In this contribution, we attempted a theoretical analysis on the validity of the widely-accepted idea that rough and singular surfaces can coexist in a crystal at equilibrium. By manipulating the Cahn and Hoffman capillarity vector, the conclusion that a crystal at equilibrium should be composed either of singular surfaces or of rough ones was reached.

Nanopowders of titanium dioxide incorporating the transition metal element(s) were synthesized by flame synthesis method. Single element among Fe(III), Cr(III), and Zn(II) was doped into the interior of crystal; bimetal doping of Fe and Zn was also made. The characteristics of transition-metal-doped nanopowders in the particle feature, crystallography and electronic structures were determined with various analytical tools. The chemical bond of Fe-O-Zn was confirmed to exist in the bimetal-doped nanopowders incorporating Fe-Zn. The transition element incorporated in the was attributed to affect both Ti 3d orbital and O 2p orbital by NEXAFS measurement. The bimetal-doped nanopowder showed light absorption over more wide wavelength range than the single-doped nanopowders

Transition metal doped nanostructured powders were synthesized by mechanical alloying(MA) to shift the adsorption threshold into the visible light region. The synthesized powders were characterized by XRD, SEM, TEM and BET for structural analysis, UV-Vis and photoluminescence spectrum for the optical study. Also, photocatalytic abilities were evaluated by decomposition of 4-chlorophenol(4CP) under ultraviolet and visible light irradiations. Optical studies showed that the absorption wavelength of transition metal ions doped powders moved to visible light range, which was believed to be induced by the energy level change due to the doping. Among the prepared powders, doped powders, showed excellent photooxidative ability in 4CP decomposition

에멀젼 구조가 변하는 에멀젼 변환은 이미 40년 전에 알려졌다. 에멀젼 변환에서는 O/W 에멀젼이 W/O 에멀젼으로, 또는 이와 반대로 구조가 변하므로 연석상과 분산상이 서로 바뀌게 된다. 그러나 3상 에멀젼에서는 이와 같은 에멀젼 변환뿐만 아니라 어떤 특정한 온도에서 연속상은 변하지 않고 분산상의 구조가 바뀌는 현상이 관찰되었다. 이 현상을 에멀젼이라고 불렀으며 에멀젼 전이가 일어나는 온도를 에멀젼 전이 온도라고 하였다. 에멀젼 전이는 이론적인 고찰의 결과이었으며 양친매성 분자/기름/물의 두 3성분계에 대해서 실험적으로 관찰하였다. 이는 이제까지 보고되지 않았던 새로운 현상이다. 본 논문에서는 에멀젼 전이와 에멀젼 전이를 비교 분석하였다.

The purpose of this study is to bring light on the characteristics of the transition in the Ddeulzip. The subject of this study is clan village of Pungsan Kim's family in Andong Cultural Area. Architectural transition of Ddeulzip is analyzed into three part. The first part is settlement of family. In this process, there is a background and many types of settlement. The second part is the extension of family. The extensional types are 'near-by branch' and 'far-away branch'. The last part is variation of housing. Spacial requests of residence are changed endlessly. Thus the spacial types of Ddeulzip are changed by the construction time of building. In many case, we couldn't decide the building period. The genealogy of Chosun Dynasty is the base of family history. In this study, the construction activity of Ddeulzip is based on the genealogy. The phylogenetic tree of Ddeulzip in clan village is constructed by the genealogy. The figures of the type of bunch of grapes is made by phylogenetic tree based on the genealogy. Omi Village in Andong was settled at first in the 15C. The cause of settlement is the aim of escape from political oppression. For long time, Omi Village is developed gradually. There area is divided in some small family boundary. There spacial types are contained the characteristics of many times. Orock Village in Bonghwa is settled for search of best environment in the last of 17C. At that time, a lot of families of same clan are gathered in that village. For short time, Orock Village is enlarged quickly. Thus there spacial type is similar each other. But boundary of entire space of outdoor is constructed clearly by pavilion area, housing area and sanctuary area.

Arnold Scho¨nberg used three twelve-tone series in the first movement of his 「String Quartet no.3」. These twelve-tone series are used in both melodies and accompaniment. But sometimes he did not follow this fundamental rule to pursue musical thought even though he made use of the twelve-tone system in this piece. This thesis is focused on not only theme melodies, but also first ostinato motive of accompaniment and the relationship of balance between Scho¨nberg's primary and secondary musical thought can be considered in the theme melodies and the first motive of accompaniment. That is to say, Scho¨nberg shows how the main melodies and the supported ostinato motives match well together from the examples of his own musical main thought, environs thought, and relative thought. This is an specific example that Scho¨berg can develop his musical logic in his piece perfectly only when all of musical elements are in harmony. This is different with tonal music which is depends on the development of just main melody. Scho¨nberg says that the meaning of composition skill of the twelve-tone system is a reproduction of the traditional tonal harmony and is for systematization of the process of entire musical elements. So, he unites between the traditional composition techniques with and his twelve-tone system. 「String Quartet no. 3」 is also composed using both old and new. Unusually, there was no sensation in the first performance of the 「String Quartet no. 3」. But his critics said Scho¨nberg could not overcome his fantastic musical theory deeply and this piece was an expression of the Dadaism.1」 However, When it was performed at Frankfurt in 1928, Adomo was fascinated with this 「String Quartet no. 3」 and he evaluated this piece as a 'very influential music'. The article 「Why is it difficult to understand Scho¨nberg's music」 of Alban Berg says several common characteristics of atonal music. these characteristics include similar variety of harmonies, various methods of cadences, equal use for each tone in twelve-tone system, well-matched harmonies with melodies, unsymmetrical and unlimited composition in musical theme, abundant variation skills, inclusive polyphony, and various and subdivisible rhythms. Scho¨nberg's 「String Quartet no. 3」 uses abundant various rhythms, variation skills with motive, counterpoint skills, and musical theme development based on traditional harmonic function. This piece includes various characteristics of atonal music which Alban berg notes in his article. Scho¨nberg's 「String Quartet no.3」, composed with abundant musical skills, shows the serious musical thought of the composer and his musical beauties. This breaks general opinions that Scho¨nberg's piece is difficult to understand.