• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.361-368
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• 2018

This study analyzes movie by individualiztion theory of JUNG. It is about the mother and the boy who killed the family and a lot of people based on the original novel of the same name. Movies based on maternal love express the maternal sublime devoted to their children, or act as a genre film that introduces maternity even against social myth or ethics. It expresses the desire of a woman to clash with maternity and raises questions about maternal ideology.The maternal ideology was a modern product had fixed sex role in industrialized societies.As a resukt, maternal love is identified with femininity unlike paternal love. Women are emphasized to be responsible for raising safe social members beyond individual responsibility. The movie develop story about crime that occurred in motherson relationship which lacks attachment formation in fostering process. This is not a recuurence of the maternal ideology of mother who miscarried child because she lacked motherhood. Mother Eva projected a conflict that is between maternal ideology and her desire on motheson relationship.Son Kevin also experiences a projection that influenced his persona through his mother. In this paper, I analyze through JUNG's individualization theory that The characters face their projected ego and realize self-fulfillment by searching of their own life goal out of external role or ideal.

• (The)Study of the Eastern Classic
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• no.62
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• pp.209-229
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• 2016

This thesis is to discover the meanings of boundary through East Asian thought so as to make rooms for discoursing on it. First of all people have their own boundaries of 'Me', and they make others as persons or objects in their thoughts. Originally boundary has represented nation's frontier, and it indicated the worlds of space in Buddhism of East Asian culture. It is represented by loka or visaya in Sanskrit and region, dominion, boundary, border in English, which means the worlds that people would fancy in their minds over domains of politics, societies, culture, arts ect, not to be simple. Accordingly we must not approach to its meaning simply like 'beyond border'. There are many boundaries, which are similar to the sublime, for us to arrive in our lives. Spiritually there are also many boundaries(regions) that are made by our desires, wills and concepts. In a while there are limit or problem in our recognizing things, for example, of human's five senses that would be, to an extent connected with Buddhistic understanding of boundaries. Boundaries resulted from partiality in understanding of objects must be got rid of eventually. In regard of these matters, this thesis discusses the meanings of boundary, those that are inevitably made by human's consciousness, and negative ones to be got over from recognition systems of person or any groups.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• Archives of design research
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• v.18 no.4 s.62
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• pp.257-266
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• 2005

The purpose of this study is to investigate the psychological reaction to the image of the worship space in the church buildings and to quantify its contribution of the stimulation elements causing such reaction, and finally to suggest basic data for realizing emotional worship space of the church architecture. For this, 143 christians were surveyed to analyze the relationship between 23 emotional expressions extracted from the worship space and 32 images of the worship space. The combined data was described with the two dimensional dispersion using the quantification theory III. The analysis found out that 'simplicity-complexity' of the image consisted of the horizontal axis (the x-axis) and 'creativity' of the image the vertical axis(the y-axis). In addition, to extract the causal relationship between the value of emotional reaction and its stimulation elements quantitatively, the author indicated 4 emotional word groups such as simple, sublime for x-axis and typical creative for y-axis based on its similarity by the cluster analysis, The quantification theory I was also used with total value of equivalent emotional words as the standard variance and the emotional stimulation elements of the worship space as the independent variance. 9 specific examples of the emotional stimulation elements were selected including colors and shapes of the wall and the ceiling, shapes and finish of the floor materials, window shapes, and the use of the symbolic elements. Furthermore, 31 subcategories were also chosen to analyse their contribution on the emotional reaction. As a result, the color and finish of the wall found to be the most effective element on the subjects' emotional reaction, while the symbolic elements and the color of the wall found to be the least effective. It is estimated that the present study would be helpful to increase the emotional satisfaction of the users and to approach a spatial design through satisfying the types and purposes of the space.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.97-111
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• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.57-66
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• 2010

