• CELLMED
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• v.13 no.6
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• pp.8.1-8.4
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• 2023

The purpose of this study is to suggest that activities consisting of sympathy and gratitude are the way to healing. In our team's Hope World (希望世上), we changed the lyrics of GunbamTaryeong, which Koreans know the most, to create a healing Taryeong. The iterative refrain changed to "It's nice, it's hope, it's a good world for everyone." "The Wind Blows, Spring Has Come, The Moon Is Bright" will be the beginning of each chapter in GunbamTaryeong. It looks like a bright lyric, but it also shows both sides. All members participated in changing the lyrics, harmonizing the lyrics and rhythm, preparing props, playing musical instruments, and exciting performances. Therefore, it can be said that it is the story of healing where everyone is together. The song of Hope World is a real Taryeong that heals those who plan together, sing together, play musical instruments together. It's a "hope-Taryeong (希望打令)" who dreams of a "everyone good world." It's a Taryeong that lingers in my mouth and comes to mind. In this way, activities consisting of mutual cooperation and love doubled gratitude and sympathy for each other, and we think healing was achieved in the process. In this study, we suggest that sympathy and gratitude are perhaps the first steps towards healing. The Hope World Song (希望世上歌) is available on our channel YouTube (https://youtu.be/hgPiD4g2-iM).

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.149-183
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• 2022

The oracle of the I Ching, divination can be understood as 'synchronicity phenomenon' in analytic psychology. In order to experience divination actually, it requires a religious attitude that asks questions with a serious mind when a person is in trouble that consciousness reaches its limit. It is not just a passive attitude, but a modest, active attitude to ask what I can do now. The experience of the oracle of the I Ching connected to supra-consciousness is similar to 'active imagination'-talking with the archetype of collective unconsciousness-and is 'the process of finding the rhythm of Self-archetype, the absolute wisdom of unconsciousness.' One month before my father's death, I took care of him who couldn't communicate verbally and I divination with a question 'What can I do for my father and me now?' The I Ching's answer was hexagram 19 Lin 臨, nine at the beginning. It's message was '咸臨貞吉 joint approach. perseverance brings good fortune.' 志行正也 we must adhere perseveringly to what is right.' Through this phrase, I learned the attitude of waiting for life after death as if 'joyful obedient' to the providence of nature that spring comes after winter. And I found that keeping the touching emotion of meeting infinity (in analytical psychological terms, 'Self') with perseveration is to do the true meaning of life beyond popular money-mindedness. And six months before my father's death, I had a dream about the afterlife. In the process of interpreting that dream, I learned not only from the shock of the direct message that 'it is a truth that there is something after death,' but also the regeneration of the mind through introversion from the similarity between the closed ward and '黃泉'-chinese underworld through amplification. And I learned the importance of an open attitude to accept new things through the 'window to eternity' symbolized by the white iron gate. In my father's catholic funeral ritual, I had hope that the catholic doctrine 'Communio Sanctorum'-A spiral cycle in which the living and the dead help each other may be real as well as a symbol of the individuation process in which consciousness and unconsciousness interact in our minds. Through the consolation received through the funeral visit of many people I met in my life, I found the answer that the path to contact with infinity begins with loving the beings in front of me. I tried to understand this continuous experience by the perspective of analytical psychology.

• Archives of design research
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• v.13 no.3
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• pp.153-167
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• 2000

