• The monthly packaging world
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• s.262
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• pp.82-86
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• 2015

• 월간 기계설비
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• s.113
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• pp.53-62
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• 1999

• Sim-seong Yeon-gu
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• v.38 no.2
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• pp.269-304
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• 2023

The purpose of this paper is to present the psychological meaning of the creation myths by utilizing related myths, analysand's dreams, active imagination, and artwork to reveal the creative function of the unconscious. The creation myth is the phenomenon of projection when a new order is demanded in the chaotic phase of personal and human history. Depending on the attitude of the ego, it can be a sign of a reconstruction/alteration of consciousness or an invasion. Related literature such as Jung, von Franz, Neumann, Harding, and Edinger, domestic papers, and case reports are introduced to identify the background for this research. The psychological meaning of 'darkness' in creation myths is regarded as unconscious that is too dark to see. The Eskimo creation myth and an analysand's dreams of being blind and wandering in darkness are discussed in relation to nigredo in Alchemy. The psychological meaning of 'massa confusa' regards Uroboros, pleroma, early childhood experience, and a psychological womb in which everything is contained in one. With related myths and unconscious materials, a discussion is followed on how this realm can be a precursor of creation but also be trapped in an abyss. The psychological meaning of 'separation of world parent' is related to splitting one into two when unconscious contexts were touched before it became consciousness. Related myths, 'the world created between heaven and earth,' 'celestial being descending to the earth,' and 'the legend of relocation of a mountain,' as well as clinical material, are examined. Then this paper discusses the clinical implications of the separation of heaven and earth occurring on its own, that the creator's emotional aspects, such as loneliness and anxiety, are involved, and that delayed separation leads to the death of creatura and sudden separation leads to the death of the chaos. Then, the meaning of 'separation of world parent' is discussed in relation with separatio, the alchemical process of acquiring light/consciousness from darkness/unconsciousness. The psychological meaning of the creation of 'land/island' refers to the emergence of consciousness, the contents of the unconscious material into the realm of the ego. Related myths, such as the 'body of the monster/dragon becoming land' and analysand's dreams, are introduced, referring to the embodiment of Mercurius. This is followed by discussing related myths in creating the land to coagulatio in alchemy and utilizing creative work such as active imagination, art, music, and dance that can coagulate or concretize unconscious material in clinical approaches. Finally, myths of resurfaced land after the Flood or the complete destruction of the world in relation to the reconstruction of ego are discussed with related clinical material to show the importance of the analyst/therapist/supervisor's mental stability and capacity.

• Childhood Kidney Diseases
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• v.11 no.1
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• pp.112-117
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• 2007

Although juvenile nephronophthisis(NPHP) is one of the most frequent genetic causes of chronic renal failure, it has very rarely been reported in Korean children. Most NPHP patients are found to have chronic renal failure, since there are no distinct clinical symptoms for NPHP except polydipsia, polyuria and enuresis in the early stage of disease. Ten percent of NPHP patients manifest retinitis pigmentosa, called $Senior-L\ddot{o}ken$ syndrome. We experienced 2 cases of $Senior-L\ddot{o}ken$ syndrome that occurred in siblings(a 10 year-old boy and a 14-year-old girl) who were diagnosed with Leber's amaurosis. They were found to have severe renal impairment without polydipsia and polyuria. However, no large homogenous deletion of the NPHPI(2q13) gene was not identified in these patients. We report here on these cases and we review the literature to emphasize the association between Leber's amaurosis and the development of chronic renal failure.

• (The)Study of the Eastern Classic
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• no.32
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• pp.51-69
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• 2008

Lu Xun was closely bounded with art since he was young, and he had a thorough knowledge of art. This treatise discerned how Lu Xun substituted and expressed his emotion through his work of art, and what was characteristic of his selection and combination of colors. Truly, color is related to statement of human mind. Lu Xun expressed certain color either consciously or unconsciously when he created human figure. The group of black in human figure in his art is representative example of it. Lu Xun always used heavy and dark color to emphasize human figure so that people can assume their lives and character. This artistic mentality or, great choice of art, relates to Lu Xun's individual life and state of mind. However, Lu Xun did not always choose dark color. Sometimes he looked squarely at darkness and tried to pursue bright color presupposing 'hope' at the same time.

• Korean Journal of Heritage: History & Science
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• v.45 no.2
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• pp.54-71
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• 2012

This paper investigates Buddhist sculptures of the Gulsan-sa School of Seon Buddhism, which was established by the priest Beomil(梵日) at Myeongju(溟州), present-day Gangneung(江陵) area, and prospered until the late Goryeo period. There are very few surviving Buddhist images at Gulsan2 temple-site showing the Buddhist art when Beomil or his disciples, Gaecheong(開淸) and Haengjeok(行寂), were active, except a set of huge stone pillars for temple-banners and a stone monk stupa. It is therefore necessary to focus on pieces of artworks in Gangneung and nearby areas to explore the characteristics of Buddhist art of Gulsan-sa from the late Silla to early Goryeo period. For example, the stone relief seated Buddha image, one of Four Buddhas of Four Directions, and a stone relief of standing Guardian King both from the stone pagoda at Mujin temple-site(無盡寺址) can be compared with stupa reliefs at the capital Gyeongju area in their high quality of carving. The stone octagonal base showing seven lions on each of seven sides at Boheon-sa(普賢寺) demonstrates that it was made as a part of an octagonal lotus pedestal for a Vairocana Buddha now lost. Since Boheon-sa was erected by Gaechung, a disciple of Beomil as a branch of Gulsan-sa, it is fair to assume that the Vairocana image at Boheon-sa might have been closely related to the Buddhist images at Gulsan-sa in its style and iconography. The stone seated Bodhisattva from Hansong temple-site(寒松寺址) displays a benign face, exquisite necklace, and exotic iconography in its hand gesture and high cylindrical crown. The stone seated Buddha at Cheonghak-sa(靑鶴寺), brought from a temple-site where fragments of roof-tiles with the inscription of Heukam-sa(黑岩寺) were discovered, displays the late Silla and early Goryeo period. Heukam-sa seems to have been related to Gulsan-sa or have been one of the branches of Gulsan-sa. Extant fragments of artworks at Myeongju implicate the high quality of Buddhist art of Gulsan-sa in its iconography and style as well as unique features of Gulsan-sa Seon School.