In reviewing 'Dongkukesangkukjip(東國李相國集)' a selection of prose and poetry describing Toesikje, the house of Kee Heung-soo, a military official in the middle Goryeo Dynasty, the outcome of the study intended to infer garden scenery and landscape culture managed and possessed by high society at that time is outlined as follows. First, Kee Heung-soo, the owner of the house and Lee Kyu-bo, the author of Toesikje Palryeng(退食齋八詠) are thought to be those who first designated the 8 scenic points and recreated the concept of public enjoyment of into the concept of personal enjoyment in Korea. Second, the spatial configuration of the Toesikje garden is presumed to be in the Gee-Seung-Jeon-Gyul(introduction-development-turn-conclusion) style in which a fairyland is built to enjoy a free and peaceful life, while anticipating coming days and pursuing creation-prosperity-transcendence-return. Third, the viewpoint structure of the scenery Wongyeong(Toesikje), Donggyeong(Youngcheondong), Cheonggyeong(Cheokseojung), Myunggyeong(Dokrakwon), Jingyeong(Yeonmukdang), Sigyeong(Yeoneuiji), Yunggyeong(Nokgunheon), and Hyungyeong(Daehoseok) contains a symbolic universal vision of Palchejigyeongsek(the 8 scenic points) which incorporates Samwon(heaven, earth and water) and Obangwi(orientations), and the harmonization principle of the scenic points where the building and garden are harmonized. Fourth, Je, Dang, and Heon, Jeong(齋, 堂, 軒, 亭) are introduced to the garden, and Geehwayeecho, Jingeumgeesoo, Gasan and Goeseok(stone) were used in a variety of ways. Fifth, it was found that the management of Shinseongyeong and enjoyment of Yoosanggoksu events, with the study and seeking of perfect knowledge and discipline, wandering and rest led to a sublime appreciation of aesthetic beauty and divine glory. Sixth, a miniature garden was built to enjoy the view from above, together with the view in the distance, and a culture of secluded living, along with scenery expressing the heart's desire for Utopia was induced.

• (The)Study of the Eastern Classic
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• no.68
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• pp.539-570
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• 2017

This article is for considering and looking through the meaning of Classic of Poetry(Shi jing) Hiku-ka of Kobayashi Issa before reviewing and adapting Classic of Poetry(Shi jing) in Eastern Asia. Issa wrote his works by using Hyanghwa-Gucheop in 1803, and he had adopted it as his creative works of Hikai absorbing Classic of Poetry(Shi jing) for about half a year. There has been no national study about this so far, and this study covered the aspects of Issa's adapting way of Classic of Poetry(Shi jing) in Japan and China. There have been several problems that the contents were limited to Guo-feng and there were no agreement of terminology as well among researchers. To overcome these limitations, therefore, this article aimed at all the works, rejected the view point as just a translation, and denominated this study as Haiku-ka. Above all, this study looked though Issa's Classic of Poetry(Shi jing) by splitting the aspects of Haiku-ka into borrowing topics and materials. In borrowing topics, the works with the topics of homesick and nostalgic parents stood out. Furthermore, annotations and understandings of Issa's original works were deeply involved. In borrowing materials, the original meanings in the works were transformed and changed or even reinterpreted by their own way. Eliminating sublime emotions, furious tone, and condemnation was main characteristic of Haiku-ka in Classic of Poetry(Shi jing). Besides, there were ways of exclusion of reasoning, deviating from the viewpoint of Sigyo(edification by poetry), not including moral senses. In other words, Issa used habits and impressions like the way of Haiku when he was doing Haiku-ka in Classic of Poetry(Shi jing). The meaning that Issa's Hiku-ka of Classic of Poetry(Shi jing) stood out compared to adaptation of Classic of Poetry(Shi jing) in Eastern Asia. Although Classic of Poetry(Shi jing) in Vietnam was transferred in the form of the poem in Vernacular, the meaning and contents were not changed. Moreover, the original works and characters in Joseon were not destroyed because Classic of Poetry(Shi jing) was not liberally translated but literally. However, Issa transferred the Classic of Poetry(Shi jing) in the form of the poem in Vernacular to reveal the value of popular ballads. This was a different adapting way of Classic of Poetry(Shi jing) from that in Eastern Asia.

• Microbiology and Biotechnology Letters
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• v.7 no.2
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• pp.75-89
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• 1979

One strain of Penicillium sp. (175-66-B), isolated from soil, was able to produce a substance that has a strong inibition activity against the Agkistrodon and Trimeresurus venoms. In this experiment, the chemical and biological properties of the sample were investigated. As an inhibitory substance, it was effective to the proteinase, hemorrhagic and lethal factors of Agkistrodon and Trimeresurus venoms, and also effective to several fractions of the proteinases and hemorrhagic factors of Agkistrodon halys blomhoffi venom. Moreover, in the addition of prednisotone, it was more effective for the cure of the mouse envenomated with the venom amount of two fold of MLD$_{100}$. This substance was very stable to the acid, alkali and heat. Its melting point was high enough to sublime at 222$^{\circ}C$ without any decomposition. This sample was easily dissolved only in hot water, but not in several organic solvents except for a little dissolution in elate. It did not have the chelating activity. It had very strong specificity to the snake venoms. but its activity was depressed by the addition of zinc or cupric salts. This sample had no acute toxicity to the mouse. Its chemical formula was $C_{16}$ $H_{12}$$N_2$ $O_{10}$ with the molecular weight of about 392. It has two epoxy groups and four carboxyl radicals, but amino, nitrite and nitrate radicals, unsaturated bonds and aromatic ring were not detected. Theuchemical configuration of this sample was suggested to be;