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이 논문은 폴락의 회화 ‘넘버 5’(1948)에 대한 레트로 모더니스트적 해석을 제안한다. 이는 추상화가 형상적 재현에 관한 단순한 이분법을 형성한다는 관점을 거부한다. 그 대신, 추상화는 추상화의 이율배반을 형성하는 모순적인 해석들을 끌어들이는 애매한 본질적인 성질을 갖는 것으로 보인다. 이 논문에서 ‘이율배반’은 느슨하지만 칸트의 『순수이성비판』, 초월론적 가상론에서 쓰인 의미를 뜻한다. 이율배반은 감성과 관계한다. 정립은 캔버스가 개념, 원칙, 범주를 통한 추론적 매개가 없는, 혹은 그러한 매개에 선행하는 원감각적 직관들을 나타낸다고 주장한다. 이러한 관점에서 ‘넘버 5’는 감성의 형식들, 특히 결정되지 않은 평평한 표면들의 비재현적 의미를 탐구한다. 반정립은 원감각적 직관들이 언제나 영향사의 중층적 구조에 의해 이미 전형성적이라고 명시한다. 그러므로 ‘넘버 5’는 전승된 전통과의 암묵적 대화를 통해 의미화된다. 추상화의 이러한 이율배반은 보다 더 높은 종합으로 해결되거나 통합되지 않는다. 그러나 그것은 폴락의 ‘넘버 5’에 대한 레트로 모더니스트적인 해석을 위한 해석학적 전망을 제공한다.

This paper proposes a retro-modernist interpretation of Pollock’s painting “Number 5” (1948). The paper rejects the view that abstraction forms a simple dichotomy with figurative representation; instead, abstraction is seen as an inherently ambiguous quality, inviting contradictory interpretations that form an antinomy of abstraction. Here, the paper employs the notion “antinomy” in a sense loosely based on Kant’s theory of transcendental illusions in the Critique of Pure Reason. The antinomy concerns sensibility. The thesis maintains that the canvas presents raw sensory intuitions without or prior to their discursive mediation in terms of concepts, principles, or categories. The painting, on this view, explores the forms of sensibility, in particular the non-representational significance of undetermined flat surfaces. The anti-thesis states that raw sensuous intuitions are always already prefigured by multiple layers of effective history. Accordingly, the painting signifies through its implicit dialogue with the inherited tradition. This antinomy of abstraction cannot be resolved or integrated into a higher synthesis; yet, it provides a hermeneutic grid for a retro-modernist interpretation of Pollock’s “Number 5.”

Jackson Pollock은 Freud의 정신분석학을 기반으로 하는 자동기술법을 이용하여 액션 페인팅이라는 독창적인 회화 영역을 구축한 사람으로 평가 되고 있다. 평생 그를 괴롭히던 알코올 중독과 정신분열증, 그리고 자동차 사고에 의한 극적인 죽음은 그의 사후 많은 비평가들이 그의 드리핑 작품을 정신분석학적 관점에서 재조명하는 계기가 된다. 비평가들은 그의 작품과 유아의 난화 사이에서 많은 유사성이 발견하였으며 이를 근거로 Pollock의 드리핑 작품을 퇴행의 산물로 결론 내린다. 본 논문은 Pollock의 드리핑 작품과 난화와의 비교분석을 통하여 양자 사이의 유사성과 이질성을 규명하는 것을 목적으로 한다. 이 연구에서는, 우선 드리핑 기법의 탄생 원인을 그의 삶과 연계하여 추적하고 이어서 Pollock의 예술적 영감의 기반을 이루는 Freud와 Jung의 영향을, 그리고 새로운 해석의 가능성을 위해 Adler의 열등콤플렉스 이론을 제시하며, 이를 근거로 조형적인 측면에서 드리핑 작품을 난화와 함께 비교분석한다. 연구의 결과로 Pollock의 드리핑 작품에서 자동기술법은 그 의미가 매우 축소되는 반면에 화면구성은 큐비즘을 연결 고리로 전통적인 유럽 아카데미즘과 밀접한 관련성을 가진다는 것을 확인하였다. 결국 Pollock의 작품은 무의식적 충동을 외재화한다는 점에서 난화와 유사하지만 전체 화면을 지배하는 강한 조형 의지는 난화와 분명하게 구분되는 차이점이라고 할 수 있다.