This paper is designed to make a research into the process of the formation and introduction of design management system necessary for the strategic utilization of design at a management love on the part of domestic small business. This paper is limited to the study of the general problems ralated to the design management of the domestic small business companies producing consumer goods. 1 made an examination of the necessity of the introduction of design management and of the necessity of design development in connection with the administrative features of small business, identifying the actual condition of design by the small business and discussing the actual situation of design management and tasks to tackle. lastly, 1 made a suggestion of the process, whose aim lies In the inside establishment of the design management system deemed desirable for the domestic companies. 1 have come to the following conclusions. First, small business should make use of design development so as to keep their competitiveness and to enhance their administrative features. Second,. design can serve as a means for making a speedy response in the companies'differentiation strategies arid strategies for markets with a lot of opportunities. Third, the utilization of design at an administrative love on the part of the small business works in the light of enterprise communications, organizations, business and marketing and so on. Fourth, the majority of small business are weak when it comes to organization, manpower and environment in relation to design. So it is necessary to introduce and construct the design management system. Fifth, the managers of the small business should first of all take a strong interest in and have a renewed understanding of the importance of design. I made a suggestion that the small business should carry out a process constructing the design-management system based on the design organization and manpower, but stopped short of confirming my suggestion in a corroborative way.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.127-136
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• 2022

This thesis is a study of "Ethics Seminar VII of Psychoanalysis" that Jacques Lacan (1901~1981) has the most attachment to.A translated version has not yet been released in Korea. The original French and English translations of Lacan Seminar VII were used for the study version. Lacan introduces an important concept in a seminar on the ethics of psychoanalysis. In German, it is 'das Ding'. It is translated as 'big thing' in Korean. Lacan introduces the term in French as 'La Chose'. In English, it is The Thing. "Big things" are also things that my mother gave me when I was young. It can also be interpreted as a loss of childhood that is not completely resolved. Therefore, Lacan' subject refers to develops a lifelong journey to recover the lost object. Lacan presents this point as the starting point of the psychoanalytic ethics. We try to re-examine the issue of ethics by tracing 'das Ding' as a lost place in the main article. First, We will look at the origins of das Ding. Second, through the relationship between love and das Ding, We will discuss who tries to fill Ding's void. Third, We will try to interpret the relationship between American ego psychology and das Ding in Lacan's scheme. Lastly, a posthumous subject will be dealt with through the play 'Mugunghwa has bloomed.'

• International Journal of Internet, Broadcasting and Communication
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• v.12 no.3
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• pp.64-73
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• 2020

The importance of international co-production that enables content production, diversification of overseas markets, and diversification has been highlighted as demand for content has soared due to intensifying competition between media outlets, while contents provision has become easier due to changes in media environment such as convergence of broadcasting and communication and the spread of mobile Internet. In particular, the boom in Korean dramas, called the Korean Wave in China, opened up a new market after "My Love from the Star" in 2014, and in 2016, Netflix's entry into Korea served as an opportunity for local broadcasters and producers to seek international co-production. In addition, "Good Doctor" which was aired on American Broadcasting Co. (ABC) in 2017, has topped the same time slot for the first time in 29 years, and is set to air season 4 this fall. Accordingly, overseas broadcasters and production companies wanted to collaborate with domestic broadcasters and producers, and since 2011, they have conducted a total of 12 co-produced dramas until 2019. Unfortunately, however, there are few studies related to international co-production dramas in the domestic industry and academia. In this paper, we present to help Korea, which used to be a powerhouse in complete export-type content, move toward becoming a powerhouse in international co-produced dramas. In addition, it is meaningful that the research focused on the current status and achievements of international co-production dramas, which have not been studied much, and the diversity of international co-production dramas in the future through the analysis of the form and structure of international co-production.

• Korean Journal of Psychosomatic Medicine
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• v.4 no.2
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• pp.269-276
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• 1996

