• Journal of Family Resource Management and Policy Review
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• v.16 no.2
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• pp.77-101
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• 2012

The purpose of this study was to develop a Body & Mind Integration Program that combines yoga and tea meditation, and to prove the fact that it can enhance the happiness for middle-aged housewives. In order to do that, it was devised for a one-group pretest-posttest design and implemented a pretest, a treatment(that was a 12-session program), and a posttest. The results of the 16 middle-aged housewives were used to prove the effect of this program. The main results of this study are as follows: First, physical self-concept(t=-4.609, p<.001), mindful attention awareness(t=-2.804, p<.05) and tea life practices(t=-4.748, p<.001) of the middle-aged housewives have been improved after the implementation of Body & Mind Integration Program. Secondly, the Body & Mind Integration Program has provided the chance for the middle-aged housewives to newly recognize their physical and psychological ability so that they can appreciate their lives more happily and realized their inner strength. In the final analysis, it is the task for all of us to develop and supply the kind of program which helps the middle-aged housewives not only to keep the efforts for their healthy body & mind, but also to get rid of the negative feelings and tensions which happen from personal relationships so that they can find happiness in their lives continuously.

• Korean Journal of Psychosomatic Medicine
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• v.8 no.1
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• pp.110-121
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• 2000

With Cartesian dichotomy, a person's behavior and illness distinguished sharply between "biologically based" phenomena and "psychologically based" phenomena in western country. But a more balanced view that considers both concepts swept into psychiatry in the 1960s and 1970s. And ironically, the revolution of neurosicience and genetics have now reached a level of sophistication that allow it to serve as a bridge between biology and psychosocial environment. So, even subtle changes in the environment can produce biological changes in the brain. We review the history of definitions and relationship of mind and body. And we provide a selective survey of the recent 3 conceptual models of mind-body relationships in general-biopsychosocial model, mental-physical identity theory, organic unity theory-, the relationships of genetic and environment, and stress-diathesis model.

• International Journal of Advanced Culture Technology
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• v.9 no.1
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• pp.58-63
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• 2021

This research aims to reconsider the necessity of an alternative way(s) for contemporary actor training and acting in discussing and articulating Diderot and Suzuki's concepts and approaches for acting/training. First of all, the physical body, assumed and conceptualized by Diderot is beyond our control by means of a type of radical body/mind dualism, and is based on the concept that body and mind are separate. In contrast, Suzuki's notion of acting/training is raised by his concern about the role of an actor's body in the constitution of an actor's bodily experience against the imitation of the West-oriented theatre/acting/training. The descriptions of the two theatre artists' notion of acting/training gives us insight into the place and role of contemporary theatre as a practical root to encounter and communicate between a doer and a spectator where an actor's body must appropriately be attuned and cultivated towards the cultivation of bodily attributes which are foundation but usually neglected by actors/directors/practitioners particularly in Korea. Especially, misunderstanding of a specific training sources/approaches, namely 'scientific system' and the 'method' have taken us away from the potential possibilities of the lived oneness. Here, the 'possibility' refers to the primary bodily functions within a specific context or being in the here and now rather than attempting to copying, imitating and/or adapting a specific cultural source(s)/approaches/techniques as we have faced with through the previous century. We reconsider and argue that a potential way to correspond the nature of theatre/acting/training is that how to meet the demand of contemporary spectators which in turn intensifies an actor's stability, sustainability and hopefully professional identity in this contemporary era.

• Korean Journal of Culture and Social Issue
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• v.15 no.1
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• pp.227-239
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• 2009

The purpose of this study was to show that yoga psychology aims to actualize the positive potentials in the depth of human mind with the perspective of body-emotion-mind-spirit integration. This approach is described in the context of modern positive psychology. For this purpose, the Self-realization of yoga psychology is discussed, which is to develop one's higher self as a center of psyche apart from one's psychological growth or maturation. An individual can experience positive emotions such as pleasure, joy, happiness and ecstasy through the typical yoga technique of concentration. Happiness is one of the main issues of positive psychology, but yoga psychology called it "ānanda" and divided it further into seven types. The positive emotions of positive psychology seem to be equivalent to positive states of mind in yoga psychology. But yoga regards calmness, tranquility, nonattachment and transcendence as the most valuable virtues for the full actualization of human potentials. From the perspective of yoga psychology, the tranquil state of mind is the wonderful fruit of long and arduous yoga practices. It is the calm and neutral state of mind which is free from all the turmoils of everyday life. Tranquility is beyond the scope of modern positive psychology's issues, but it offers some precious insights to them.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.283-284
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• 2018

