• (The)Study of the Eastern Classic
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• no.49
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• pp.225-260
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• 2012

The poetry of Haseo Jo Gyeong is first characterized by its fantasy content with mysterious and strange beings such as mountain wizards, gods of flowers, ghosts, Jujos and dragons. Such works imply the huge gap between his political ideal of Neo-Confucianism and the reality of society and are expressions of his resulting sorrow. Of course, he did not just look at reality pessimistically. Like other Neo-Confucianism scholars, he used the symbol of "spring" in his poems, which indicates that he did have optimistic belief in the world in spite of despair. In his poems, the symbol of "spring" implies the political world where the noble man grabbed the power and the sinister groups were extracted or the world where the political ethics of Neo-Confucianism was implemented. His works depicting the essence of natural objects, mountains, and rivers exhibit the characteristics of his poetry more clearly. He described the law of the universe behind natural objects and the vibrant aspects of natural objects by depicting their movements in a clear and sharp manner. Unlike the old Neo-Confucianism scholars that often created poems on the topic of acquirement of natural law and nature, he expanded his poetic world in a direction of revealing the secrets of objects. His works describing the spirit of mountains and rivers are especially noteworthy in that they implied a life attitude of moving forward in an deteriorating world bravely by manifesting strong and dynamic power. Paying attention to the secrets of natural objects, Haseo displayed his life ideal in richer ways by painting the new forms of ume flowers. Unlike the old ume flowers poems in the past, his ume flowers poems present ume flowers as ascetics that obtained truth, men of virtue that inspired contemporary people, or retired gentlemen that revealed the profound secrets of nature. While it is unique that he manifested the forms of ume flowers in ascetics and men of virtue while perceiving the dark reality of society, it is more noteworthy that he described ume flowers as the beings revealing the profound secrets of nature. It was the expression of his yearning for an innocent personality and his fear for losing the personality, clearly depicting a human form of his ego. He created a more human and realistic personality ideal by embracing the contemporary thinking based on the profound secrets of nature in his Dohak poetry[道學詩], which is a significant achievement in that it showed new changes to Dohak poetry in the 18th century.

• Anxiety and mood
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• v.10 no.2
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• pp.170-175
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• 2014

Objective : The aims of this study was to evaluate relationship between body dissatisfaction, personality characteristic, and stress in young adults. Methods : One hundred and ninety five young, healthy, and normal participants filled out all 3 types of self-reported questionnaire, the Body Dysmorphic Disorder Examination-Self Report (Korean version of BDDE-SR ; K-BDDE-SR), Neuroticism, Extraversion, Openness-Five Factor Inventory (NEO-FFI) and Stress Scale of Korean version of the Depression Anxiety Stress Scale (K-DASS-21). Results : Out of the 195 participants, 30% (n=59) was male and 70% (n=136) was female. There was no statistical difference between high K-BDDE-SR group (K-BDDE-SR score 75 percentile or higher, n=50) and low K-BDDE-SR group (K-BDDE-SR score below than 75 percentile, n=145) in terms of weight, height, and BMI. In high K-BDDE-SR group, neuroticism was significantly higher than low K-BDDE-SR group, and extraversion, agreeableness, conscientiousness were significantly lower than low K-BDDE-SR group. Also, level of stress in high K-BDDE-SR group was significantly higher than low K-BDDE-SR group. Conclusion : Our study revealed that individual's with more body dissatisfaction were more neurotic and stressful. Thus, body dissatisfaction and diverse psychiatric diseases should be considered in treating neurotic and stressful young adults.

• Journal of Physiology & Pathology in Korean Medicine
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• v.28 no.4
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• pp.417-424
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• 2014

