이 연구는 20세기 말 이후 중국과 남한의 올림픽 포스터 디자인에서 두드러진 특징과 미묘함을 분석하고 비교합니다. 시각적 표현, 문화적 함 의, 그리고 그들의 사회-역사적 맥락 내의 의사소통 전략을 탐구합니다. 이 연구는 양국이 어떻게 전통적 요소와 현대적 디자인을 독특하게 혼합 하여 국가 정신과 문화적 정체성을 표현하며, 대중의 인식과 감정에 영 향을 주는지를 밝혀냅니다. 또한, 이러한 디자인 뒤에 있는 사회-정치적 동기를 논의하며 미래의 추세를 예상합니다. 이 분석은 중국과 한국의 포스터 디자인의 독특한 가치와 문화 간 의사소통에서의 역할에 대한 새 로운 통찰을 제공합니다.

3Y-TZP (3 mol% yttria-stabilized tetragonal zirconia polycrystals) ceramics have excellent mechanical properties including high fracture toughness, good abrasion resistance as well as chemical and biological stability. As a result, they are widely used in mechanical and medical components such as bearings, grinding balls, and hip implants. In addition, they provide excellent light transmittance, biocompatibility, and can match tooth color when used as a dental implant. Recently, given the materials’ resemblance to human teeth, these ceramics have emerged as an alternative to titanium implants. Since the introduction of CAD/CAM in the manufacture of ceramic implants, they’ve been increasingly used for prosthetic restoration where aesthetics and strength are required. In this study, to improve the surface roughness of zirconia implants, we modified the 3YTZP surface with a biocomposite of hydroxyapatite and forsterite using room temperature spray coating methods, and investigated the mixed effect of the two powders on the evolution of surface microstructure, i.e., coating thickness and roughness, and biological interaction during the in vitro test in SBF solution. We compared improvement in bioactivity by observing dissolution and re-precipitation on the specimen surface. From the results of in vitro testing in SBF solution, we confirmed improvement in the bioactivity of the 3Y-TZP substrate after surface modification with a biocomposite of hydroxyapatite and forsterite. Surface dissolution of the coating layer and the precipitation of new hydroxyapatite particles was observed on the modified surface, indicating the improvement in bioactivity of the zirconia substrate.

예술가와 그의 일생은 공적 영역에 속한다고 생각한다. 그래서 그의 일생은 역시 사려 깊개 다루어져야 한다. 이점에 있어 브랜다 매독스의 책 󰡔예이츠의 영혼: W.B. 예이츠의 내밀한 생활󰡕(뉴욕: 하퍼콜린사, 1999년)은 약간의 문제를 야기한다. 이 책은 그러나 예이츠학문에 기여하는 바가 상당히 큰 것 같다. 이 책은 한 예술가의 생활에서 비밀스러운 것을 알고자 하는 일반 독자들의 호기심을 자극하고 즐겁게 만들 일에도 집중하는 것 같다. 지난 수십 년 간은 일개인의 사생활에 대한 사람들의 태도변화가 있었고 어떤 것도 숨기지 않고 들추어낸다. 그렇지만 이 두 사람의 개인사를 이야기하면서 저자 메독스는 자신이 무엇에 대해 저술하고 있는 지, 더구나 이 두 사람의 이미지에 손상이 가는 것이 무엇일까에도 주의했어야 하지 않을까 생각한다. 조지 예이츠의 그림은 우스꽝스럽고, 예이츠의 그림은 더욱 그렇다. 반면에, 이 책의 장점을 지적한다면, 이 책을 천천히 읽으면, 색인이 보여주듯이 얻는 게 많을 것이다. 즉, 예이츠부부가 자동기술 때 등장하는 넋(컨트롤)의 이름이 모두 섬세하게 정리되어 있다. 그리고 예이츠가 관계를 맺었던 모든 여성들이 (이 책이 전기이기 때문에) 주의 깊게 색인으로 정리되어 있다. 그리고 색인에는 많은 시와 극 등 작품들이 정리되어 있는데 예이츠의 생애의 흐름에 따라 맥락으로 사용되고 있다.