A theroretical study was made on the psychodynamism of somatoform disorder. Somatoform disorder is caused by a defense mechanism of somatization. Somatization is the tendency to react to stimuli(drives, defenses, and conflict between them) physically rather than psychically(Moore, 1990). Ford(1983) said it is a way of life, and Dunbar(1954) said it is the shift of psychic energy toward expression in somatic symptoms. As used by Max Shur(1955), somatization links symptom formation to the regression that may occur in response to acute and chronic conflict. In the neurotic individual psychic conflict often provokes regressive phenomena that may include somatic manifestations characteristic of an earlier developmental phase. Schur calls this resomatization. Pain is the most common example of a somatization reaction to conflict. The pain has an unconscious significance derived from childhood experiences. It is used to win love, to punish misdeeds, as well as a means to amend. Among all pains, chest pain has a special meaning. Generally speaking, 'I have pain in my chest' is about the same as 'I have pain in my mind'. The chest represent the mind, and the mind reminds us about the heart. So we have a high tendency to recognize mental pain as cardiac pain. Kellner(1990) said rage and hostility, especially repressed hostility, are important factors in somatization. In 'Psychoanalytic Observation on Cardiac Pain', psychoanalyst Bacon(1953) presented clinical cases of patients who complained of cardiac pain in a psychoanalytic session that spread from the left side of their chests down their left arms. The pain was from rage and fear which came after their desire to be loved was frustrated by the analyet. She said desires related to cardiac pain were dependency needs and aggressions. Empatic relationship and therapeutic alliances are indispensable to psychotherapy in somatoform disorder. The beginning of therapy is to discover a precipitating event from the time their symptoms have started and to help the patient understand a relation between the symptom and precipitating event. Its remedial process is to find and interpret a intrapsychic conflict shown through the symptoms of the patient. Three cases of somatoform disorder patients treated based on this therapeutic method were introduced. The firt patient, Mr. H, had been suffering from hysterical aphasia with repressed rage as ie psychodynamic cause. An interpretation related to the precipitating event was given by written communication, and he recovered from his aphasia after 3 days of the session. The second patient was a dentist in a cardiac neurosis with agitation and hypochondriasis, whose psychodynamism was caused by a fear that he might lose his father's love. His symptom was also interpreted in relation to the precipitating event. It showed the patient a child-within afraid of losing his father's love. His condition improved after getting a didactic interpretation which told him, to be master of himself, The third patient was a lady transferred from the deparment of internal medicine. She had a frequent and violent fit of chest pains, whose psychodynamic cause was separation anxiety and a rage due to the frustration of dependency needs. Her symptom vanished dramatically when she wore a holler EKG monitor and did not occur during monitoring. By this experience she found her symptom was a psychogenic one, and a therapeutic alliance was formed. later in reguar psychotherapy sessions, she was told the relaton between symptoms and precipitating events. Through this she understood that her separation anxiety was connected to the symptom and she became less terrifide when it occurred. Now she can travel abroad and take well part in social activities.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.22-53
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• 2020

This paper analyzes the contents, characteristics, and historical significance of the dedicatory inscriptions (josanggi) on the Amitabha Buddha and the Maitreya Bodhisattva statues of Gamsansa Temple, two masterpieces of Buddhist sculpture from the Unified Silla period. In the first section, I summarize research results from the past century (divided into four periods), before presenting a new perspective and methodology that questions the pre-existing notion that the Maitreya Bodhisattva has a higher rank than the Amitabha Buddha. In the second section, through my own analysis of the dedicatory inscriptions, arrangement, and overall appearance of the two images, I assert that the Amitabha Buddha sculpture actually held a higher rank and greater significance than the Maitreya Bodhisattva sculpture. In the third section, for the first time, I provide a new interpretation of two previously undeciphered characters from the inscriptions. In addition, by comparing the sentence structures from the respective inscriptions and revising the current understanding of the author (chanja) and calligrapher (seoja), I elucidate the possible meaning of some ambiguous phrases. Finally, in the fourth section, I reexamine the content of both inscriptions, differentiating between the parts relating to the patron (josangju), the dedication (josang), and the prayers of the patrons or donors (balwon). In particular, I argue that the phrase "for my deceased parents" is not merely a general axiom, but a specific reference. To summarize, the dedicatory inscriptions can be interpreted as follows: when Kim Jiseong's parents died, they were cremated and he scattered most of their remains by the East Sea. But years later, he regretted having no physical memorial of them to which to pay his respects. Thus, in his later years, he donated his estate on Gamsan as alms and led the construction of Gamsansa Temple. He then commissioned the production of the two stone sculptures of Amitabha Buddha and Maitreya Bodhisattva for the temple, asking that they be sculpted realistically to reflect the actual appearance of his parents. Finally, he enshrined the remains of his parents in the sculptures through the hole in the back of the head (jeonghyeol). The Maitreya Bodhisattva is a standing image with a nirmanakaya, or "transformation Buddha," on the crown. As various art historians have pointed out, this iconography is virtually unprecedented among Maitreya images in East Asian Buddhist sculpture, leading some to speculate that the standing image is actually the Avalokitesvara. However, anyone who reads the dedicatory inscription can have no doubt that this image is in fact the Maitreya. To ensure that the sculpture properly embodied his mother (who wished to be reborn in Tushita Heaven with Maitreya Bodhisattva), Kim Jiseong combined the iconography of the Maitreya and Avalokitesvara (the reincarnation of compassion). Hence, Kim Jiseong's deep love for his mother motivated him to modify the conventional iconography of the Maitreya and Avalokitesvara. A similar sentiment can be found in the sculpture of Amitabha Buddha. To this day, any visitor to the temple who first looks at the sculptures from the front before reading the text on the back will be deeply touched by the filial love of Kim Jiseong, who truly cherished the memory of his parents.