The purpose of this study was to analyze the psychobiological traits of each Sasang typology based on the Sasang Digestive function Inventory (SDFI) which measures the Sasang type-specific pathophysiological digestive symptom. The SDFI, Temperament and Character Inventory (TCI) and NEO-Personality Inventory (NEOPI) were measured with 199 College students. The correlation coefficient was measured with Pearson correlation among SDFI, TCI, and NEOPI. The influence of TCI, sex and age on SDFI and its subscales were analyzed with regression analysis. We also compared the psychobiological features between high and low SDFI score groups to elucidate its psychobiological profiles. There was significant correlation between SDFI and TCI Harm-Avoidance (r=-0.192, p<0.001). The SDFI subscales were showed to have significant correlations with subscales of NEOPI and TCI. The regression model with TCI can explain 8-16% of type-specific pathophysiological digestive symptoms. The low SDFI score group ($39{\pm}9.3$) has significantly (p=0.007) higher than the high SDFI group ($33.6{\pm}12.2$) in TCI Harm-Avoidance which is considered important for the gastrointestinal dysfunction and So-Eum type differentiation. We found that the TCI may explain the mechanism underneath the Sasang type-specific pathophysiological symptom. It was suggested that the TCI Reward-Dependence would be useful for the study on Tae-Eum Sasang type, and its clinical meanings were discussed in the pathophysiological perspectives.

• Journal of Fashion Business
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• v.3 no.2
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.31-44
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• 2002

This study was intended to inquire into Check Pattern. The purpose of this study attempted to make a systematic investigation of the characteristic of the Check Pattern, the checker using vertical and horizontal lines which was the universal plastic element and inquire into it in terms of era, designers and combined work. By doing so, this study attempted to Investigate the phase of the Check Pattern in world fashion and further forecast the future of checker design applicable to the 21th century fashion. The result can be summarized as follows : 1. Mondrim's neo-plasticism has not only had a great influence on Op Art and Minimalism work but is deeply related to fashion and textile design. Mondrian used vertical and horizontal line ad the dualistic element. 2. The checker is estimated to have been used since the Etruian times, though uncertain. and largely divided into the Madras check and Scotland Check. Though the origin of the tartan representation of the Scotland check can not be accurately found out, it began to emerge in around the 13th century. 3. Check Pattern has began to be widely used with the development of the textile industry since 1826 and been used in every typical Sihoutto appearing in each era up to the present. And Check Pattern is used most designer in the world, who represent their own personality in their works. This study could find out that the checker is the element of Infinite applicability in the future. It is expected that the sophisticated and beautiful design using the chocker will be presented by many korean designer though the overall and systematic study of the checker.

• The Journal of Korean Philosophical History
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• no.38
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• pp.97-128
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• 2013

Originally confucianism is closer to communitarianism than to individualism. The ideal of confucianism is to realize ethical community. Chu Hsi's theory of the Song dynasty reestablishes the ideal of ethical community and dignitaries(士大夫) take the job to realize it as their own vocation. There are many developed 'family clans and kinsfolk societies', 'local covenants and sacred storehouses' and 'private academies' in the Chosun dynasty as in the Song dynasty. These communities are three kinds of axial confucian community, which are both natural ascriptive groups and voluntary contract groups in nature. Communities of Chosun dynasty are to strengthen the solidarity through friendship and mutual help as well as to cultivate good customs in society. Also these traditional communities are managed by democratic procedures, as these are originally voluntary contract groups. On the other hand, traditional neo-confucian self-training theories like that individual personality should be harmony with general order, or one should pursuit his private interest according to fair principles are the process of sublimation private individual into public citizen.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.11a
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• pp.132-139
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• 2002

