We present a period analysis of the well known β Lyrae type eclipsing binary GO Cyg (P= 0d .7177). Several new times of minimum light, recorded photoelectrically, have been gathered. Analysis of all available eclipse timings of GO Cyg has confirmed a significant period increase with rate of 2.52 X 10-10day / cycle, also new period has been estimated. New linear and quadratic ephemerides have been calculated for the system.

The central aim of this thesis is to see if the structure of Palsangjeon(捌相殿) in Pubjoo Temple(法住寺), a five sto wooden pagoda in Chosen(朝鮮) Dynasty, was handed down from the ancient and middle ages. This study was performed through an analysis of Gilt-Bronze Pagoda built in Koryo(高麗) period. In other words, it is aimed at analyzing which lineage the structure of Palsangjeonbelongs to as a wooden pagoda. In analyzing the structure of Palsangjeon, I attempted to find out its source from the remains of Koryo period prior to the Chosen Dynasty. Examples are the Gilt-Bronze Pagoda, built during the Koryo period. I have also examined its relationship with other existing wooden pagodas and remains. The analysis of Palsangjeon, a five story wooden pagoda in Chosen Dynasty, focuses on the following: First, I explored the possibilities of whether the structure of Palsangjeon was newly invented in Chosen Dynasty, or if it had been derived from the wooden pagodas in the Koryo period. Secondly, I tried to find out if the stable vertical planes, with a great successive diminution ratio, were derived from the middle age, i.e. Koryo period. The results of the study of Palsangjeon through Gilt-Bronze Pagoda analysis are as follows: 1. The structure of Gilt-Bronze Pagoda, a wooden pagoda from the Koryo period, is roughly classified into the accumulation type, using pipe pillars, and the one story type using whole pillars. In the accumulation type, stories are connected in either a flat format or an intervening format. The Gilt-Bronze Pagoda is mainly composed of pipe pillars, with some whole pillars. However, the central pillar was omitted in the building structure. Generally, the upper and lower stories are connected by pipe pillars in a crutch format. All the pillars, whether they are pipe pillars or whole pillars, used Naiten(內轉) technology. The Eave supporter has the Haang type(下昻) and the Muhaang type(無下昻). In most cases, high balustrades are furnished, but few tables of high balustrades have been found. The slanting roof formats have been handed down from Paekche(百濟), Silla(新羅), or Koryo(高麗). However, the structure of the octagon is assumed to be derived from Koguryo(高句麗). The structure of the Gilt-Bronze Pagoda from the Koryo period is mainly composed of accumulated flat squares, with some spire types. intervening format, the structure of Palsangjeon used whole pillars in a half story format in which upper level side pillars are installed on the lower level tie beam. From the Bronze Pagoda from the Koryo period, we can assume that the half story format of wooden pagodas that has stable vertical planes with a great successive diminution ratio was created during the mid-Koryo period at the latest and had been idly developed by the time of the Chosen Dynasty. 3. The whole pillars in Palsangjeon are also found in Gilt-Bronze Pagodas from the Koryo period. Hence, all of the pillars in Palsangjeon seem to have been handed down from the ancient construction technology. They were also used in the construction of wooden pagodas from the Koryo period. Therefore, it is assumed that Palsangjeon was constructed using the construction technology of the Chosen Dynasty that had been developed from the wooden pagoda construction technology of the Koryo period. The stable vertical planes with a great successive diminution ratio in Palsangjeon are derived from ancient Korean wooden pagodas, which have developed into indigenous Korean wooden pagodas with fairly stable vertical planes and a great design, in the half story format of Koryo and Chosen Dynasty. Therefore, it is assumed that the structure of Palsangjeon has a systematic relationship with traditional Korean wooden pagodas and is one of the indigenous Korean wooden pagoda structures. 4. In China, the intervening format has been mainly used between stories in multi-story architecture since the ancient days. At the same time, the flat format as also used in ancient and middle ages. However, the flat format was replaced by whole pillars during the Ming(明) and Manchu(淸) Dynasties, in favor of simple and compact construction. The half-story format, in which upper level side pillars are installed on tie beams, has been found in some cases, but it doesn't seem to have been the primary construction technology. Few traces of the half-story format have been found in multi-story architecture in Japan, and it has not been used as a general construction format. By contrast, the half-story format, which seems to have been derived from the Koryo period, was used as a general construction format in multi-story architecture of the Chosen Dynasty. The construction technology of multi-story architecture is related to that of multi-story wooden pagodas, but they have different production technologies. It seems that the structure of Palsangjeon did not just adopt the construction technology of multi-story architecture in the Chosen Dynasty, but it was developed from wooden pagodas in the Koryo period, including the Gilt-Bronze Pagoda. 5. Since the ancient days, most Chinese and Japanese wooden pagodas have adopted an accumulation type of structure using pipe pillars, with accumulated pointed towers. On the other hand, though most Korean wooden pagodas have also adopted an accumulation type of structure from the ancientdays, one story type using whole pillars was created in the Koryo and Chosen Dynasties. The wooden pagoda structure of Palsangjeon, with stable vertical planes in a half story format, is a unique Korean construction technology, different from the construction technologies of Chinese and Japanese wooden pagodas. This thesis clearly determined the structural characteristics of Palsangjeon. However, various remains have yet to be analyzed in depth, to establish an accurate construction technology system. In the beginning of this thesis, I had difficulty in precisely interpreting the internal structure of the Gilt-Bronze Pagoda from its appearance. However, in the process of study, the more serious problem was that there are few remains or ruins of multi-story architecture in ancient and the middle ages of Korea. Therefore, it is urgent to discover various remains in the future. This thesis succeeded in determining the structural characteristics of Palsangjeon. However, it fell short of clarifying the structural lineage of the stable vertical planes, although they show indigenous Korean architectural taste, representing the unique national emotion, and the construction format of multi-story wooden pagodas in Korea. I hope this is clarified in the future research.

