• Journal of the Korean Society for Library and Information Science
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• v.22
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• pp.109-141
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• 1992

University library must have a substantial collection development policy, by which the short and long term plannings are set up to meet the goals of university education and to support university function. Only when university library organizes collection building based on the well-planned policy, can it establish the systematic collection building, which can satisfy users, support continuity of work, use budget efficiently, and solve the space problem by with-drawing the materials. But most Korean university libraries, contrary to many foreign cases, don't have proper systematic collection development policy or guideline that controls overall library work from planning the collection of materials to evaluating and preserving them. Questionaire on whether university library has collection development policy or guideline was answered positively by only 6 cases out of 57 cases, which is just 10.5 percent. Even in cases that they have a guideline, the content of the copied guideline they sent was confined to acquisition, which is just a part of collection development. Collection development is a statement needed to set up long and short term plannings in consideration of the aims of the library and the needs of users and to shape and manage the library collection systematically. With the above conception and definition, we try to make a proper collection development policy and guideline for the Korean university libraries. Here we must define the object of the university. Object of university is to have good curriculum, good courses, research activities on the part of the faculty, enlargement of graduate school, and establishment of various institutes, etc. And in guideline, selector, method of selection, level of selection and arrangement of budget, etc. must be described concretely in its contents. Since collection development policy and guideline of Korean university libraries should concern their situation, we must confer with the result of the survey and analysis on the matter of collection determination. Here the contents include the priority of materials to be collected, method of collecting materials, arrangement of budget, and others. The purpose of this study is to develop a tenative collection development guideline in reference to the Jeonju University Library by means of analyzing the guiding principle, contents of the guideline, and present conditions of the Korean university libraries. The systematic collection development based on the Guideline for Collection Development of the Korean University Library, can offer a satisfactory service to the users of the university community, and also contribute to the development of the university itself as well as the university library.

• The Journal of Art Theory & Practice
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• no.4
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted 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, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and 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 the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see 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, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis 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 other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• Korean Journal of Materials Research
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• v.8 no.12
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• pp.1165-1169
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• 1998

A single crystal cast blade was manufactured by CMSX 6, one of the first generarion nickel based single crystal superalloys by the selector method in a vacuum furnace. The single crystal has been grown with cooling rate of 2.5 mm/min, after pouring the molten alloy of 163$0^{\circ}C$ to the mold heated to 150$0^{\circ}C$. The cast structure could be classified into matrix (dendrite) and eutectic regions in ${\gamma}$'shape and size. The eutectic region showed higher Ti content. As the additional results of ${\gamma}$'precipitates by EPMA and CBED analysis the ${\gamma}$'size was less than 0.5~0.7$\mu\textrm{m}$, showing the chemical composition close to Ni$_3$Al of Ll$_2$ lattice structure. But ${\gamma}$'size has increased to bigger than 1.0$\mu\textrm{m}$, being near to eutectic region, changing its shape to bar or huge block types. These showed the chemical structure near to Ni$_3$Ti of D $O_{24}$ lattice structure. Therefore, ${\gamma}$'morphology of dendrite and eutectic regions depends absolutely on its chemical composition and lattice structure.