• The Journal of the Korea Contents Association
• /
• v.17 no.1
• /
• pp.507-521
• /
• 2017

Purpose: The purpose of this study is to examine the relationship between attitude toward death among Korean hostess (room salon/bar) in Busan and their suicide-related factors. Methods: The questionnaires were administrated to 120 Korean hostess. The questionnaires consist of 7 major concepts: death as liberation, death as natural phenomenon, fear of death, avoidance of thought about death, fear for the impact of death on family, frequency of thought of death, their capacities to resist suicidal impulses. Results: Interestingly, satisfaction for hostess working in room salons with their monthly incomes was negatively correlated with frequency of thought of death and was positively related to their capacities to resist suicidal impulse. Moreover, in terms of the factors influencing 'their capacities to resist suicidal impulse', for hostess working in room salons, 'fear for the impact of death on family,' and 'satisfaction with their monthly income' were found to significantly influence 'their capacities to resist suicidal impulses'. However, for hostess working at bars, 'death as liberation' was found to be the only one factor showing significant effect on 'their capacities to resist suicidal impulses'. Conclusion: For hostess working in room salons, their perceived monetary reward seems to affect their attitudes toward death and suicide-related thoughts. Understanding a person's attitudes toward death can be another way to help people in a difficult situation to prevent them from carrying out the worst.

• The Korean Journal of Archival Studies
• /
• no.81
• /
• pp.133-157
• /
• 2024

This study seeks to examine how to understand the meaning and function of archives from the perspective of deconstruction through a discussion of Derrida's 『Archive Fever』. Derrida argues that the archive is not a space of fixed and absolute truth, but a place open to various interpretations. Archive records are composed of countless meanings constantly created by the people who produce the records and the people who read them. As a result, the archive is not simply a place to store past documents, but a place where meanings are produced, destroyed, and interacted with each other. It must be understood as a complex place. Derrida's view of archives reveals a deconstructive perspective on archives that can be understood separately from the discourse of power and memory. Based on Freud's psychoanalysis, Derrida analyzes the process by which meaning is created and destroyed in archives and the unconscious desires that act on it. Through this, we see that archives are not simply passive records of the past, but memories of the present and future. We must acknowledge that it is an active and complex place that is constantly being reorganized.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.87-122
• /
• 2019

This paper examines how the melancholia and death drive foregrounded in Kwak Ji-kyun's films have changed the affect and production trend of South Korean melodrama films of the late 1980s and thereafter. It particularly analyzes Kwak's The Home of Two Women (1987) as his exemplary melodrama film. Kwak is not only an auteur filmmaker of the 1980s and 1990s but was also a herald of South Korean New Sentimentalist films back then. The New Sentimentalist filmmakers have aspired to sophisticate the South Korean melodrama film not only by de-sentimentalizing it from the shimpa quality but also separating it from excessive emotion of shimpa that had long dominated the national cinema. This affective sophistication is directly linked to the sense of loss and melancholia/depression of the characters in the film caused by the death of one's beloved. This New Sentimentalist affect is best represented in Kwak's The Home of Two Women through its depiction of the internal conflicts of artists struggling to artistically sublimate the death drive and sense of loss. By textually analyzing The Home of Two Women, this paper not only reevaluates Kwak's film style but also reposition the topology of the New Sentimentalists in Korean film history.

• Journal of dental hygiene science
• /
• v.13 no.3
• /
• pp.230-237
• /
• 2013

In this research, the degree of depression and death orientation of the 332 female students majoring in dental hygiene at colleges located in Gyeongsangbuk-do Province were examined and analyzed through a structured self-administered questionnaire from May to July, 2012, for the purpose of improving their mental health. The results are as follows: 1. The degree of depression of the subject students majoring in dental hygiene was shown that 59.9%, 36.8%, 3.0%, and 0.3% of the students were in the normal group, mild depression group, moderate level of depression group, and severe depression group, respectively. 2. The grand mean and the standard deviation of the subjects'death orientation was $2.09{\pm}0.62$ points. 3. The degree of depression of the subjects whose family's economic level was low, whose satisfaction with their family background was low, whose satisfaction level with their major was low, whose school records was low, who frequently thought about death, and who attempted suicide was high in a meaningful way, and death orientation was meaningfully low. In addition, those in the group with the experience of feeling suicidal were proved to have a significantly high degree of depression, and those without the experience of education about death had a low level of death orientation. 4. The degree of depression and death orientation had a positive correlation. When the study results above are combined, follow-up research needs to be conducted so that differentiated programs linked with the care for mental health for the formation of proper attitudes toward depression and death will be established to help students lead a positive life.

• Journal of Korean Philosophical Society
• /
• v.117
• /
• pp.85-111
• /
• 2011

Topics with which chis paper deals are as following; (1)Zizek's interpretation of Rothko's painting, (2)Lacan's gaze and picture, (3)the real as object a, (4)primal jouissance and death-drive, (5)a new identity of man-emptiness in Zizek, (6) existential level and existential conflict, (7)a variety of meanings of emptiness, (8)transpecsonal drive and meditation, (9) the different Real-Emptiness, (10)Rochko's painting and transpersonal drive.