Jackson Pollock is known as an artist who developed the style of action painting by using automatism based on Freud’s psychoanalysis. Pollock has suffered from alcoholism and schizophrenia during his life time. After his sudden death in a traffic accident, many critics reexamined Pollock’s work through a psychoanalytical lens. Critics found many similarities between Pollock’s work and children’s scribble. Based on this, they concluded that the artists’ works were born through regressions. This paper aims to identify similarities and differences between Pollock’s dripping artwork and scribbles. First, the paper traces the birth of the dripping technique by relating it to Pollock’s life. Then, it examined the theories of Freud and Jung, which greatly influenced Pollock’s artwork. This paper then, introduces the inferiority complex theory of Adler in order to introduce a possible new interpretation and compare Pollock’s dripping work with scribbles in terms of formative art. This paper also shows that Pollock’s automatism was downgraded in his dripping artwork, while the screen structure was closely related to traditional European academism based on cubism. After all, Pollock’s artwork was externalized through unconscious impulse, which was similar to scribbling; on the other hand, his formative style on the screen is quite distinctive from that of scribbling.

Pollock의 1953년 작품 <초상화와 꿈>에는 두 가지의 모호한 형상이 나타난다. 그와 같은 이미지는 Freud의 이론에 따르면 Pollock의 자아가 분열되었기 때문에 나타난 것이라고 해석할 수 있다. Freud에 의하면 그 원인은 Pollock이 오이디푸스 콤플렉스(Oedipus complex)를 극복하지 못하고 있었기 때문이다. 첫째로 그는 아버지에 대한 적대적 감정으로 살부(殺父)욕망을 은밀하게 드러내었다. 그 예로 아버지의 장례식에도 참석하지 않은 그는 어머니를 위로하는 편지에서 그의 아버지가 병상에 오랫동안 누워있지 않고 일찍 세상을 떠난 것을 기뻐하는 무의식적 욕망을 은밀하게 드러내었다. 둘째로 그는 어머니에 대한 고착으로 인해 동성애가 나타났다. 그는 1945년 아내 Lee와 정식으로 결혼한 뒤에도 다른 남자들과 만나 동성애를 즐기기도 했다. 그러나 그의 아버지에 대한 적대적 감정과 동성애는 당시 사회의 법이나 규범으로 용인될 수 없는 것이다. 따라서 도덕적 양심을 따르는 그의 초자아는 이드에게 금지와 억압을 가했으며 그 결과 그에게 자아 분열이 일어난 것으로 해석할 수 있었다. 본 연구는 Freud의 이론만으로 Pollock의 작품을 분석한 것으로 그 한계가 있다. 그러나 Freud의 오이디푸스 콤플렉스 이론을 통해 당시 Pollock의 정신적 갈등과 문제가 무엇이었는지를 밝혀 보았다는 데 그 의미가 있다.

Jackson Pollock's work Portrait and a Dream shows two obscure shapes, which, in a Freudian perspective, are attributed to the split of his ego. First, interpreted from a Freudian perspective Pollock did not overcome Oedipus complex. Pollock covertly revealed his hostile feelings towards his father and desire to kill his father. His absence from his father's funeral is an indication of this. In addition, in his letter to console his mother, his sense of gladness that his father didn't spend much time being sick in bed before dying was implicity revealed. Second, Pollock's obsession to his mother led to homosexuality. He maintained his homosexual relationships with other men even after he was married to Lee, his wife in 1945. His hostile feelings towards his father and affinity to homosexuality were not acceptable by the moral and social standards of his time. His superego trying to adhere to moral standards suppressed his id, giving rise to a split in his self. The significance of this study is that Pollock's psychological conflicts and problems were interpreted based on Freud's Oedipus complex, although the limit of this study is that Pollock's work was interpreted only in a Freudian perspective.