『인도로 가는 길』은 현대소설임에도 불구하고 기존의 연구에서 에피퍼니라는 서술기법의 측면에서는 조명된 적이 없으며, 에피퍼니는 그동안 단지 제임스 조이스의 전유물로 간주되어 왔다. 『인도로 가는 길』에서 가장 중요한 장면 중 하나인 동굴 장면에서 무어 부인은 동굴이 내는 메아리인 “부-움, 우-붐”이란 소리를 듣고 극단적인 회의주의에 빠지게 된다. “부-움, 우-붐”이라는 상징에 극단적 회의주의로 일관하는 무어 부인의 태도나, 이를 인간 간의 고립과 단절이라는 의미로 해석하는 기존의 비평이 모두, 상징의 간접성, 다의성, 그리고 모순성 내지는 이율 배반성을 간과하는 환원론적 태도는 아닌지 검토해 볼 필요가 있다. 이 논문은 『인도로 가는 길』에 나타난 “부-움, 우-붐”이라는 동굴의 메아리를 에피퍼니로 읽어냄으로써, 인도와 영국의 제국주의의 문제, 통합과 분리의 문제 등에 얽혀 있는 개체의 중요성의 문제가 에피퍼니를 통해 어떻게 드러나는지를 살펴보고자 한다.

본 연구는 영화 마케팅에 있어서 영화포스터 타이틀 로고의 서체적합도와 수용자들의 영화 친숙도, 그리고 영화포스터에 대한 태도 및 영화에 대한 태도, 마지막으로 영화 관람의도의 다섯 가지 잠재요인이 서로 어떠한 영향관계에 있는지 분석하였다. 연구1과 연구2로 구분되어 있는 본 연구는 먼저 연구1로 실험 연구를 진행하였고 다음으로 본 논문에서 제시한 구조모형의 적합성과 각 요인 간 관계를 검증하는 연구2를 진행하였다. 연구1의 결과, 실험 집단 간 차이는 발견하지 못하였다. 하지만 연구2의 구조모형의 경우 영화포스터 타이틀 로고의 서체적합도는 영화포스터에 대한 태도와 영화 관람의도에 긍정적인 영향을 미치는 것으로 나타났으며, 영화 친숙도의 경우 영화포스터에 대한 태도에 부정적인 영향을 미치는 것으로 나타났다. 영화포스터에 대한 태도와 영화 자체에 대한 태도, 영화 관람의도 사이에도 서로 긍정적인 영향력을 가지는 것으로 밝혀졌다. 이러한 결과는 다섯 가지 요인을 이용한 구조모형의 유의미함을 통해 향후 영화 마케팅에서 각각의 요인의 전략적 활용에 대한 시사점을 제공하고 있다.

This thesis deals with psychedelic of rock posters which emerged from Haight-Ashbury, San Francisco around the mid- to late 1960s, with a special reference toposter artists such as Wes Wilson, David Singer, Rick Griffin, Stanley Mouse, AltonKelley.With the birth of ‘psychedelic rock’music, rock posters emerged as a means ofpromoting regular concerts in dance halls. However, rock posters were characterizedby obscure lettering, primary colors, decorative styles, and the use of images whichhad nothing to do with concerts, and did not function as informative commercialposter; instead, they absorbed the newly emerging hippie culture, i.e. hippies’innerconsciousness and philosophy. In particular, the hallucinatory culture of the hippiehad a direct implication for the styles of rock posters. Hallucination provided hippieswith inner freedom rather than indulgence in pleasures. In addition, it enabled themto dream about their own ideals.The social atmosphere of the United States in the 1960s was increasinglycharacterized by confusion and anxieties from the Vietnam War, assassinations, andcivil rights movements. The young generation thought that human selfishness andmaterialism had created these phenomena, and began to value the inner, spiritualworld. They believed that hallucination could offer ‘immediate enlightenment’and‘instant Nirvana’, and sought to change the world through ‘love.’Thus love ofhuman beings, nature and world was expressed in rock posters as well. First, The sublime love of the world was expressed in hippies’yearning for the 'peaceful world.’The antiwar movement gathered hippies, and rock posterscontinued to theme peace with the images of goddess of peace, peace symbol andflowers throughout the 1960s. Second, the sublimation of human love was sought inthe liberation of physical pleasure. It was to transform the preexisting norms ofsexuality and to avoid hypocrisy, in order to experience orgasm intrinsic to sexualintercourse. To express such ecstasy of sexual intercourse, artists often portrayed inrock posters sensual women with a seductive and ecstatic face, who are dancing inthe nude. In addition, they combined various hallucinatory elements such as tobacco,LSD tablets, yellow eyes, organically flowing colorful patterns, distorted figures andso on. Third, the sublime love of the nature was pursued in aspiration for naturalisticway of life as well as an antipathy to consumer culture based on materialcivilization. Here Americans Indians’life provided an ideal model. The postersportrayed American Indians with aureole and inward eyes, and it shows that theywere considered as divine existence. In this way, hallucinatory motifs of rock posters in the 1960s visualized theaspirations for an ideal world within the hippie culture, and their significantcontribution lies in the creation of the ‘psychedelic style,’a new and uniqueAmerican style.