본 연구에서는 심신훈련법이 무용에 어떻게 흡수되고 있는지 알아보고, 이 심신훈련법들을 수행하고 있는 국내 무용가들의 현황을 조사한 연구이다. 심신훈련법으로는 요가, 알렉산더 테크닉, 펠든크라이스로 제한하였다. 국내 무용가들은 요가, 알렉산더 테크닉, 펠든크라이스 가운데 펠든크라이스에 많은 수의 무용가들이 치중되어 있었다. 추후, 일상적으로 행해지는 국내 무용가들의 심신훈련법들과 그들에 춤에 대한 양적 질적 연구가 확대되어야 한다.

• Trans-
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• v.8
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• pp.95-127
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• 2020

This research is based on using Bartenieff Fundamentals to analyze the fundamentals of Tai Chi Chuan's movements in order to develop the methods of relaxation from Tai Chi Chuan's principle movement movements It also shows that the two techniques have commonalities in many ways. First of all, taking a philosophical approach on the body movements of Tai Chi Chuan and Bartenieff, for both methods the ultimate goal is the integration of mind and body. In other words, there is a thread of connection between the East's body and mind monism and the west's Body Awareness. Secondly, looking at it from a Breath Support standpoint as used in the Bartenieff method, the two methods both use the breathing to naturally move the body and relax the body. In Tai Chi Chuan the Breath is the basis of life and the strength of the Body. So the breathing of Tai Chi chuan is what makes body and mind communicate, harmonize and integrate. In other words, Breathing in Tai Chi is realized through mental fusion and affects the movements. This is the same as the Breath Support of Bartenieff. It is said that in every aspect the Breath Support of Bartenieff influences the movement and changes both the inner and outer form of the body. Thirdly, looking at the Core Support used in the Bartenieff method, both methods emphasize core. At the same time of moving and being conscious of one's core, the usage of muscles can be deeper rather than superficial and this enables strong and flexible movement. In Tai Chi Chuan abdominal muscles used when one coughs are consciously engaged through abdominal breathing and so strength is collected in the core. When one exercises like that the core becomes more stable and breathing becomes more smooth. Fourthly, analyzing the Rotary Factor used in the Bartenieff Fundamentals, they both use rotary movement to reach the goal of physical relaxation. The rotation factor of Bartenieff allows movement to be easier and more free because of the characteristic of joint exercise where the center axis moved in three dimensions, this is the same in Tai Chi chuan. According to Tai Chi chuan's circle and Spiral Movements, it can achieve the relaxation through switching into a seamless flow and access space as much as possible. Finally, when looking at Developmental Patterning through Bonnie Bainbridge Cohen's Body-Mind Centering Work theory, presented from Bartenieff developmental model are similar with the developmental process of Tai Chi chuan Breath, Core-Distal Connectivity/Navel Radiation, Head-Tail Connectivity/Spinal Movement, Upper-Lower Connectivity/Homologous, Body-Half Connectivity/Homo-Lateral Connectivity, Cross-Lateral Connectivity/Contra-Lateral Connectivity. They are all similar. In other words, in Tai Chi Chuan energy is gathered in the core through breathing, upper and lower body are connected through the spine, not only homo-laterally but also cross-laterally. Through this study the expression of the dance movements can be more natural. Additionally based on the Body Awareness balance usage of the central axis, joints and body can develop the relax technique.

• Journal of Korean Academy of Nursing
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• v.35 no.6
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• pp.1025-1035
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• 2005

Purpose: The purpose of this study was to explore the experiences of recovery from disease in the patients doing a kind of Buddhist meditation, and to develop a grounded theory about meditation. Method: Data was collected by an in-depth interview using tape-recordings from sixteen participants doing meditation. The data was analyzed using the grounded theory method proposed by Strauss and Corbin(1998). Result: The core category was discovering the true self. The participants began to do meditation because of their disease. They experienced obstacles due to incomplete religious acceptance. However, their faith grew gradually based on religious experiences that were indescribable. Finally, they entirely trusted the inner healer, which is emphasized in meditation. The strategies that they used were self reflection and seeking help for accepting deep meditation. They were stabilized in physical, psychological and social daily living. The processes of discovering the true self were identified as entering religious discipline, embodying religious discipline, self-accomplishing religious faith, and recovering mind-body health. Conclusion: This study provided the understanding of mind-body integration. Empirical research may be needed to prove scientifically the effects of meditation.