잭슨 폴록(Jackson. Pollock)은 1947년 이후 그가 창안한 드리핑 작품으로 미국 추상표현주의의 선구적 작가가 되었다. 그는 붓을 사용하는 대신 물감을 붓거나 뿌림으로써 그의 회화는 전통미술의 원근법이 사라진 혁신적 작품으로 인정을 받았다. 그의 드리핑 작품은 강렬하고 다양한 색상으로 작가 자신의 내면을 표현하였다. 그러나 1951년부터 그의 작품에는 두 가지의 큰 변화가 일어난다. 첫째로 1951년에 들어와 그가 그린 <Number 14>를 비롯한 28점의 작품에는 검은색만이 나타나며, 둘째로 1953년의 작품 <심연>에서는 여성의 자궁 형상(an open wound)이 나타난다. 먼저, 그의 1951년 작품 <Number 14>에서는 검은색을 통해 자신의 상징적 죽음을 드러내고자 하였다. 그와 같은 상황은 정신질환을 겪고 있던 한 남자가 검은색의 그림을 그린 뒤 갑자기 죽음을 선택한 미술치료의 예에서 확인되었다. 그 다음으로 Pollock의 1953년 작품 <심연>에서 자궁의 형상은 Pollock 자신이 영원한 안정을 찾고자하는 염원을 나타낸 것이다. 즉 마르가라는 한 여인이 동굴그림을 통해 자신의 고통으로부터 보호받고자 소망한 것과 같이 <심연>에서 자궁은 Pollock이 자신의 고통을 피해 안정을 찾고자 하는 염원을 드러낸 이미지로 해석할 수 있었다. 결국 Pollock의 작품에서 자궁의 형상은 Freud가 주장한 죽음의 본능, 즉 물고기가 알을 낳기 위해 본래 태어난 곳으로 되돌아가려는 것과 같은 ‘귀소본능’의 이미지로 해석할 수 있었다.

Jackson Pollock was to be the leader of the abstract expressionism in the America with his original dripping technic since 1947. He was admired for his dripping painting by the pouring or dripping enamal on the canvas instead of drawing the his paintings. His dripping painting was represented his inner emotions by using the intense and various colour. But his painting has been suddenly changed to two different image largely since 1951. Firstly, his <Number 14> was represented the black colour with the twenty eight of his black paintings. Secondly, his <deep> was represented an open wound with black colour in 1953. First, he intend to describe his death instinct through his <Number 14>. His death instinct confirmed in the one of the works of the person with disease who was cured by art therapy, and The patient selected his death suddenly. Second, he desire to represent his stability by the wound shape of woman in his <deep>. It is confirmed that a woman represented desire to escape her pains by the image of a cave in her work. Finally, pollock also represented his desire to escape the pains and desire to return the body of his mother. It is represented the death instinct of Freud's theory, so to speak it is interpreted with the image of the homing instinct as a fish seeks the home to lay a spawn.