This study is to examine the Severe-Ornament (Vyuha :Sanskrit) of wooden pagodas in Shilla period in order to assume a detailed shape of wooden pagodas called the palace style, the multi-story style, the towered namsion style, that were built at the temples in Gyeongju during Shilla period. The Severe-Ornament had been used traditionally by installing a Buddhist image, Guardians, Sarira and by printing a color. The other hand, The roof tiles and tiles were annexed to the Severe-Ornament so as to enhance the value of the wooden pagodas. The Vyuha had been used not only to install a highly valued Buddhist image in the wooden pagodas but also to represent an important part of ritual art of Silla period. Therefore, it was possible to find out a variety of details of the wooden pagodas in Shilla period.

The aim of this thesis is to study how tableware china has developed, on the basis of social and cultural changes, during the latter period of Chosun Dynasty. First, general sociological background of Chosun Dynasty has been reviewed. To examine the kinds of tableware china and their use during this period, this thesis is based on Asakawa Dakumis 'A ceramic ware of Chosun Dynasty' one of the most thorough references available in the field. Various antiques and remains of different periods were compared to study the changes in tableware china types and uses In conclusion, the development in food culture brought the changes in tableware china. Tableware china and food has developed together complementarily throughout the latter period of Chosun Dynasty.

본 연구는 영상 처리를 이용하여 채소의 모종 시기를 자동으로 파악할 수 있는 시스템을 개발하기 위한 것이다 즉 작물의 높이, 장변 및 단변을 영상처리를 이용해 자동으로 측정하고자 하는 시스템을 개발하고자 한 것이다. 각 작물 당 20개씩의 실험체를 두어반복 측정한 결과, 들깨의 경우 높이는 평균 오차 5.0mm로 평균 실측 길이 대비 1.7% 오차율, 장변은 평균 오차 4.7mm, 오차율 3.9%, 단변은 평균 오차 5.5 mm, 오차율 6.9%로 나타났다. 도라지의 경우 높이는 평균 오차 2.4 mm, 오차율 8.1%, 장변은 평균 오차 3.4 mm, 오차율 7.2%, 단변은 평균 오차 4.0 mm, 오차율 10.4%로 나타났다. 상추의 높이는 평균 오차 4.0 mm, 오차율 9.1%, 장변은 평균 오차 3.4 mm, 오차율 7.2%, 단변은 평균 오차 3.6mm, 오차율 9.4%로 나타났다. 따라서 현장 환경에 맞게 좀 더 개선된다면 사람의 시각을 이용한 작물의 생장상태 판별보다 더 정확하다고 판단된다.

We developed an algorithm to identify and determine periods of variable sources. With its robustness and high speed, it is expected to become an useful tool for surveys with large volume of data. This new scheme consists of an initial coarse. process of finding several candidate periods followed by a secondary process of much finer period search. With this multi-step approach, best candidates among statistically possible periods are produced without human supervision and also without any prior assumption on the nature of the variable star in question. We tested our algorithm with 381 stars taken from the ASAS survey and the result is encouraging. In about 76% cases, our results are nearly identical as their published periods. Our algorithm failed to provide convincing periods for only about 10% cases. For the remaining 14%, our results significantly differ from their periods. We show that, in many of these cases, our periods are superior and much closer to the true periods. However, the existence of failures, and also periods sometimes worse than manually controlled results, indicates that this algorithm needs further improvement. Nevertheless, the present experiment shows that this is a positive step toward a fully automated period analysis for future variability surveys.