본 실험은 청각 사상관련전위(ERP)를 이용하여 다양한 성격 특질 모형들의 생물학적 근거와, 구조의 공통점과 차이점을 명확히 하기 위해서 설계되었다. 48명의 대학생 피험자들에게 4가지 성격 측정 검사(NEO-PI-R, EPQ-R, BIS/BAS 척도, IVE)를 시행하고, 이어 두 종류의 청각 자극 세트(50ms와 300ms)를 이용한 오드볼 과제를 통해 ERP를 측정하였다. 설문지 간의 상관과, 설문지와 ERP 내외생적 구성 요소 간의 상관, 그리고 그 상관의 두피 분포 양상을 통합적으로 고려하여 해석하였다. 각 성격 검사의 외향성 척도에 해당한다 할 수 있는 E, E, BAS-FUN은 양성 모두에서 높은 수준의 설문지 척도 간 정적 상관을 보였으나, 50ms 자극으로 유발된 P3 진폭은 E와 BAS-FUN에 대해서만 유의하게 높은 상관을 나타내었다. 이 결과는 Eysenck의 모델과 일견 일치하는 결과이지만, 그가 개발한 EPQ-R의 외향성 척도(E) 보다는 오히려 다른 척도들이 뇌파에 반영된 성격의 생물학적 기제를 측정하기 위한 적절한 도구일 수도 있음을 시사한다. 신경증적 경향성을 반영하는 N과 N 척도는 50ms 자극에 대한 여성 피험자의 N1, P2 진폭과 유의한 상관을 보였다. 그러나 이론적으로 두 척도에 등가적인 것으로 예상되었던 BIS 척도는 설문지 간 상관이나 ERP 요소와의 상관에서 모두 유의한 결과를 보이지 않았다. Eysenck가 성격의 세 번째 축(차원)으로 제시했던 P(정신병적 경향성) 역시 여성 피험자들에게서 두드러지는 설문지 간 상관을 보였으나, 300ms 자극에 대한 P2 진폭과의 정적인 상관은 양성을 합한 자료에서만 발견되었다. 여성의 상관 분포는 비록 통계적으로 유의한 수준에는 이르지 못하였으나, 양성 자료의 분포와 유사함이 확인되었다. 이 실험의 결과는 P3 진폭과 외향성 간의 부적인 상관 관계를 보고하였던 기존 연구들을 지지한다. 또한 본 실험에서 확인된 Eysenck 모델의 신경증적 경향성이나 정신병적 경향성이 ERP의 비교적 초기에 나타나는 외생적 구성 요소들(N1, P2)과의 상관 양상은, P3 요소에 집중하였던 기존 연구들이 외향성 이외의 차원으로 일관된 결과를 얻어내지 못했던 이유를 설명해줄 수 있을 것이다. 또한 성격 차원과 그것을 지표 하는 ERP 구성 요소 간의 관계를 해석할 때에 성별이나 유발 자극의 속성을 고려해야 함을 보여준다.

• Korean Journal of Biological Psychiatry
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• v.25 no.3
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• pp.45-52
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• 2018

Objectives The objective of this study was to investigate the differences in sociodemographic and clinical characteristics, temperaments, and quality of life between panic disorder (PD) patients with and without major depressive disorder (PD+MDD and PD-MDD patients, respectively). Methods We compared 411 PD-MDD and 219 PD+MDD patients. All patients who were drug-free for at least 1 month were assessed at initial outpatient visits before the administration of medication. The following instruments were used for assessment: the NEO Personality Inventory-Neuroticism (NEO-N) ; the Temperament and Character Inventory-Harm Avoidance (TCI-HA) ; the State-Trait Anxiety Inventory (STAI) ; the Intolerance of Uncertainty Scale-Short (IUS); the Anxiety Sensitivity Index-Revised (ASI-R); the Beck Depression Inventory (BDI) ; the Beck Anxiety Inventory (BAI); the Penn State Worry Questionnaire (PSWQ) ; the Generalized Anxiety Disorder for 7 item (GAD-7) ; the Albany Panic and Phobia Questionnaire (APPQ) ; the Panic Disorder Severity Scale (PDSS) ; the Early Trauma Inventory Self Report-Short Form (ETISR-SF) ; the Scale for Suicidal Ideation (SSI) ; the World Health Organization Quality of Life Scale Abbreviated Version (WHOQOL-BREF) ; the Sheehan Disability Scale (SDS) ; and the Short Form health survey (SF-36). Results Compared to the PD-MDD patients, the PD+MDD patients were younger and more likely to be unmarried. They showed higher rates of unemployment, lower levels of education and income, younger age of onset, more previous suicide attempts, a greater incidence of agoraphobia, and more previous treatments. The PD+MDD patients showed significantly higher scores on the NEO-N, the TCI-HA, the STAI, the IUS, the ASI-R, the BDI, the BAI, the PSWQ, the GAD-7, the APPQ, the PDSS, the ETISR-SF, and the SSI. In addition, the PD+MDD patients showed significantly lower quality of life than did the PD-MDD patients. In contrast with previous studies, we observed no significant differences between the two groups in terms of gender, duration until treatment, and psychiatric comorbidities. Conclusions This study showed that the PD+MDD patients have more early trauma experiences, higher levels of anxiety-related temperaments, more severe panic and depressive symptoms, and lower quality of life than the PD-MDD patients.