이 연구의 목적은 20세기 초반의 서양 현대미술 화가들과 그들의 특정 작품이 예술심리치료의 한 분야인 무용치료 배경이론의 전조로서 기록적 의미가 있는가를 고찰해 본 것이다. 미술에 대한 연구의 방법론적 접근은 미술사와 미술, 예술치료 및 예술철학에 관한 문헌고찰에 기반을 두어 이루어졌다. 연구를 위해 선택된 화가들은 파블로 피카소(Pablo Picasso)와 잭슨 폴락(Jackson Pollock), 그리고 앙리 마티스(Henri Matisse)이고 무용치료의 선구자 중 한명인 마리안 체이스(Marian Chace)의 무용치료의 기본개념 및 관점이 분석의 틀로 사용되었다. 연구의 결과는 다음과 같다. 파블로 피카소의 『세 댄서(The Three Dancers)』라는 작품은 자유로운 표현과 형태의 파괴 그리고 내면의 세계를 표현하는 동작을 묘사한 것이었고, 그로부터 무용치료의 주요개념 중 하나인 상징주의적 요소(symbolism)를 찾아 볼 수 있었다. 잭슨 폴락의 『리드미컬 댄스(Rhythmical Dance)』라는 작품은 샤머니즘 및 동작적 요소(body action)를 강조하고 있으며 마지막으로 마티스의 『댄스 Ⅱ(Dance II)』라는 작품은 인류의 집단적인 제의로서의 춤의 원형적 힘과 생명력을 드러내는 것으로 역시 무용치료의 중요개념 중 하나인 리듬적 그룹 활동(rhythmic group activity)의 치유적 힘을 표현하고 있다. 이 세 예술가와 작품들을 통해 현대예술사의 흐름에서 일어나는 무용과 미술 분야의 상호영향과 무용치료의 이론적 기반이 나타나는 전조를 엿볼 수 있었다. 앞으로 미술이 단순히 무용의 외현적 기록의 수단이 아닌 예술사적 개념을 드러내는 역할 가능성이라는 관점에서도 활발히 연구되기를 희망한다.

The purpose of this study is to examine Western works of art through a historical and archival point of view related to arts psychotherapy. The method of approaching visual works of art is based on essential attributes of art therapy history. The theoretical background is founded in publications and research papers relating to art history, arts philosophy, and expressive arts therapy. To examine contemporary Western works of art and artists, Pablo Picasso, Jackson Pollock, and Henri Matisse were selected for analysis and exploration of the origin of arts psychotherapy. For the purpose of discussing the conceptual foundation of dance therapy, the characteristics of Western works of art and artists were examined, resulting in the following findings. First, the characteristics of Pablo Picasso’s “Three Dancers” include free-form expression, destruction of form, and bodily expression of subjective emotions arising from an inner world. In particular, “Three Dancers” exhibits Symbolism, which is one of the main elements of dance/movement therapy. Second, the characteristics of Jackson Pollock’s “Mural” and “Rhythmical Dance” represent Shamanism and strong Body Action, both from the artifacts and the process of creating them. Lastly, Henri Matisse’s “Dance the Second” and “Two Dancers” show a simple and strong color composition which emphasizes the harmony of nature, humans, and the power of Rhythmic group activity, also a main concept of dance therapy. As a result of the analysis, these three important Western artists and works of art are seen to demonstrate meaningful perspectives and theoretical foundations of dance therapy. Indeed, their works of art could be considered valuable documents of dance therapy history. This study is limited by its focus on only a few selected artists and works of art. A larger, follow-up study is needed to rule out over-generalization. Second, interpretation may be limited by the subjectivity of the author. For this reason, the author included a number of references to support the study’s point of view.

To explore the characteristics and influencing mechanisms of tourists' perception of dietary localness across different stages of tourism commercialization, this study selects the myeongtae (Alaska pollock) culture in the eight counties/cities of Yanbian Korean Autonomous Prefecture as a case study. Based on questionnaire survey data regarding tourists' localness perception of myeongtae culture, principal component analysis was employed to quantify the levels of Perception of Placeness in the eight study areas. Tourism commercialization gradients were classified into three categories using indicators derived from the survey. The optimal geographical detector model was applied to conduct factor detection and interaction detection from three dimensions—physical landscape, ethnic significance, and emotional perception—thereby systematically revealing the dominant influencing factors and evolutionary characteristics of dietary placeness perception at different stages of tourism commercialization. The results show that: (1) Significant differences exist in dietary perception of placeness across the initial germination, initial operation, and growth–evolution stages of tourism commercialization, with counties/cities in the growth–evolution stage exhibiting the highest intensity of perception of placeness ; (2) As tourism commercialization progresses from the initial germination stage to the growth–evolution stage, tourists' perception of myeongtae cultural localness demonstrates a continuous strengthening trend; (3) The dominant influencing dimensions of dietary perception of placeness vary across commercialization stages: emotional perception shows the strongest explanatory power in the growth–evolution and initial operation stages, while perception of physical landscape is most influential in the initial germination stage; (4) Interaction detection reveals that, except for the two-factor enhancement between physical landscape and ethnic significance in the growth–evolution stage, all other pairwise interactions among the three dimensions exhibit nonlinear enhancement. Notably, the interaction between physical landscape perception and emotional perception exerts the most significant combined effect on dietary localness perception. The findings of this study provide theoretical support and practical references for the inheritance of ethnic culture and the sustainable development of the tourism industry in Yanbian Prefecture, facilitating the deep transformation of ethnic dietary culture from a cultural symbol into an emotional carrier.