• Cartoon and Animation Studies
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• s.44
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• pp.183-209
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• 2016

Hayao Miyazaki's product, , is evaluated that his work until present that product point of view and commercial point of view are highly filled at the same time. Miyazaki's showed new public entertainment possibility in genre that is animation inventing highest-grossing domestic film in Japan's history until it was taken over by another Miyazaki work. Also, it can high evaluate that not that see for interest simply beam about environment and human who writer has to spectator deep self-examination and way of problem pulling comprehension without burden through resected reflex which is not exigent delivery sympathy form. Analyzing his product, , ,, , , , this research allowed purpose to recognize that he present the alternative after arranges intent subject how and institute problem. And do to study whether his though and ideology met with viewpoints of ecologism and environment(environmentalism) in work how. There are his countenance have theme that is certain in Miyazaki director's works. If summarize had handled subject meantime, it is , , , etc. This subjects are that go first at importance order among problems which we face, it is that human desires essentially. If balance of society system that regulate various economical, moral value system and desire to our society is set, our society is that can become little more near in nature mode of life.

• Cartoon and Animation Studies
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• s.16
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• pp.179-198
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• 2009

This study analyzed the chronology of children's cartoon through character while the children's cartoon section is planned at the Memorial Exhibition of 100th year of Korean Cartoon which will be held at the Contemporary Art Gallery in celebration of the 100th year after birth of Korean Cartoon. The approaching method based on character is regarded as the most proper and feasible in the identification of character and meaning of children's cartoon because the character in cartoon contains the bigger role and meaning than the descriptive structure of narration. The Committee of 100th Year of Korean Cartoon, Aicheorum which is a study association for children's cartoon and Cartoon My Love $Cafe^{42)}$ in Naver jointly selected the 70 cartoon characters. A brief history is established based on these characters through chronological classification in seven sectors of around 10 year session such as before 1950s of quickening period and liberation, 1950s, 1960s, 1970s, 1000s, 1900s and after 2000. It examined the historical meaning, its reflection and characteristics focused on the cartoon character and the cartoonist which were well-known to everybody not only the display according to chronological order. The study intented the stereoscopic illumination on the children's cartoon and character which were favored beyond the generations. In addition, the similarity and human relation among cartoonist to cartoonist and character to character were analyzed and traced to identity the fact that children cartoon character is not individualistic being but it lies on the extension of tradition and trend of eternal cartoon history Finally, hopefully it will make a contribution to activate the pure creative children's cartoon in Korea through reminding the importance of character in cartoon, affirming the industrial value and reflecting the direction and perspective of pure creative children's cartoon.