This study aimed at evaluating current sanitation management performances in Korean-Food restaurants by their operation types and to develop sanitary training posters based on the risk factors, in an attempt to improve the level of sanitation management in Korean food service facilities. Eighteen Korean-food restaurants that are managed by franchisor, franchisees as well as self-managed with large-scale and small-scale restaurants in Seoul and Gyeonggi-Do, were evaluated by on-the-spot inspectors with an auditing tool consisting of three dimensions, nine categories and thirty four items. Data were analyzed using SPSS. The total score of each group showed that restaurants managed by franchisees ranked the highest (59 out of 100 points), while self-managed, small-scale restaurants ranked the lowest (44 out of 100 points). In the categorization of sanitation management compliance, the dimensions of food hygiene during production recorded the lowest compliance rate of 47.7% (22.89/48.0 points) followed by the dimension of environmental hygiene 59.3% (20.17/34.0 points) and personal hygiene 60.5% (10.89/18.0 points). This indicated the need for urgent improvement. The items which showed the lowest compliance rates were 'proper thawing of frozen foods' (0%), 'notifying and observing heating/reheating temperature' (6%), 'using of hand-washing facility and proper hand-washing' (33%), 'monitoring temperature of frozen-foods and cold-foods' (35%), and 'prevention of cross-contamination' (36%) among thirty four items. Self-managed, small-scale restaurants, in particular, needed to improve sanitary practices such as 'sanitation education for employee', 'verifying the employee health inspection reports', 'storing food on the shelves 15 cm distance away from the wall', 'suitability of ventilation capacity of hoods' and 'cleanliness of drainage'. On the basis of the findings of this study, we developed sanitary training posters, especially for small-scale restaurant operators. This could be an effective tool to educate food service employees on sanitary knowledge and principles and could be used to improve the existing sanitary conditions in Korean food service facilities.

The propaganda paintings in oil colors or in forms of posters made from 1949 to1966 have gone through some changes experiencing the influence of the Soviet Union Artand discussion of nationalization, while putting political messages of the time in the pictureplanes. The propaganda paintings which have been through this process became aneffective means of encouraging the illiterate people in political ideologies, production, andlearning. Alike other propaganda paintings in different mediums, the ones which werepainted in oil colors and in the form of posters have been produced fundamentally basedon Mao Zedong’s intensification of the literary art on the talks on literature at Yenan. Yet,the oil paintings and posters were greatly influenced by the socialist realism andpropaganda paintings of the Soviet Union, compared to other propaganda paintings indifferent mediums. Accordingly, they were preponderantly dealt in the discussions ofnationalization of the late‘50s. To devide in periods, the establishment of People’s Republic of China in 1949 as adiverging point, the propaganda paintings made before and after 1949 have differences insubject matters and styles. In the former period, propaganda paintings focused on thepolitical lines of the Communists and enlightenment of the people, but in the latter period,the period of Cultural Revolution, the most important theme was worshiping Mao Zedong.This was caused by reflection of the social atmosphere, and it is shown that thepropaganda painters had reacted sensitively to the alteration of politics and the society. Onthe side of formalities, the oil paintings and posters made before the Cultural Revolutionwere under a state of unfolding several discussions including nationalization whileaccepting the Soviet Union styles and contents, and the paintings made afterwards showmore of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world ofart, had strongly influenced the propaganda paintings in oil colors more than anything.There were two major changes in the process of making propaganda paintings in oilcolors. One was to portray lives of the Chinese people truthfully, and the other was toabsorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, andbackgrounds have been greatly Sinicized. For techniques came the flat colored surface ofthe new year prints and the traditional Chinese technique of outlining were used forexpressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, theposters had a very direct representation of subject matters and the techniques wereunskilled compared to the oil paintings. However, after the establishment of People’sRepublic of China, the posters were used more than any other mediums for propagation ofnational policy and participation of the political movements, because it was highly effectivein delivering the policies and political lines clearly to the Chinese people who were mostlyilliterate. The poster painters borrowed techniques and styles from the Soviet Unionthrough books and exhibitions on Soviet Union posters, and this relation of influencesconstantly appears in the posters made at the time. In this way, like the oil paintings, theposters which have been made with a direct influence of the Soviet Union had developeda new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergonethe discussion of nationalization, had put roots deep down in the lives of the Chinesepeople, and this had become another foundation for the amplification of influences ofpolitical propaganda paintings in the following period of Cultural Revolution.