Art therapy is a form of therapeutic practice that uses art in order to relax and cure the symptoms of depression. In this paper, researchers propose an artificial art therapy recommendation system based on an expert system to provide the customized art therapy for the individual patient. Facts and rules about the unique abstract art painting techniques of Jackson Pollock’s art therapy are collected to develop a knowledge base and an inference engine for the expert system. The proposed system analyzes the symptoms of a patient from the answers in the questionnaire and provides the most appropriate art therapy to the patient. With the proposed system, the customized art therapy program can be provided at an affordable cost without limitation of time and place.

The study was carried out to examine on the refiner discharge from Alaska pollock as a collagen resource by characterizing biochemical and functional properties of collagen. The refiner discharge from Alaska pollock surimi manufacturing was a good resource for collagen extraction according to the results of total protein, heavy metal, volatile basic nitrogen, collagen content, amino acid composition, and thermal denaturation temperature (TDT). TDT of acid soluble collagen from refiner discharge showed 20.7℃, which was similar to that of collagen from Alaska pollock muscle and was higher than that of collagen from Alaska pollock skin. TDT of acid-soluble collagen from refiner discharge was, however, lower than those of skin collagens from warm fish and land animal. Acid-soluble collagen from refiner discharge of Alaska pollock could be used as a functional ingredient for food and industrial applications according to the results of water and oil absorption capacities, and emulsion properties. In addition, if the thermal stability of the acid-soluble collagens is improved, collagen from refiner discharge from Alaska pollock could be more effectively used.

이글은 1990년대 이후 한국의 명태산업에서 가장 큰 비중을 차지하는 러시아산 명태에 대한 수입과 쿼터 문제를 분석한 글이다. 러시아 산 명태 의존도는 일본 후쿠시마 원전 사태 이후 더욱 더 가속화하여 한국 식생활에서 러시아 산 동태를 빼 놓고는 생각할 수 없다. 러시아산 명태의 수입쿼터를 놓고 매년 한국정부와 러시아 정부간 줄다리기를 하는 이유는 한국의 대 러시아 수산산업에 대한 투자라는 러시아의 요구 때문에 그렇다. 본문에서 한국의 명태산업과 그 문제점 그리고 러시아 산 명태에 대한 한국의 도입과정을 살펴봄으로서 러시아 산 명태의 원활한 공급확보와 한국의 명태산업에 대하여 알아본다. 한․러 어업위원회에서 매년 러시아가 요구하는 대 러시아 수산부문투자에 대한 현재의 현황과 그 대안을 살펴본다. 한때 한국의 명태 어장이었던 동해어장의 부활과 장기적인 러시아 산 명태의 안정적 수급을 위한 노력도 결론에 제시해 보고자 한다.

This article analyzes the problems of Russian Pollock quota for imports which is the largest proportion of incomes since the 1990s. After the Fukushima Nuclear disaster, South Korea's reliance on the Russian Pollack has been increased even more and cannot be thinkable without Russian Pollock in Korean cuisines. The demand of Russian Government for South Korea to invest to the Russian Fisheries Industry causes “Tug of War” between the Governments of South Korea and Russia annually. Based on the fact, we are able to observe the Russian smooth Secure Supply and Korean Pollock Industry by examining the Introduction process of Russian Pollack. According to the Korean-Russian Fisheries Commission we can see the current status of investments of Russian fisheries sector. We want to show the efforts and conclusions on long-term stable supply of the once resurrected fishing grounds.

