• Journal of the Korean Magnetics Society
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• v.13 no.6
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• pp.237-242
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• 2003

$Ti_{1-x}$$^{57}$ F $e_{x}$ $O_2$(0.0$\leq$x$\leq$0.07) compounds were fabricated using the sol-gel method, and the crystal structure and magnetic properties were investigated as a function of doped $^{57}$ Fe concentration. X-ray diffraction patterns showed a pure anatase single phase, without any segregation of Fe into particulate. With varying $^{57}$ Fe concentration, we could observe unusual magnetic phenomena in these materials. Doping $^{57}$ Fe into the Ti $O_2$ nonmagnetic semiconductor formed magnetic properties, but the gradual increase of $^{57}$ Fe concentration decreased rapidly the ferromagnetic properties rather than enhanced the ferromagnetic properties. Obvious ferromagnetic behavior was shown for the samples with x$\leq$0.01, while paramagnetic behavior was shown for the sample with x$\geq$0.03. These phenomena could be verified using Mossbauer measurement. Separation of the ferromagnetic phase (sextet) and the paramagnetic phase (doublet) of the samples with different $^{57}$ Fe concentration was characterized. Samples with x$\leq$0.01 have sextet and doublet simultaneously, but samples with x$\geq$0.03 have only doublet at room temperature. This indicates that the sample x$\leq$0.01 have the ferromagnetic phase at room temperature. This result corresponded with the M-H loops referenced above and reveals an interesting feature that there is a critical limit of $^{57}$ Fe concentration (0.01$\leq$0.01 samples was fundamentally attributable to the paramagnetic phase as well as the ferromagnetic phase.e.

• Journal of the Korean Society of Food Science and Nutrition
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• v.35 no.8
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• pp.1076-1087
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• 2006

The purpose of this study was to identify critical control points of service encounter by types of restaurants in order to manage moment of truth when customers encounter services. Questionnaires were collected from 812 customers (aged 15 years or older) who had used restaurants in Seoul, from October 24, 2005 to November 6, 2005. The main results of this study were as follows: Statistically significant differences were shown between importance and performance of interaction quality, physical environment quality and outcome quality. Significant differences were also shown in importance and performance of interaction and physical environment quality, and performance of outcome quality by restaurant types but no significant difference was indicated in importance of outcome quality by restaurant types. That is, the importance of outcome quality, which means the quality of food, was regarded as important by customers who use restaurants regardless of types of restaurants. The result of examining interaction quality showed that family restaurants managed waiting customers quite well and provided information on the Internet homepage. Performance of responding to customers with complaints was rated the highest in family restaurants. Regarding physical environment quality, importance and performance scores significantly differed by types of restaurants in order of fine-dining restaurants, family restaurants, and fast-food restaurants. In terms of service encounter quality, items whose importance scores were high but performance scores were low in importance-performance analysis matrix were 'quality of provided food is always uniform' and 'the space between other tables is enough' for fine-dining restaurants. In family restaurants, 'size of chairs or tables is enough', and 'the space between other tables is enough' were included in the items, while 'interior facilities are attractive', 'size of chairs and tables is enough', and 'the space between other tables is enough' were included in the items in case of fast-food restaurants. A difference was indicated depending on types of restaurants.

• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.