• Journal of English Language & Literature
• /
• v.55 no.4
• /
• pp.641-659
• /
• 2009

Since Plath killed herself in 1963, the theme of death has become one of the central motifs and allusions in her work. The biographical emphasis continues to blur the boundary between the artistic world and the material world. While approaching Plath's work from the perspective of personal experience, the objective of this paper is not to suggest that we encounter Plath's personal voice and emotions directly in her work. Rather, I emphasize how Plath's work of mourning is substantiated in the act of writing. Plath protects herself from the unnamable or the existential void by writing poems. She shows the way in which art or writing enables the subject to confront traumatic memory. While the death drive propels Plath towards destruction, artistic formation serves to alleviate her psychic crisis. What I shall suggest in the paper is how works of art lead the melancholic subject to challenge traumatic events. Plath herself suggests the therapeutic power of language. Plath's hostility toward women as well as men situates her work nearer to the Kristevan psychoanalytic theory which examines depressive anxieties intrinsically linked to the loss of maternal objects. Kristeva's particular focus on the concept of "death-bearing mother" or the unnamable offers a fruitful reading of the representation of infantile fantasies, sexuality, anger, and ambivalence toward lost loved object which clearly dominates most of Plath's poems. Kristeva elaborates mourning and melancholia through the framework of signification and it is of especial relevance in deciphering the recurring death drive and melancholic rage in Plath's work. Melancholic subjects in Plath's work are characterized by an amorphous state, occupying a borderline state regulated by the death drive.

• Proceedings of the Korea Contents Association Conference
• /
• 2014.11a
• /
• pp.215-216
• /
• 2014

본 연구의 목적은 후기 고령노인의 자살시도 경험의 의미와 본질을 탐구하여 이들의 경험에 대해 보다 심층적으로 이해하는 데에 있다. 이를 위해 서울지역 ${\bigcirc}{\bigcirc}$구에 거주하는 자살시도를 경험한 75세 이상 노인 6명을 연구참여자로 의도표집하여 심층면접을 실시하였다. 수집한 자료를 현상학적 연구방법을 적용하여 분석하였다. Giorgi가 제시한 4단계 분석 절차에 따라 자료를 분석한 결과 6개의 구성요소와 20개의 하위 구성요소가 도출되었다. 연구를 통해 후기 고령노인의 자살시도 경험의 4가지 구성요소는 <모진 세월의 회한; 죽도록 고생한 모진 인생, 조실부모와 가난의 대물림, 도무지 잊을 수 없는 자식들의 외면, 가족갈등에서 온 깊은 원망>, <절망적이며 처량한 신세; 경제력을 상실과 절망, 마음대로 죽을 수 없는 처절함, 차라리 죽고 싶은 죄책감>, <쓸모없는 무가치한 삶; 아무 쓸모없는 사람, 자녀들 및 신세지기 싫은 강박관념에 괴로움, 자살충동이 일어남>, <참을 수 없는 신체의 고통과 무기력: 죽음과 삶의 두려움, 우울증, 정신병, 치매, 무기력>, <의지할 곳 없는 외로움; 하루 종일 고립됨, 숨쉬고 있지만 마지 못해 살아감, 죽은 것처럼 살고 있는 나, 하루가 지루함>,<마지막 선택; 세상이 싫어 떠날 것임, 먼저 간 배우자 따라.., 아무것도 바라지 않음>으로 나타났다. 이러한 연구결과를 바탕으로 후기 고령노인의 자살시도 경험에 대한 의미와 본질을 논의하고 노인자살예방을 위한 실천 현장의 구체적 개입전략, 생명존중문화의 실질적인 대처 방안에 대한 제언을 제시하였다.

• Journal of English Language & Literature
• /
• v.56 no.2
• /
• pp.187-217
• /
• 2010

By reading the main character, Rene Gallimard, in M. Butterfly as a spatial metaphor of America, this article examines how homogeneous American national identity of heterosexuality and white masculinity has been reinforced since the cold war and has constituted a crisis of hegemony with the decline of imperialism and how its pathological symptom is shown through the melancholic suicide of Gallimard. This article also argues how the feminine attributes implied in race, gender and sexuality in M. Butterfly are designated and allegorized as an impure, contaminated and ahistorical marker of national integrity in pthe social and material status of the heterosexual American white male. To develop my argument, I read M. Butterfly from a psychoanalytic point of view. Therefore I depend on Freud, Lacan, and Bhabha's psychoanalysis as the theoretical basis. In this paper, I also argue that the homogenized and fixed national identity is splitted and collapsed from within as shown in the Gallimard's melancholy and in the process of splitting the "Third Space" of hybrid subjects for the marginal and the emergent like Song Liling, a homosexual Asian man, can be built "from a space in-between." Therefore Hwang calls into questions conventions of fixed, essentialist identities through the shifting gender identities between Song and Gallimard in M. Butterfly and how identities in the plural are constructed variously in throughly historicized, politicized situations, and these constructions can be complicated by relations of power.

