August to late October. The highest peak occurrence of A. solani was observed in early June as many as 4,836 nymphs and adults per 100 leaves. And for F. occidentalis it was in early July occurring 437 larvae and adults per 100 leaves, for A. nigrisigna in early October occurring 42 larvae per 100 leaves. The density of F. occidentalis and its damage as well was greater in soil culture than in hydroponic culture, but in case of both A. solani and A. nigrisigna no such difference between cropping systems was found.

This paper is concerned with the natural periods of ambient vibration and eigenvalue analysis. Ambient vibration tests were conducted to four bearing-wall reinforced concrete buildings ranging from twelve to nineteen stories. The performance of modeling in eigenvalue analysis was investigated using consideration of rigidity out of the plane in the slab and the non-structural bearing wall. Measured natural period was also compared with the value by the KBC2005. Natural period of the short direction in eigenvalue analysis is well fitted with the measured one. In the other hand, Natural period of the long direction in eigenvalue analysis is slightly more overestimated than the measured one. Natural period of the long direction in eigenvalue analysis was found to be enhanced by considering the effect of the stiffness out of the plane of the slab and non-structural wall in the structural modeling.

In steady-state simulation the output data of the transient phase often cause a bias in the estimation of the steady-state results. A common method is to cut off this transient phase. This paper presents a new heuristic used to detect the warm-up period in steady-state simulation output. An evaluation procedure is used to compare the presented rule, called EVR, with the method MSER-m known as the most sensitive rule in detecting bias and most consistent rule in mitigating its effects. The rules are applied to the output generated by M/M/1 queuing process and the performance of the methods is tested at 4 different levels of utilizations. Various measures of goodness are used to assess the effectiveness, consistency and confidence of the methods.

Multilayered coatings on tungsten carbide cutting tools are widely used for enhancing cutting performance. In this paper, we review the CVD TiC/TiCN multilayer as a function of the multilayer period. The TiC/TiCN multilayers in initial stage show preferred (220) orientation but shifts to (200) orientation with decreasing multilayer period. The nanohardness of TiC/TiCN multilayers were found to increase with decreasing multilayer period and shows a maximum of 23.8 GPa at a period = 33.5 nm.

This study was started with its consideration as materials showing original shapes of temple buildings in the late period of Chosun the photographs and drawings which contained in $\ulcorner$A Survey Report of Korean Architecture$\lrcorner$ made by Sekino Tadashi through his survey for 62 days(July 5${sim}$Sep. 4, 1902). Results of the study can be summarized as follows. During the period of Japanese occupation, Beomesa temple experienced frequent changes in building layout including the transfer and removal of buildings. Such frequent change began in spring, 1936 when a Buddhist monk of Beomeosa temple, Cha Woon Ho moved Gwaneumjeon, originally located to the light of the main building, to the left of the building and, on its original site, built up a 7-storied sarira tower. Though it is difficult to say that the study provides everything about Beomeosa temple, the researcher expects that the study would be the very basis on which changes in the building layout of the temple since the late period of Chosun can be researched. In conclusion, the researcher hopes that the above mentioned restoration plan would help originally restore or enlarge temples, further transmitting such restored or enlarged establishments as valuable cultural remains from generation to generation. In this respect, the researcher expects such restoration plan to be made in continuous and more detailed ways.

We have been performing a wide-field photometric monitoring program, named SPVS (Short-Period Variability Survey), at the Bohyunsan Optical Astronomy Observatory (BOAO). The observation system consists of a small refracting telescope (D = 155 mm, f = 1050 mm) and a 2k×3k CCD Camera. The field of view is 1.0°×1.5°. Detection limit is about V = 13 for short-period small amplitude variables such as δ Scuti-type pulsating stars, and about V = 15 for long-period large amplitude variables such as eclipsing binaries and RR Lyrae stars. The instrument is designed to be remote-controlled through internet. The primary purpose of this project is to search for variable objects in bright Galactic open clusters. We present results of test observations conducted towards NGC 7092.

The exposed strain of C. riparius treated with di (ethyl- hexyl)-phthalate (DEHP) did not result in a consistent relationship between mortality or sex ratio and chemical concentrations. And after treating with DEHP, the emergent female from the exposed st

아시아의 동안에 위치한 한반도는 수리적, 지리적 요인에 의해 지역에 따라 강수현상 및 탁월 일기의 다소와 그 계절변화가 크다. 이러한 탁월한 날씨의 특징은 한국의 하계의 강수출현율과 그 순변화에 잘 반영되고 있다. 본 논문은 한국의 78개 관측지점의 하계강수량(1991~2003)의 순별 평균값에 대해 주성분분석법을 응용하여 하계강수량의 순변화형을 추출하고, 그의 공간스케일과 강수량의 다소에 따라 강수지역구분을 한 것이다. 주성분 분석에 의해 추출된 주성분 벡터와 진폭계수(Rs)에 따라 하계 강수량 순변화의 전형적인 특징은 두 개의 순변화형으로 표현되며 그 누적기여율은 64.3%이다. 또한 한국의 하계 강수량의 순변화형은 A~K형까지 9개가 추출되었고, 강수지역은 17개형으로 분류되었다.