• 대한가정학회지
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• 제40권11호
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• pp.207-221
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• 2002

This study examined the characteristics of the steady date and the influences of family of origin factors and anxiety on the romantic relationship among the unmarried men of early adulthood. Ninety men dating for more than 2 months responded the questionnaire regarding differentiation of family of origin, parents' marital intimacy, trait anxiety, couple intimacy, couple individuation, and the demographic questions. Using SPSS Win 10.0, ANOVA and regression were conducted. The results found that: 1)‘methods of introduction’ ‘frequency of dating per week’ and ‘military duty’ were significantly related to the couple intimacy; 2) the men's age was negatively related to the couple intimacy and positively related to the couple individuation; 3) differentiation of family of origin affected men's anxiety which in turn affected the couple intimacy. In couclusion, summary and the implication of this study were discussed.

• 한국교육논총
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• 제38권3호
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• pp.231-248
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• 2018

본 연구는 사회불안이 연인관계 친밀감에 영향을 미치는 과정에서 정서표현성의 조절효과를 정서유형과 성차에 주목하여 탐색해보고자 하였다. 즉 사회불안과 연인관계 친밀감 간의 관계에서 긍정 또는 부정 정서표현성이 다른 양상의 조절효과를 갖는지 알아보고, 이때 남녀에 따른 성차가 나타나는지 알아보았다. 이를 위해 현재 연애중인 대학생을 대상으로 사회불안, 정서표현성, 연인관계 친밀감 설문지를 조사하여 얻은 270명(남 131, 여 139)의 자료로 위계적 중다회귀분석을 하였다. 분석결과, 사회불안이 연인관계 친밀감에 미치는 경로에서 정서표현성의 조절효과는 긍정 또는 부정 정서에 따라, 또한 성별에 따라 다른 양상으로 나타났다. 첫째, 남성의 경우 긍정정서 표현성은 사회불안과 연인관계 친밀감의 관계를 유의미하게 조절하는 것으로 나타났고, 부정정서 표현성의 조절효과는 나타나지 않았다. 즉 사회불안이 낮은 남성은 긍정정서 표현이 많으면 긍정정서 표현이 적을 때 보다 연인관계 친밀감이 대폭 상승하지만, 사회불안이 높은 남성은 긍정정서 표현을 많이 해도 연인관계 친밀감이 그다지 증가하지 않았다. 둘째, 여성의 경우 부정정서 표현성은 사회불안과 연인관계 친밀감의 관계를 유의미하게 조절하는 것으로 나타났고, 긍정정서 표현성의 조절효과는 나타나지 않았다. 즉 부정정서 표현이 많을 때는 여성의 사회불안 수준의 높고 낮음에 따라 연인관계 친밀감은 큰 차이를 보이지 않으나, 부정정서 표현이 적을 때는 사회불안이 높은 여성보다 사회불안이 낮은 여성의 연인관계 친밀감이 크게 높았다. 이 결과에 대한 의의와 후속연구를 위한 시사점이 논의에 제시되었다.

• 조형예술학연구
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• 제3권
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.