미술치료는 미술작품을 만드는 창조적 과정이 치료효과가 있고, 삶의 질을 향상시키며 효과적인 의사소통 양식이라는 생각에 기초한다. 자유로운 표현 활동을 통하여 인간의 불안과 갈등을 해소 시켜주고, 스스로의 존재 의미를 확인 또는 회복할 수 있는 기회를 제공해준다. 이러한 미술의 치유적인 힘을 재인식한 추상표현주의의 대표적인 액션페인팅 화가 잭슨폴록(Jackson Pollock 1912~1956)은 알콜 중독, 우울증, 정신분열적 증세와 난폭한 행동, 동성애 등의 많은 정서적 어려움을 지녔지만 그의 독창적 기법인 액션페인팅 작업을 하게 되면서 조금씩 치유되어 간다. 융(Carl Gustav Jung 1875~1961)의 분석심리학은 당시 폴록과 추상표현주의 화가들에게 많은 영향을 주었다. 융은 다양한 심리치료의 방법적인 도구가 있음에도 불구하고 그림이 클라이언트의 심리를 분석하고 치료를 돕는데 있어서 다른 무엇보다 중요한 가치를 지닌다고 보았다. 또한 폴록은 융의 제자로부터 융의 분석적 미술치료를 받고 잠시나마 병세가 호전되기도 하였다. 폴록은 융과 동시대를 살며 많은 영향을 받았고,미술계의 융이라 할 수 있을 정도로 그의 이론을 적극적으로 수용하며 자신의 작품에 내재화하였다. 그러기에 본 연구는 폴록의 액션페인팅 작품을 융의 분석심리학 관점에서 미술치료요인을 분석해보고자 하였다.

Art therapy originates with the idea that any art creation would generate tremendous remedies which ensures a better life and effective communication skills. Art therapy allows human beings release their stress and anxiety in support of providing the opportunity to realize ones' existence with a chance of recovery through free spiritual expression. Jackson Pollock (1912-1956) is one of the well known abstract painters that recognizes the powerful and effective therapeutic way through art. Although he was suffered from alcoholism, depression, mental disorganization ,and homosexual tendencies, he cured himself gradually by performing action painting in his exclusive way. Jung (Carl Gustave Jung 1875-1961)'s analytic psychology influences on abstract painters back in times including Jackson Pollock. Jung believes that paintings is the most effective measurement among other various methods to analyze and treat complex psychological trauma for the clients. For instance ,Jackson Pollock alleviates his illness by accomodating Jung's analytic art therapy for a short period of time. As they live during the same period, Jackson Pollock adopts Jung's analytical psychology into his art work very intensively. He follows Jung's footsteps that leads him to be known as Jung in the field of arts today ;Hence the purpose of this paper is to explore the primary factors of Jackson Pollock's art therapy in Jung's analytic psychological perspectives.

수학이론과 미술작품의 조형성의 관계에는 어느 정도 연관도가 있음이 최근의 많은 연구에서 발견되고 있다. 이러한 발견은 과거 시대의 예술 작품에 대한 과학적 분석 연구를 가능하게 해주는 근거가 되고 있다. 본 논문에서는 이러한 이론들 중 프랙탈 차원을 이용하여 미술 작품을 분석하였다. 프랙탈 차원은 측정 대상의 결(texture) 복잡도와 촘촘한 정도를 측정하는 도구이다. 본 논문에서는 4명의 화가에 대하여 각 화가별로 47점의 작품을 사용하여 프랙탈 차원을 측정하였다. 실험결과 4명의 화가들에 대한 프랙탈 차원의 차이가 확연하게 존재함을 확인할 수 있었으며 각 화가의 연대별 차원의 변화 또한 확인할 수 있었다. 이러한 과학적 분석을 통한 연구 결과는 다양한 분야에 적용 가능하므로 그 기대 가치가 크다 하겠다.