• Journal of Korean Medical classics
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• v.32 no.3
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• pp.59-71
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• 2019

Objectives : This paper looks at the history of East Asian acupuncture and moxibustion in the context of the general orientations of craft and art. It is understood that acupuncture and moxibustion was the ultimate integration of reason and craft in which text and experience mutually influenced each other throughout its development. In Joseon, the pursuit of integration between the body and the order of the Heaven and Earth was particularly prominent. Methods : As in the words of Zhunagzi(莊子), the state in which something that deeply touches the mind manifests in the hands has been understood as the ultimate state in modern and ancient art. Starting here, I examined the possibility that Korean acupuncture and art has evolved from such foundations step by step. Major acupuncture and moxibustion texts were examined historically, starting with "Shenyingjing(神應經)", leading to "Junggan-Shenyingjing (重刊神應經)", "Chimgu-Gyeongheombang(鍼灸經驗方)", "Chijongjinam(治腫指南)", "Chijongjinam-Joseonchambon治腫指南朝鮮?本", "Chimgutaegilpyeonjip(鍼灸擇日編集)", "Chimgu-Myeonggam(鍼灸明鑑)". Introductions and main contents of the texts were analyzed and presented appropriately. Results : East Asian acupuncture and moxibustion has developed based on the study of pathways that correspond to Shen, of the accordance and harmony between body and the order of Heaven and Earth together with theoretical refinement, technical development, and acceptance of new discoveries. In the perspective of craft, this was motivated by artistic passions such as '得於心 應於手' and '醫者意也'. In the case of refined acupuncture methods, due to their difficulty in education and transmission there has been some fluctuation. Conclusions : Korea, China, and Japan share a largely similar philosophical and cultural basis. Reason and craft, text and experience mutually influenced each other while the core of refined acupuncture was widely shared. However, a certain bifurcation point could be detected.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Journal of Korean Philosophical Society
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• v.116
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• pp.411-435
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• 2010

Ken Wilber(1949~) tries to approach integration of philosophy, emphasising the advent of the perennial philosophy in the exchange of scholarships at the present day. He suggests All Quadrant(四象限) for the first step to reach his integrated approach. In addition, his approach concretizes for AQAL(All Quadrant, All Level). His AQAL approach which can be divide into inside/outside, singular/plural, or interobjectivity/intersubjectivity is applied to a lot of fileds such as ecology, management, criminology, medical treatment and its boundary is getting bigger. The merits of Quadrant is that it can solve the problem of the plain(平原), which resolves the strength of subjective interior(cultural contexts) into the external existence(social system). From view of Dongmu Lee Je-ma(1837~1900), a former philosopher, Sa-Sang theory['Affairs-Mind-body-Objects(事心身物)', 'Heaven-Human-nature-Order(天人性命)] is in accord with Wilber in content. In Dongmu's writing, Quadrant(Affairs-Mind-body-Objects') called Sa-Sang theory(四象學) or Sasang Constitional Medicine(四象醫學) is basic component in order to explain the structure of all nature. 'Heaven-Human-nature-Order'; That is, 'Affairs-Mind-body-Objects' results in 'Heaven-Human-nature-Order' focused on human being(human body) in the universe. In other words, Sa-Sang theory is the same as the Wilver's inclusive perspectives from the universe and human being. Dongmu's Sa-Sang theory is compared with C. G. Jung(1875~1961)'s psychology and it helps both fields confirm the foundation and extend the province of application. Comparision of Dongmu's Quadrant with Wilber's is not just analogical reasoning. In comparison, Dongmu's Sa-Sang theory is more delicated and crystallized than Wilber's in medical prospective. Dongmu regards Quadrant not as diseases, but as origin of Physiology and Pathology. And he explains all of their courses as Quadrant.