• The Journal of the Korea Contents Association
• /
• v.16 no.2
• /
• pp.686-695
• /
• 2016

In this thesis, girls' suicidal mentality which appears in some adolescent novels was sought. We can conclude like these: first, in the novel, Elegant Lies written by Ryeo-ryung Kim, the girl named Wha-yun leaves out Cheon-ji not to be left out alone by her companies. Wha-yun has succeeded in giving an ugly impression of Cheon-ji to the peer girls around her by exercising relational aggression. As a result, Cheon-ji sees herself as a meaningless being and after recognizing that she can't change the situation, she shows psychology of escape. Second, in the novel, Goodbye, from Kilimanjaro written by Ok-soo Lee, Sung-min Yoon's girlfriend Soo-hee born and grown in Africa lives with trauma from her mother's death. As her step-mother suppressed her not to keep in touch with the pet animals, Soo-hee got depressed and out of energy. Parental oppression and verbal violence can let the girl activates self-punishment and lead to suicide. Third, in the novel, Thursday, in Cyprus written by Chae-ran Park, girls could use suicide as a negotiation agenda. Adolescents could commit suicide even if their trivial requests are rejected. In these situations above we can read anticipation of compensation, retaliation and self-punishment mentality.

• 한국프랑스학논집
• /
• v.108
• /
• pp.1-45
• /
• 2019

The objective of this work is to study the rebirth of the French baroque opera and to analyze Atys of Quinault and Lully. Accordingly, it can appear interesting to take into account not only the reception of Atys in the 17th century in France, but also its representations in 1987. Then, it seems important to us to examine the studies on the modification of the myth in Atys, while questioning the legitimacy of the Fasti of Ovid as a primary source. Lastly, we will endeavor to emphasize the influence of Natale Conti's Mythologies on Atys, and that of Michel de Marolles's the Tableaux du Temple des Muses on the scene of the sleep of the hero. In a general way, in regard to the influence of the sources in Atys, these two works drew until now only very little the attention of criticism. The difficulties which Louis XIV crosses at the time of the genesis of Atys, such as the death of the marshal of Turenne or the departure of Louise de La Vallière to the convent, seem to have nourished the choices of Quinault and Lully. Atys is an admirable spectacle with the changes at sight of the decorations, the varied machines and the splendid costumes, but in spite of the immense success of this opera, he is forgotten after the representation given at Fontainebleau in 1753. Two centuries later, les Arts Florissants' production of Atys in 1987 - with its triumph which one knows - seems to announce a rebirth of the French baroque opera. William Christie and Jean-Marie Villégier still succeed in presenting their production in 2011 thanks to Ronald Stanton, American fortunate who was impressed by the representation of Atys in 1987. Villégier and his artistic team choose a single decoration and remove the machines in order to place work at the court plunged into mourning of Louis XIV twenty years after the premiere of Atys. The "classicism" of their dramatic presentation emphasizes the classical dramaturgy and the tragic side of this opera. Criticisms often stress the importance of Ovid's Fasti as a primary source, while adding his Metamorphoses as a secondary source (the metamorphosis of Atys in pine and the scene of his sleep). Quinault borrows indeed from the Fasti some elements : in love with Atys, Cybele entrusts the responsibility to him of keep her temple ; the reciprocal love between Atys and Sangaride causes the revenge on the goddess. However he borrows more from the French translation of Natale Conti's Mythologies which present the Phrygian version of the myth of Atys. In the first three accounts of this version, one finds common points with the opera : 1) Atys refuses the physical desire of Cybele ; the goddess makes Atys insane instead of making die Sangaride ; 2) the lover of the hero is daughter of the river of Sangar ; Cybele makes change into pine Atys who committed suicide (or ready to commit suicide) ; 3) the goddess discovers the physical relation of the young couple. Natale Conti's Mythologies also present the Lydian version of the myth : a furious wild boar sent by irritated Zeus kill Atys and several people. One can suppose that this part undoubtedly influences the "monster" and its "dreadful howls" evoked by Atys in a fit of insanity. Moreover, the dreams make discover in Atys the intentions of Cybele, which is not without relationship with the translated text of Natale Conti : the Mythologies indicate that sweet Sleep reveals "the intentions & the plans of the Gods." To manufacture the famous scene of the sleep of the hero, Quinault and Lully make use of the annotations of the "Palace of the Sleep" located at the end of the Tableaux du Temple des Muses : Michel de Marolles translates and explains the texts of Catullus (the sleep of Atys), of Ovid (the Sleep and his three sons), and of Ausonius (good dreams / bad dreams). In spite of the important influence of these sources, Quinault and Lully modify some elements of the myth : the theme of castration is removed because of the proprieties ; the suicide of Atys is at the same time an act of love and an act of revolt against Cybele ; the cruel goddess is also a desperate and weak lover; the invention of the character of Celenus returns the love of the young prohibited and tragic. Quinault fascinate the contemporary public with the interior movements of complex characters and the music of Lully emphasizes this quality of the libretto.