• Cartoon and Animation Studies
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• s.51
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• pp.361-390
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• 2018

Users of KakaoTalk emoticons use Kakao Talk emoticons as means of communicating their emotions in virtual space. Emotional state is represented by design element (auxiliary, color, form, motion) and storytelling element contained in emoticons. The purpose of this study is to investigate the factors of the storytelling and design elements of kakaoTalk emoticons and how they prefer the kakaoTalk emoticons as emotional expression means. In terms of storytelling, crocodiles, peaches, dogs, ducks, lions, moles, and rabbits were made up of ordinary fruits and animals. Most of the emoticons are composed of stories with unique personality, and each story has a complex one by one, which makes it easy for users to approach and use them. In terms of design, I used various auxiliary elements (flame, sweat, tears, runny nose, angry eyes, etc.) to express angry, sincere, nervous, begging, joy, and sadness. The color elements consisted of most of the warm color series with the unique colors (green, red, yellow, pink, white, black, brown, etc.) of emoticon characters regardless of feelings of joy, anger, sadness, pleasure. The form factor is composed of a round shape when expressing factors such as joy and sadness. On the other hand, when FRODO and NEO express sadness and anger, they represent the shape of a rectangle. The motion elements are horizontal, vertical, and oblique expressions of APPEACH, NEO, TUBE, and JAY-G, expressing emotional expressions of sadness, anger, and pleasure. APEACH, TUBE, MUZI & / Shows the dynamic impression of the oblique and the radiation / back / forward / rotation. The anger of TUBE and FRODO shows horizontal / vertical / diagonal and radial motion. As a result of this study, storytelling is structured in accordance with each emoticon character. In terms of design, auxiliary elements such as flame, sweat, and tears are represented by images. The color elements used the unique colors of the character series regardless of the difference of emotion. The form factor represented various movements for each emotion expression. These findings will contribute to the development of communication, emotional design and industrial aspects. Despite the significance of the above paper, I would like to point out that the analysis framework of the storytelling and the semiotic analysis of the supplementary elements are not considered as limitations of the study.

• (The)Study of the Eastern Classic
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• no.48
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• pp.91-116
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• 2012

Writing is a process and work of expressing one's own feelings and thoughts that are not contained in rigid forms; however, the literary trend and environment during the Late Joseon was not so tolerant. A revivalist approach to writing was dominant during this period, which was summarized in the expression that "Prose must be written in the style of Qin and Han; and Poetry in that of High Tang. "Hence, it was practically a taboo to express one's raw emotions and disregard the custom and regulations of writing. Nevertheless, literati, who got tired of the dogmatic rule of Neo-Confucianism at the time that refused to see the changing world and the pseudo-archaic writing that merely imitated the outside and was empty inside, attempted new styles of writing to escape from the model or example and what was familiar. Lee Yong-hyu, who was in the middle of such transformations, learned the trends of Late Ming and Early Qing through the newly imported Chinese books and created his own style that reflected his personality. His writings refused the Neo-Confucian system of thoughts, which was a dominant ideology of the time, paid attention to the human nature and emphasized the restoration of the self. His writing could be described as being anti-pseudo-archaic and criticized the pretentious trend of the time. He argued that in order to restore the true self, one must recover the innocent mind that was bestowed on human by heaven/nature (cheon-li, 天理), and for this purpose, one must straighten out one's mind (sim, 心). His argument is similar to that of "Yangming School of Mind," which could be represented by the phrase, "Mind is the Principle (心卽理)." Yangming School claimed that moral principle existed within one's mind; and this was in stark contrast with the Neo-Confucian idea that "principle (li)"was external and transcendent, and was spoken by the great Confucian masters and written down in Confucian Classics. By denying the externality of the principle and underscoring its immanence, the idea that centralized Confucian Classics and canons was dismantled. Lee Yong-hyu's writing styles that denied the model and emphasized the restoration of the self was influenced by such thoughts. However, one must neither hastily judge that he is an advocate of Yangming School of Mind, nor determine the anti-pseudo-archaic writers' ideological basis as the philosophy of Yangming School. Once it is rigidly defined, be it Zhu Xi's philosophy or Wang Yangming's philosophy, it becomes another model that one must abide by, and again the self disappears. Thus, Lee Yong-hyu defied any kind of model that claimed authenticity or precedence and wished that people would live independently as oneself, and left such claims and wishes in writing. That is the reason, after more than two hundred years later, we still read his writings.