• 제목/요약/키워드: animus

검색결과 12건 처리시간 0.024초

융(Jung)의 아니무스(Animus) 원형에 따른 여성 메이크업.헤어스타일 연구 - 화장품 광고를 중심으로 - (A Study on the Characteristics of Women's Make-up and Hair Style according to the Animus Archetype of Jungian Theory -Focusing on Cosmetic Advertisements-)

  • 정혜경;곽태기
    • 복식
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    • 제61권6호
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    • pp.86-100
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    • 2011
  • The traditional feminity has gradually been diversified in the 21th century due to a change in the society. This diversification of women's images and styles is derived from the addition of masculinity to feminity. C. G. Jung insist that human being is bisexual in nature. Animus is the male aspect in the women's collective unconscious and it is the archetype through which we generally communicate with the collective unconscious. It is also important to get into touch with the collective unconscious for self-realization. This study analyzes subconscious desires based on the Animus archetype in the collective unconscious of women through the diversity of the gender identity shown in cosmetic advertisements. Therefore this study aims to suggest a marketing strategy for the women's beauty industry in the future. For this purpose, this study conducts an empirical analysis of women's make-up and hair style in cosmetic advertisements through the Jungian Animus theory. The conclusion of this study is as follows: First, gender identity represented in cosmetic advertisements was classified into Mother/Wife, Hetaira, Mediale and Amazon. Second, the Animus archetype stimulates masculinity in women's make-up and hair style. Third, range of utilization of cosmetic products is articulated with the diverse gender identity. This masculinization of women's beauty style is the external expression of collective unconscious and affords human being to reach self-realization.

창작무용 의상에 나타난 여성상 변화 - 페르소나와 아니무스를 중심으로 - (The Changes of Feminine Image Expressed in the Creative Dancing Wear - focusing on Persona and Animus -)

  • 김흥경;김선화
    • 복식
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    • 제58권6호
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    • pp.158-171
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    • 2008
  • The purpose of the study was to examine how changes of women's sexual identity and gender role were expressed in designs of dance costumes by analyzing costumes used in creative dance works. Related articles, dance magazines, Internet information and dance costumes were used for the analysis of various performance cases to express persona and animus of a woman. The results of the study were as follows: 1. As a woman's role, persona, has recently changed into active propensity, dance directors have come to prefer bold and daring image of female dancer to strongly express animus, the masculine inclination of a woman. 2. Female dancers' costumes were frequently associated with daring body exposure such as body painting on half-naked body, to reflect the above and a number of female dancers dressed daringly in masculine style trom head to toe. Also, pants or hot pants instead of skirt were frequently used as dance costumes to symbolize animus. In addition, colors in dance costumes became vivid and bold in comparison to the simple and soft colors used in the past.

페르소나와 아니무스를 표현한 한국 창작무용의상 디자인개발 - '미친 치마 꼴라쥬'를 중심으로 - (Design Development of Korean Creative Dance Wear Expressing Persona and Animus - Focusing on 'Crazy Collage Skirts' -)

  • 김흥경;김선화
    • 복식
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    • 제58권7호
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    • pp.119-132
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    • 2008
  • This study intended to develop and produce a modern form of fashion design for the Korean creative dance performance, 'Crazy Skirt Collage', which expressed conflict between internal ego and a persona in a woman. The qualitative method was used to analyze literature review, internet search and visual data of historically important cases related to the theme. Based on the analysis, the fashion design of the dance performanre by Hwang Hee-Yeon that was actually staged on Towol Theater, one of the Seoul Arts Center, was produced. The results wire as follows; First, the study confirmed a change of persona that revealed a female's animus strongly as it moved into the modern time. Second, the female's persona was expressed through long skirts, slips, dress shoes, handbags, military shoes, dresses with long zippers, trousers, wedding dresses and Korean full skirts during the performance, while the female's animus through male coats, panties, big bags and clock. In conclusion, it is necessary to study new expressive methods, that is, dance clothes using advanced equipment such as lights, videos or other variety of materials. It is also important to understand aesthetics of modern women's ordinary lives and to adapt ordinary clothes to dance clothes in various methods in order to express their modern lives appropriately through Korean creative dance.

从荣格的原型理论视角解析中国人的国民性格 (An analysis of Chinese national character from the perspective of Jung's archetypal theory)

  • 가부란;신동열
    • 산업진흥연구
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    • 제5권4호
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    • pp.101-108
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    • 2020
  • In recent years, with the rapid development of China's economy and the increasing degree of opening to the outside world, many Chinese people go abroad and many foreign friends come to China. In addition, the exchanges between China and foreign countries are also increasing. Therefore, Chinese culture often conflicts with the culture of other countries and nations. Many foreigners are confused about the psychology and way of thinking of Chinese people. Based on the archetypal theory of Carl Gustav Jung, a famous Swiss psychoanalyst, this paper analyzes the national character of Chinese people, including the common characteristics of Chinese people and the causes of these characteristics. This is a new research angle in the academic field of China. This paper includes the following parts: the first chapter describes the research background and significance of this paper; the second chapter describes Carl Jung's collective unconsciousness theory, including the concept of archetype, shadow, persona, anima and animus, and self; the third chapter explains that the research method adopted in this paper is the literature method; the fourth chapter analyzes the common character of contemporary Chinese from the perspectives of China's political and economic system and modern Chinese history, deeply analyzes how the shadow in collective unconsciousness has a negative impact on Chinese character, analyzes the unique persona of Chinese people on the basis of Chinese culture, and the performance of anima and animus in Chinese character. Finally, it explains how Chinese people seek the balance between inside and outside world from the perspective of self.

