• Journal of Hospice and Palliative Care
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• v.20 no.2
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• pp.100-110
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• 2017

Purpose: We explored Koreans' perception of the meaning of death with dignity that Korean people. Methods: A phenomenological research methodology was applied. A total of 13 participants were sampled based on their age and gender. Participants were interviewed in depth from September 2015 through February 2016. Colaizzi's phenomenological analysis method was used for data analysis. To establish the validity of the study, we evaluated its realistic value, applicability, consistency and neutrality of the qualitative evaluation criteria of Lincoln and Guba. Results: Koreans' perception of death with dignity was structured as 19 themes, nine theme clusters and four categories. The four categories were "comfortable death", "good death", "resolving problems before death", and "death with good reputation". The theme clusters were "death without pain", "death submitting to one's fate", "death that is not ugly", "leaving good memories to others", "dying in a way we want", "death after proper settling of things", "dealing with chronic resentment before death", "death after living a good life", and "death with recognition". Conclusion: For Koreans, death with dignity meant not burdening others, settling things right and leaving good memories to their families and friends. Such perceptions can be applied to hospice care for terminally ill patients.

• Journal of Science of Art and Design
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• v.6
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• pp.140-202
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• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• Journal of Science and Technology Studies
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• v.7 no.1
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• pp.67-90
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• 2007

Could STS throw another-colored light on the Hwang's Affair, the scientific fraud committed by Hwang Woo-Suk and his research team in Korea? And could analytic tools of STS unfold another meanings which have been overlooked in most of the traditionally social-sciences-oriented analyses? In this essay, I try to answer these questions by analyzing the Hwang's Affair in the view of STS, especially by using some concepts of actor-network theory(ANT): movement, translation and displacement. I want to say that the Hwang's Affair seems to be a part of normal scientific activity, not an abnormal phenomenon, and as an evidence, focus on the similarities of their life styles between "pure/real scientist" Louis Pasteur and "impure/political scientist" Hwang Woo-Suk. I try to mobilize some concepts of ANT, especially movement, and find out why scientists came to move toward the opposed direction on the pure/real-impure/political line. I suggest that there exists "laboratory politics" as the key factor in this bifurcation. My tentative conclusion is that Pasteur can take a position to make his great world, so-called the Pasteurian world, owing to the success of "double movement" in which he treated his laboratory as a fulcrum to lift up the world, but Hwang degrades himself to "ugly scientific politician" due to the loss of the momentum of his movement; Hwang treated his laboratory only as the symbolic resources and in turn failed to solidify material entities, his real political resources, even though he knew the importance of laboratory.

• Journal of the Economic Geographical Society of Korea
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• v.10 no.2
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• pp.197-210
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• 2007

This study focuses on the actual condition and level of residents' participation in the case of Jinmok village, located in Jeonnam province Jangheung-gun Hwejin-myeon, and presents suggestions to inspire residents' awareness and enhance participation. This village has been developing a Green Rural Tourism Village Building Project under management of the Ministry of Agriculture and Forestry. Consequently, the importance of residents recognizing they are a "community" has been emphasized as well as promoting the residents cooperation as a community. In addition, it was necessary to research ways to inspire the village to realize the ultimate goal of building rural tourism village. For this, in the beginning of the project, profitable work needed to be provided for the residents to participate in. Constructive participation by all residents is essential in each stage of the project s development. Operating a farm stay or running lodging facilities are options that could be considered. Moreover, it is imperative to immediately establish a awareness about the importance of participation in those who might have a negative or impartial opinion about the project, by providing education. The most efficient way to encourage residents' participation is to support various opportunities for education and field trips. Through these efforts, the residents are able to raise their level of education and develop their man-power as well. Once more, providing an incentive for residents' reliance is the kernel of the project. Considering the state of Korean rural areas, which are rapidly aging and becoming depopulated, green tourism can be a practical alternative for continuing rural development.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.87-122
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• 2017