Between mathematical theory and plasticity of paintings, the relationship of a degree of association has been found in many of the recent researches. These discovery is the basis that enabling scientific analysis about paintings. In this paper, we analyzed paintings using the fractal dimension among these theories. The fractal dimension is a tool to measure the coarseness and complexity of object's texture. For experiments, we measured with four painter and 47 images per painter by using the fractal dimension. Throughout experimental results, we could confirm the existence of difference among painters. And we also could confirm the chronological dimension's movement of each painter. The research results which were analyzed by scientific methods are valuable because they have enough potential for being used in various fields.

알래스카 산 대구(Gadus chalcogrammus)는 북태평양에 분포하는 대구과 한류 어종이다. 알래스카 산 대구의 명란 원료, 프리미엄 고추장 명란, 프리미엄 발효 명란을 증류수와 에탄올로 추출하여 2,2'-azino-bis (3-ethylbenzthiazoline-6-sulphonic acid) (ABTS+), 철 환원 항산화능(Ferric Reducing Antioxidant Potential, FRAP), 총 페놀함량을 평가하였다. 명란 원료의 증류수와 에탄올 추출물의 ABTS+ 소거능은 1.0 mg/ml 농도에서 각각 50.1%, 53.1%였다. 고추장 명란의 증류수와 에탄올 추출물의 ABTS+ 소거능은 1.0 mg/ml 농도에서 각각 71.3%, 71.6%였다. 발효 명란의 증류수와 에탄올 추출물의 ABTS+ 소거능은 1.0 mg/ml 농도에서 각각 68.7%, 70.4%였다. 명란원료의 증류수와 에탄올 추출물의 ABTS+에 대한 최소 저해 농도 값($EC_{50}$)은 각각 12.49 ug/ml과 12.21 ug/ml이었다. 고추장 명란의 증류수와 에탄올 추출물의 FRAP에 대한 최소 저해 농도 값($EC_{50}$)은 각각 10.67 ug/ml과 10.56 ug/ml이었다. 발효 명란의 증류수와 에탄올 추출물의 총 페놀 함량에 대한 최소 저해 농도 값($EC_{50}$)은 각각 10.45 ug/ml과 10.31 ug/ml이었다. Gallic acid를 대조구로 할 때 총 페놀 함량에 대한 상대적 활성은 명란 원료가 52.0%, 고추장 명란이 61.1%, 발효 명란이 63.6%였다. 명란 원료보다 고추장 명란과 발효 명란에서 ABTS+, FRAP 소거능 및 총 페놀 함량이 우수하였다.

The Alaska Pollock (Gadus chalcogrammus) is distributed in an arc across the North Pacific Ocean. Distilled water extracts (DWE) and ethanol extracts (ETE) of 1.0 mg/ml concentrations of raw Alaska Pollock roe, premium Gochujang Pollock roe, and premium fermented Pollock roe seasoning were evaluated for estimated 2,2'-azino-bis (3-ethylbenzthiazoline-6-sulphonic acid) (ABTS), ferric reducing antioxidant potential (FRAP), and total phenolic content. The ABTS scavenging activity of the raw Alaska roe DWE and ETE were evaluated at 50.1% and 53.1%, respectively. The ABTS scavenging activity of the Gochujang roe DWE was 68.7% and of the ETE was 70.4%; for the fermented seasoning it was 71.3% and 71.6% for the DWE and ETE, respectively. The ABTS $EC_{50}$ values of the raw roe DWE and ETE were 12.49 ug/ml and 12.21 ug/ml, respectively. The FRAP $EC_{50}$ values of the Gochujang roe DWE and ETE were 10.67 ug/ml and 10.56 ug/ml, respectively, and the $EC_{50}$ values for total phenolic content for the fermented seasoning DWE and ETE were 10.45 ug/ml and 10.31 ug/ml, respectively. When Gallic was acid used as a control, the relative total phenolic content scavenging activity in each ETE was 52.0% (raw Alaska roe), 61.1% (Gochujang roe), and 63.6% (fermented seasoning). In the present study, higher ABTS, FRAP, and total phenolic content were observed in the Gochujang Pollock roe and fermented roe seasoning than in the Alaska Pollock roe.