本稿는 고려중기 대표적 작가들의 산수시를 연구 분석하는 과정을 통하여 개별작가들의 작품에 드러난 자연의식과 미의식을 추출하고 이 시기 山水詩의 槪括的인 성격을 구명하는 것에 목적을 둔다. 무신집권기(1170-1270년)로 명명되는 고려 중기는 문인들의 수난기였다. 생존 문민들은 정치적·사회적 대변혁의 결과로 인해 생성된 시대적 억압감과 좌절감을 共有하며 일시적 혹은 장기적으로 권력으로부터 소외되는 상황에 봉착하게 되었다. 이로 인해 그들은 자연스럽게 산수와 친밀해졌고 그 결과 자연을 미적 대상으로 인식하고 그 미적 요소를 추출하여 작품 속에 용해시킬 수 있었다. 본고는 이 시기에 공존했던 李奎報 ·金克己 ·率仁老 진화등 4人의 작가를 중심으로 그들이 산수를 대상으로 창작했던 작품들을 연구범위로 삼았다. 자연시는 심미의 주체인 인간과 심미의 객체인 자연 경물 간의 결합으로, 심미의 객체인 자연 경물이 주된 위치에 놓여지는 것이 山水詩이다. 객관적인 景物의 묘사 속에 작자의 情懷가 자연스렵게 녹아들어 情景이 자연스럽게 조화를 이루는 情景交融의 경지가 산수시가 성취해야 할 도달점이다. 고려 중기의 산수시에는 이러한 도달점에 접근한 작품들이 발견된다. 산수의 흥취에 몰입하여 自適을 체험을 노래한 시와 閑寂과 安穩은의 情調를 바탕으로 산수의 세밀한 부분을 관찰하여 山水美의 본질을 포착했던 시들이 그것이다. 또 일시적이나마 자신이 속한 현실세계에서 느낀 비애감과 좌절감에서 탈피하기 위해 山寺나 仙界를 찾아 吟詠하는 일이 많았다. 그러나 단순히 불가의 法理나 사찰 자체, 신선을 동경하는 것에 음영의 목적이 있는 것이 아니라 자연과 조화를 이룬 山寺와 신선의 경계가 내포하고 있는 탈속적 분위기 속에 지친 자아를 慰撫하려는데 목적이 있었다. 이 시기 작자들의 산수시에서 山寺와 선계의 空間을 찾아 탈속을 희구했던 시들이 많이 발견되는 이유는 그들의 현실적 처지와 긴밀히 연계되어 있다고 하겠다.

유기주석화합물인 tributyltin chloride (TBTC), tributyltin oxide (TBTO)와 triphenyltin chloride (TPTC)를 넙치 간장으로 만든 미크로좀에 in vitro적으로 노출시켜서 이들 화합물의 대사에 관여하는 mixed function oxidase (MFO) 중 cytochrome P450 (CYP) 농도와 7-ethoxyresorufin deethylase (EROD) 활성의 변화를 조사하였으며,

The Chosun Dynasty in the 18th century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's 60th birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's 60th marriage anniversary by an unknown artist presumably in the 18th century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

The aim of this thesis is to evaluate visual art policy during Kookmin government period(1998-2002). In the beginning, many artists had expected president Kim Dae Jung to enlarge arts support But the evaluation of them was very negative vecause the government was only interested in the development of cultural industry. First, I analysed the government expenditure in the visual arts. Department of Culture and Tourism took the responsiblity of visual arts policy. The budget of art and culture increased to 1% of total government expenditure in this period. But the main factor was the increasement of cultural industry and tourism expenditure. The budget of visual arts in 2002 was only 6,600million won. Second, I analysed visual arts support programs. (1) The government introduced studio programs for the first time. For 5 years, 2 mational studios and 23 public studios were established. (2) The number of art museum was increased to 62. (3) It introduced alternative space supported 200million won annually. (4) percent for art scheme reduced from 1% to 0.7% of total construction cost, but still 27 public sculpture gardens were built. (5) Business support for visual arts reduced because of IMF. (6) Also arts marker froze and many commercial galleries were closed. (7) In order to revitalize region through arts and to promote international exchange of culture, Gwangju Biennale was created. Third, I analysed Arts Plan 2002. It had a radical Limitaion because it was established in the last year of Kookmin government period. Also it showed special favors to some arts organizations. In general, I think that positive outcomes are the introductions of the studio program and the alternative space support program. Especially alternative space support program enforced the diversity of visual arts, and encouraged creative young artists. But policy of art market failed because of IMF and visual artists had to go through rough times.

The purpose of this paper is to present a design method for friction damper (FD) for inelastic response control of short-period structure. A critical design parameter of FD is maximum friction force (MFF) and previous study evaluated MFF using equivalent damping ratio which is based on the maximum displacement. This procedure, however, gives the overestimated MFF for short-period structure. In this study, MFF of FD is evaluated based on RMS displacement response which is obtained by using given maximum response and peak factor. Numerical analysis shows that proposed method provide a reasonable MFF of FD for short-period structure.