1) The passage "Sila seongdae so-seongdae cheonha daepyeong nahu-deog (新羅盛(聖)代 昭盛代 天下大平 羅侯德)" of the Korean Dynasty , corresponds to the primary passage of Cheonyong Rang Manghaesa(처용랑 망해사)>. These passages are ironic expressions of King Heongang's reign. This passage can therefore be interpreted as having the meaning of "People talk about King Heongang who ruined the kingdom. The bright politics of Silla's loyalty is the virtue of King Heongang." 2) "Cheoyong aba isi insaeng-ae sangbuleo hasilandae isi insaeng-ae samjaepalnan-i ilsi somyeol hasyatda (處容 아바 以是人生애 相(常)不語시란 以是人生애 相(常)不語시란 三災八難이 一時消滅샷다)." This was said by Cheoyong(처용), who was unable to reveal his anger while witnessing his wife being raped by Yuk-sin(疫神). This passage means, "Father Cheoyong(처용), in this world if a man does not express anger about the absurdity of the world, he can escape from catastrophe," or, "Father Cheoyong (처용), because in this world you had not expressed anger about the absurdity of world, you could escape from catastrophe." 3) In "maa-man maa-man haniyeo sibi jegug-i moda jiseo syeon aeu cheoyongbi-hal maa-man haniyeo (마아만 마아만 니여 十二諸國이 모다 지 셰온 아으 處容아비 마아만 니여)," the most likely interpretation of Maa is "마아(麻兒)," which means "scarecrow." In this way, this passage emphasizes that Cheyong(처용) is not a scarecrow, but a representative of the eyes of all people in all kingdoms. 4) In "meoja oeyaja logliya ppallina nae singohal maeyara (머자외야자 綠李야 리나 내 신고 야라", meoja (머자) is the double arranging shape of meotda(멎다), and oeyaja(외야자) is the double arranging shape of oeda(외다); those characters mean "ugly" and "wrong for each other." Additionally, Rokri(綠李) can be regarded as an administrator in blue or black clothes who is performing an errand of the yuksin(疫神).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.122-130
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• 2010

The Study takes the rivers in Zhouzhuang - traditional Chinese Kangnam watery landscape as the object. The purpose of this study is to grasp the relationships between visual characteristics and the preference. The following is the research process: Firstly, the theoretical study of Zhouzhuang, the traditional Kangnam region in China, is conducted, the watery landscape is taken pictures, and 22 photos are selected. Secondly, in order to grasp the visual preference and landscape characteristics of the watery landscape in Zhouzhuang, 22 pictures and 25 pairs of adjectives are adopted for the questionnaire survey. Thirdly, in order to have a better understanding on the physical properties and effects of physical quantity on the preference, the occupation ratios of buildings and sculptures, natural elements, footpaths, bank revetments and other landscape elements are calculated, and the mean analysis, dispersion analysis and regression analysis are conducted. In order to grasp the landscape characteristics and preference factors, 25 pairs of adjectives are used to conduct the factor analysis. In order to grasp the effects of characteristics of visual factors on the preference, the dispersion analysis and regression analysis are carried out. The results are as follows: From the results of the landscape preference analysis, in the No.22 photo with the top preference, 11 pairs of adjectives, namely, "harmonious-disharmonious", "beautiful-ugly", "rural-urban", "soft-rough", "stable-instable", "romantic-realistic", "cheerful-gloomy", "brilliant-simple", "natural-artificial", "familiar-strange", and "clean-dirty" have positive effects on watery landscape. It can be viewed as the relatively important factor in the visual preference. In terms of the results of visual physical quantity analysis of traditional Chinese Kangnam watery landscape, the landscape with high occupation ratio of buildings and sculptures has positive effects on visual preference. The results of analysis of visual physical quantity and preference show that the preference degree increases as the occupation ratio of footpath area increases. The analysis results of visual characteristics of traditional Chinese Kangnam watery landscape identify four factors, namely psychological factor, cultural factor, condition factor and physical factor. It can be concluded from the results of analysis of the relationships between visual preference and visual characteristics that the return coefficient B of the psychological factor is +0.936. It can significantly affect the watery landscape, so it can be identified as the most important factor among the visual preference factors of Chinese Kangnam watery landscape.

