• 예술경영연구
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• 제55호
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• pp.155-184
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• 2020

본 논문은 여성독립운동의 역사를 다루는 전시가 예술작품을 매개로 주제에 접근하고자 하는 방식을 정신분석학적 페미니즘 관점에서 이론적으로 검증하고, 전시기획 단계에서 의도했던 주제가 최종적으로 작품과 전시 전반에 걸쳐 설득적으로 구현되었는가를 살펴보는 것을 그 목적으로 한다. 이를 위해 뤼스 이리가레이와 줄리아 크리스테바의 이론을 중심으로 작품과 전시를 해석함으로써 전시의 공과를 밝히고자한다. 그리고 여성독립운동이라는 주제에 대한 보다 더 근원적인 접근을 위해서는 기존 독립운동 전시 방식과 같은 남성적 언어가 아닌 여성 고유의 주체성을 담아낼 수 있는 여성적 언어에 대한 모색이 필요함을 주장하고 그러한 여성적 언어를 찾는 방법으로 여성적 말하기, 예술과 시적 언어, 모성의 계보학과 여성들의 연대를 제시하고 그에 관한 이론을 바탕으로 전시내용을 분석하였다. 역사를 다루는 전시에서 예술작품이 어떠한 역할을 할 수 있는가를 실제 전시 사례에 대한 이론적 검증을 통해 밝히고 있는 이 논문은 이론과 현장 간의 소통으로서의 의의를 갖는다.

• 정신신체의학
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• 제3권1호
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• pp.98-106
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• 1995

This study presents the cases of two patients suffering from chest pain as the chief complaint and refers to related literatures to reveal the psychoanalytic meaning of chest pain. In the first case, the patient who was balked of the desire to be loved complained of her pain in the chest She had been bereaved of her husband and felt deserted by someone on whom she depended, and these experiences caused the chest pain. The drive related to this chest pain in a dependent and aggressive one. The second case, the chest pain of a 28-year-old unmarried woman, resulted from Oedipal conflict Her Oedipal conflict did not resolve successfully for the exessive sexual stimulation in her childhood such as her experiences of witnessing the primal scenes sleeping with her parents in the same room, even under a same blanket In addition, there were some other traumas which prevented her from that conflict: Her father bathed her until her puberty: She saw her father's back view as he urinated in a jerry: She heard her parents' frequent quarrels. This patient felt guilty about desire of Oedipal incest, and chest pain seemed to occur as a kind of self-inflicted punishment.

• 디자인학연구
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• 제15권2호
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• pp.187-196
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• 2002

한국의 현대 벽화는 한국의 시각적 수위를 드러내는 하나의 지표이다. 본 논문의 첫째 장에서는 한국의 현대 벽화제작 시스템을 분석한 후, 둘째 장에서는 조선시대의 풍속화나 시각상징물을 재현한 벽화를 라캉의 정신분석학적 개념을 빌어 설명했다. 라캉의 연구 중 주종을 이루는 상상계와 상징계의 개념으로 한국적인 소재 재현의 심리적, 정신적 배경을 분석하는 방법을 취했다. 한국의 벽화가 보여주는 시각 현실은 과거조선 시대 공동체와의 상상적 동일시를 피하는 것이라는 논지로 전개되었으며, 이는 서구 중심의 상징계에서 생활하는 주체의 분열상, 허구적 의식을 암시하는 동시에 주체의 시지각에 혼란을 초래하는 요인이 되어 또 다시 상상계적 재현을 되풀이하는 것으로 결론지었다. 결론에서는 이러한 시각 혼란 현상을 극복하고 실재 생활을 표현하는 시각 양식의 개발을 위해서 한국인의 아비투스를 연구해서 그에 맞는 대안이 마련되어야 한다는 후속 연구의 방향을 제시하였다.