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

쉘리코프 해협에서 산란하는 명태의 정확한 산란장소 및 시기를 조사하기 위하여 1981 년, 1984년, 1985년에 음향학적 조사 및 난치자어 조사를 하였다. 알라스카만의 명태는 산란하기 위하여 늦겨울 내지 초봄에 쉘리코프 해협으로 이동한다. 명태는 대륙사면으로 부터 따뜻하고 염분도가 높은 해수를 이용하여 해협 남동쪽 입구의 바닥을 타고 들어와 중앙부의 서쪽면에 있는 깊은(>200 m) 곳에 모여들고, 3월부터 산란을 한다. 최대산란은 이곳에서 3월 하순부터 4월 초순에 걸쳐 일어나고, 해협내 수괴의 성질(해수온, 염분도, 밀도 등)은 해마다 다르지만 산란시기 및 장소는 거의 변함이 없다. 이 해역은 어류의 산란장이 보육장과 가까이 있다는 지리적 이점 이외에도 해마다 이 시기에는 해수의 이동량이 최저치로 내려가고 식물플랑크톤 번식의 핵심요소인 해수의 표면 혼합층이 최소로 된다는 해양학적 현상 때문에 알라스카만 명태의 최적합 산란장이 되어왔다고 추측된다. 4월 초순 이후, 산란행위는 급격히 감소하며 산란장은 북동쪽과 남서방향으로 약간 확장됨을 보여준다.

Acoustic and ichthyoplankton data collected from Shelikof Strait in 1981, 1984 and 1985 were examined to determine spawning ground and period of walleye pollock, Theragra chalcogramma. Walleye pollock in the Gulf of Alaska migrated into Shelikof Strait for spawning during late winter and early spring. They entered Shelikof Strait via the warm and saline deep layer (continental slope water mass) in the southwestern channel, and major fish schools concentrated for spawning along the deep trough (250~300m) in the western part of the central strait. Peak spawning activity occurred there from late March to early April. Peak spawning time and area in Shelikof Strait varied little between years, despite difference in hydrography. Geographical advantages together with some oceanographic phenomena (reduced water transport and reduced mixed layer depth in spring) made that area an optimal spawning ground in the Gulf of Alaska during early April. After early April, spawning intensity decreased rapidly and the spawning area tended to expand to the northeast and southwest.

The translog cost function of Korean Walleye pollock fishery is used to examine the impact of surface water temperature change led by global climate change. Catched of walleye pollock are very sensitive to water temperature and material cost. Elasticities of production to water temperature are -9%, significantly lower than we expected. There may be alternative explanations for the productivity decrease, including the possibility of overfishing and water pollution. However, the impact of climate change is obvious and inevitable. Therefore the government may encourage local fishermen to change from current cold water to warm water fisheries. Moreover continuos monitoring for the possibility of illegal activities at the East Sea. Finally, collaborated political efforts may be needed among the nations in the East Sea to conserve a Walleye Pollock fishery.

This study was conducted to obtain the gelatin fraction with a high anti oxidative activity from Alaska pollock surimi by-products using a two-step enzymatic hydrolysis and ultrafiltration. Among gelatin hydrolysates from refiner discharge of Alaska Pollock surimi, the highest antioxidative activity (81.5%) resulted from gelatin hydrolysate sequentially treated with Pronase E and Flavourzyme each for 2 hr. However, no difference was seen in the anti oxidative activity of the second hydrolysate (Pronase E-/Flavourzyme-treated hydrolysate) when compared to the permeate fractionated through a 10-kDa membrane. The results suggest that the Pronase E-/Flavourzyme-treated hydrolysate from refiner discharge gelatin of Alaska pollock surimi can be used as a supplementary raw material for improving health functionality.