• The Journal of Korean Society for School & Community Health Education
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• v.6
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• pp.17-34
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• 2005

The purpose of this study was to examine the sex-consciousness and sexual values of school children by geographic region. It's specifically attempted to make a comparative analysis of sex-consciousness and sexual values between urban and rural elementary schoolers to help provide efficient sex education for them to build the right sexual values. The subjects in this study were 400 elementary schoolers in their sixth year of elementary schools located in Danyang-gun and Chungju city, north Chungcheong province. After a survey was conducted, answer sheets from 387 students that were analyzable were analyzed. For data handling, SPSS program was employed, and t-test was utilized to see if there's any differences between the urban and rural elementary school youngsters in sex consciousness and sexual values. And $x^2$ test was used to make a comparative analysis of their view of sex education. The findings of the study were as follows : First, regarding sex-consciousness, they had general knowledge on sex. Especially, they were highly aware of sexual violence and the generation of baby, but many of them didn't know about where and how egg cells were produced. This indicated that systematic education should be offered in various ways. Concerning geographic gap, there was a significant difference in sexual knowledge between the urban and rural students. As to sexual attitude, they took a relatively positive attitude toward display of affection or sex-related talk on TV or in movies, as they viewed it as natural. This finding implied that the elementary schoolers were recipient toward sex and took an active attitude toward sexual expressions. Concerning geographic gap, there was no difference between the rural and urban students. As for sexual practices, the largest group of the students had a liking for the opposite sex, which showed that their needs for sex were unveiled in the course of having some trouble due to the other sex rather than through firsthand experiences or activities. As to geographic gap, there was a significant difference between the urban and rural students in that regard. Besides, the urban students put their sex-consciousness in practice more often than the rural students did. After they are educated to build the right sexual values, systematic sex-education programs should also be offered for them to be exposed to sustained sex education and to team how to apply their sex-consciousness to real life. Second, as for sexual values, the school children had relatively positive and equalitarian sexual values. Regarding geographic gap, there were significant gaps between the two groups' view of the opposite sex, sexual roles and chastity. Concerning view of the opposite sex, they attached more importance to the inner aspects of the opposite sex than his or her look, and they wanted to date in a natural manner. Regarding sexual roles, they were relatively well cognizant of gender equity and the importance of male and female roles. As to view of chastity, they looked upon sex as natural, not as what's ugly or ashamed of. Third, concerning their outlook on sex education, approximately more than half the students felt the needs for sex education, and there was a significant difference between the urban and rural students. They wanted to receive education about the prevention of sexual violence and physical changes during puberty the most, and there was a significant gap between the urban and rural students in this aspect. As to the time for sex education, they thought that students should start to be exposed to sex education in their fifth or sixth year. This finding signified that fifth or sixth graders who were in the beginning of puberty started to have a lot of interest in their own physical changes. Therefore, sex education would produce better effects when it's provided to fifth or sixth graders. Nearly half them preferred single-gender class when they received sex education, and there's no gap between the urban and rural students in that regard.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.55-86
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• 2021

The initial situation in our tale shows that the earth-mother-feminine principle disappeared from the center of the collective consciousness into the collective unconscious. Therefore the heaven-father-masculine principle is dominant, which is represented by the king. And in the king's daughter, who is living without mother, the positive father complex is working. She stays in the heaven-spirit world playing with the golden ball, which can be seen as the state of inflation. She is disconnected from the earth-mother-feminine principle, which is important for a woman to find her genuine feminine identity. This demanded principle approaches her through the frog, a bewitched prince. Psychologically it means that a man is under the power of the negative mother complex. The disgusting, ugly frog is a symbol for the shadow, the earthly animal instincts of the princess. Only with his help she can find her golden ball again, which has fallen into the deep well. Their talk about the rewards to him for his help shows us very well the opposites. The frog wants the feminine value such as relation, earthly eros, but the princess offers the masculine value such as heavenly logos. After the frog brought her the lost ball, i.e. she regained her libido, she completely forgot her promise. Like this the content, which is becoming conscious, here the shadow, is easy to fall back into the unconscious and to be repressed. The frog cannot be with the princess without the help of the king, a father figure, a firm protector of the collective oder. At first unwillingly the princess obeys Logos of her father. But her authentic instinctual urge grows stronger and it causes that her ego is released from the power of her father complex. At just this moment the frog turns into a prince, i.e. he is liberated from the mother complex. The marriage of princess and frog-prince symbolize the unification of the opposites: heaven becomes earthly and earth becomes heavenly. Three iron bands, wrapped around the heart of Heinrich, a young king's servant, are snapped, while he brings the prince and princess back to his kingdom. The heart, the place of earth-mother-feminine consciousness, is now liberated. This principle, which disappeared into the unconscious, emerged into the collective consciousness and the wholeness is recovered. The Self is now leading the collective consciousness, which includes not only the principle of Logos but also Eros.