• 한국의류학회지
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• 제23권6호
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• pp.776-787
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• 1999

The purpose of this study is to analyze the factors which have formed gender images in men's fashion since the middle of the 19th century. For this purpose, the images of gender in fashion were analyzed and historical studies about gender images in men's fashion from the middle of the 19th century to the present days were done. Historically images of gender expressed in fashion were masculine image feminine image androgynous image and genderless image. Among those images masculine image and genderless image. Among those image masculine image and androgynous image have been the gender images in men's fashion since the middle of the 19th century. In psychoanalytic view point the factors which have formed the gender images are related with sexual pleasure. Libido for looking narcissism and exhibitionism have produced masculine image and androgynous image in men's fashion, In socioeconomic view point power structure between the sexes have built the gender images in fashion. Masculine image and androgynous image came in to being in men's fashion for the purpose of displaying power or expressing opposition to power structure between the sexes, In aesthetic view point the aesthetic sense of each age about sex have constructed the gender images. Modernism had influence on building masculine image and post-modernism have formed androgynous image in men's fashion.

• 대한불안의학회지
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• 제1권1호
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• pp.14-17
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• 2005

By the influence of the descriptive approach of DSM-III, the anxiety became the same thing as the anxiety disorder to the clinicians. This unfortunate result sacrificed psychodynamic model of symptom formations and simplified the anxiety as one of the disease entity not as the overdetermined symptoms. These phenomenon awakened the psychoanalytic interest which was in sleep. Freud was the first major articulator of the basic significance of anxiety in human behavior. He attributed the particular quality of the anxiety experience to the trauma of birth, and subsequently to the fear of castration. Such classification of the anxiety according to the psychosexual development is helpful for the clinicians in understanding the origin of anxiety which the patient shows during the psychotherapy. The other analytical view of interpersonal psychoanalysis came from Sullivan. A large part of his therapy is taken up with recognizing and correcting parataxic distortions that interfere with realistic self-appraisal of events and of oneself in relation to others. Perhaps no explanation is the 'most basic' explanation for human anxiety. Anxiety is a multifaceted entity consisting of aspects of realm of discourse. Existential anxiety is inescapable in Western culture but it can be transcended by the cultivation of mind in Eastern culture. The analysts need to stay attuned to their own propensities for anxiety and must permit their own experiences with anxiety to be the grist for the psychotherapeutic mill.

• 정신신체의학
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• 제4권1호
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• pp.120-123
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• 1996

Regarding menopause as a turning point in woman's lift, the author reviewed the psychosocial aspects of menopause. Seeing menstruation as the symbolic meaning of female sexuality, psychoanalysts argue that menopause, the loss of symbolic meaning of female sexuality, may bring a mourning reaction to woman. It is reported that the high ratio of depression does not have a serious relationship with the menopause syndrome, and that depression cannot be viewed as a different symptoms. It is also proved that most women successfully recover themselves from temporary menopause symptom. Research data shows that some women have a negative thought on the meaning of menopause. Others, however, have a positive concept on the meaning of menopause because of the feeling of release and freedom. In sum, the author suggests that psychosocial consideration is very important as much as bilogical consideration in considering the meaning of menopausal syndrome.

• 한국실내디자인학회논문집
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• 제41호
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• pp.45-54
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• 2003

An architecture as a creative work can be expressed through its diverse conditions, such as humanitarian and social factors, the natural environments and also the each situations of that period. Thus, architects create their work based upon the experience that they have achieved in the past as well as the informations they have accumulated over the time. By this process architects used to achieve the design they hope to aim, whether it is made intentionally or not. This means that architects used to understand their works as it have the factors of the consciousness and the unconsciousness. This research looks to achieve a new design method by finding out how architects express the tradition in contemporary architecture through a psychoanalytic point of view. Hence, this research shall be a significance if it is applied to the process of modern architectural work with tradition concepts.

• 디지털융복합연구
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• 제15권10호
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• pp.437-444
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• 2017

꿈속의 세계를 독특한 시공간으로 묘사하며 꿈의 표현에 새로운 장을 연 크리스토퍼 놀란 감독의 영화 "인셉션(2012)"은 현실과 꿈 사이에서 환영에 빠져 있는 몽환적인 무의식의 세계를 잘 묘사하고 있다. 그러나 비현실적인 구조와 형태라는 실제적인 꿈의 모습과 본질에 대해서는 표현에 있어 한계와 모순점을 발견할 수 있는데 꿈의 실제적인 프레젠테이션 과정의 표현에 있어 프로이드의 정신분석학에 보다 가까운 데이빗 린치 감독의 영화 "멀홀랜드 드라이브(2001)"와의 비교 분석을 통해 프로이드가 언급한 꿈에 대한 해석과 맥락을 분석하려 한다. 영화 "인셉션"은 공상과학 영화의 관점에서 창조된 시공간과 풍부한 상상력은 높이 평가될 수 있으나 실제 꿈의 본질을 적용시킨다는 관점에서 논리적 개연성이 떨어짐을 알 수 있다. 반면 영화 "멀홀랜드 드라이브"는 비논리적이고 혼란스럽고 불유쾌한 무의식의 느낌에 대해 프로이드의 정신분석학적인 꿈의 해석에 입각한 논리와 질서를 부여해서 무의식의 사고과정과 흡사한 관점으로 묘사하고 있음을 알 수 있다. 이처럼 프로이드의 정신분석학의 관점에 입각한 꿈과 무의식의 묘사를 통해서만 꿈의 보다 더 리얼한 장면묘사가 가능하다고 할 수 있다.

• 복식
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• 제51권1호
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• pp.163-174
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• 2001

The purpose of this study is to review the features of eroticism expressed in men's fashion, to explain psychological and social contexts which engender eroticism and to analyze in what way eroticism is portrayed in men s fashion in this context. Eroticism as the metonymy of forbidden sexual desire, has been embodied mostly in visual forms such as picture and photo. From a psychoanalytic view, the context in which eroticism is formed can be explained by primary narcissism and fetishism. Primary narcissism is the feeling of satisfaction with the self in which the subject who is admiring and the object of admiration are one and the same. Accordingly, in order to give rise to eroticism, both subject and object have to exist. Fetishism, the metonymy of castrated penis, is also one of the factors to produce eroticism. Metaphorically seen as a woman who has a penis, a man who dresses in the same manner as a woman dresses can be a source of eroticism to gays. From a sociological view, the context in which eroticism is fostered depends on the dynamic relations among social powers. In these relations, who is a subject or who is an object has been continuously changing. In the Post-modern culture appearing in the late 20th century, power begins to take various forms, and gays and women who had never been subjects begin to make man an object of eroticism. The other point is that social morality, ignoring desire itself, objectifies sexual desire and seeks to remove It by exchanging it for objectified symbols. The design elements provoking eroticism in men s fashion are exposure and decoration. In particular, models in exposure and decorative fashion have been objectified through the methods of fragmentation rather than showing the whole figure or removing a person s individuality or will,.

• 정보교육학회논문지
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• 제18권4호
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• pp.605-614
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• 2014

기존의 많은 치유 프로그램들은 정신적, 신체적으로 나타나는 문제들을 치료하고 있다. 스마트환경에서 발생하는 역기능으로 인한 마음 상처는 단순히 드러나는 측면만을 치료하는 것이 아니라 근본적인 마음의 원인까지 파악하여 치료하는 정신분석학적 치유가 필요할 것이다. 따라서 본 논문에서는 스마트 환경에서의 역기능에 대한 기존의 논문들과 치유 프로그램 분석을 통해서 스마트 환경에서 발생하는 역기능에서 나타나는 심리적, 감성적 변인들을 찾아냈다. 분석 결과를 통해 얻어진 변인들을 투사적인 기법을 활용하여 시각적 요소인 그림으로 표현하였으며, 마음 치유용 디지털 워크북 개발에 적용 방법을 모색하였다. 스마트환경에서의 역기능에 관한 심리치료 프로그램의 효과성을 위해서 심리치료를 일정한 척도를 부여할 수 있는 디지털 형태로 접근시킬 수 있는 가능성을 볼 수 있었다.