정(精).氣(기).神(신).혼(魂).백(魄) 개념의 상징성에 관한 연구 -분석심리학적 고찰- (A Study about symbolic nature of the concepts of Jing(精).Qi(氣).Shen(神).Hun(魂).Po(魄) -A psychological consideration-)

  • 이수진;구병수
    • 동의신경정신과학회지
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    • 제11권1호
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    • pp.103-113
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    • 2000
  • The aim of this study is to review the concepts of Jing(精) Qi(氣) Shen(神) Hun(魂) Po(魄) in the light of the Jungian psychology. According to the explanations of the Jungian psychology human beings have archetypes-a priori conditioning factors-in the collective unconscious. These archetyps are concerned with common concepts conceived by mankind about the fundamental elements which constitute the universe and the existence. The archetype is perceived in a symbol, hence Jing(精) Qi(氣) Shen(神) Hun(魂) Po(魄) also are these symbolic representations which had common background of mankind. The meaning of Jing(精) is emphasized as psychic and physical elements, and concerned with instinct. Qi(氣) corresponds to Jung's definition of libido as life energy. The concept of Shen(神) has the value of the self archetype as whole psyche's president principle. Hun(魂) and Po(魄) are intuitive notions of the Orient compared with Animus and Anima which are characteristic representations. However from a standpoint of autonomous energy as archetype the difference would be diminished. Considering each purpose of Hun(魂) and Po(魄) Hun(魂) has a intention of integrating the unconscious flux into consciousness while Po(魄) has a tendency toward instinct to secure a body. It is precious to recognize deeply that these concepts of jing(精) Qi(氣) Shen(神) Hun(魂) Po(魄) play an important part which mediate between the unconscious and consciousness, psyche and body as symbols.

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관계에 어려움이 있는 중년기 여성의 모래놀이치료 사례연구 (A Case Study of Sandplay Therapy with a Middle-Aged Woman Having Difficulty in Relationships)

  • 심희옥
    • Human Ecology Research
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    • 제55권3호
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    • pp.303-319
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    • 2017
  • This study explored the sandplay therapy case of a middle-aged woman having difficulty with interpersonal relationships and wanting to increase her self-identity. The goal of the therapy was to change her relationships with others by self-examination and becoming conscious of her negative animus and femininity in a free and protected space provided by sandplay therapy. Forty-five therapy sessions were held. The client exhibited her lonesomeness and fantasies by making sandtrays of a house she would like to live in, a park she would like to relax at and dreams she would like to fulfill in the initial phase of therapy (1~8, Who am I?). In the intermediate phase of therapy (9~33, Meeting myself), she displayed scenes of her negative self and breaking away from her negative self by making sandtrays of shadows, deaths, creations, a soaring scene and a disappearing alligator. In the final phase of therapy (34~45, Discovery of the real Self), she showed scenes of her meeting a positive self by making sandtrays of hope, coexistence, start, harmony and community. This study showed the effectiveness of sandplay therapy since the client' relationships with others were improved through her self-awareness by sandplay therapy in the free and protected space.

음악치료사의 음악적 개성화 (A Music Therapist's Musical Individuation)

  • 김동민
    • 인간행동과 음악연구
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    • 제5권2호
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    • pp.93-102
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    • 2008
  • 융의 발달이론에 따르면, 인생은 만 35에서 40세를 전후로 페르소나가 형성되어가는 전반기와 참자기를 찾아 나서게 되는 후반기의 두 단계로 나누어진다. 이러한 관점에서, 나는 발달적으로 개성화에 대한 고민을 하지 않을 수 없는 역치점에 서 있으며, 음악-중심 음악치료사라는 페르소나를 가지고 있는 한 인간으로서 나의 개성화 과정은 음악적 참자기와 음악 안에서의 자기실현을 찾아나서는 과정에서부터 시작되어야 한다고 생각하였다. 나는 이러한 과정을 음악적 개성화(musical individuation)라 명명하고자 하며, 음악적 성장과 변화가 곧 음악 외적 성장과 변화를 상징한다는 음악-중심 음악치료 철학의 기본전제를 바탕으로, 나는 내 자신의 음악적 개성화 과정이 곧 나의 음악 외적 개성화 과정을 대변하리라 믿는다. 이 글은 아직도 많은 여정이 남아있고, 어쩌면 참된 완성이 가능하지 않을 수도 있는 음악적 개성화 과정에 대한 나의 개인적 기록이며 진솔한 고백이다.

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웹툰 <화산귀환> 주인공 개성화 과정 연구 (A Study on the Individuation Process of the Protagonist in the Webtoon <Return of the Blossoming Blade>)

  • 임소영
    • 스마트미디어저널
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    • 제12권9호
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    • pp.152-158
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    • 2023
  • 이 연구는 웹툰 <화산귀환>을 통해 제시되는 주인공 '청명'의 의식과 무의식, 개성화 과정을 융의 개성화 과정 이론에 접목하여 분석하였다. 연구 대상은 성공한 웹소설을 기반으로 다양한 성별과 연령대의 독자층을 형성하고 있는 웹툰 <화산귀환>을 선정하였다. 융의 개성화 과정 이론에 접목하여 분석한 <화산귀환> 주인공의 개성화 과정은 첫째, 주인공의 자아는 무의식에서 파생된 그림자로부터 발생하였다. 둘째, 주인공의 페르소나는 현실에서는 사회적이며 긍정적이지만, 개인적인 페르소나는 드러낼 수 없는 그림자로 나타났다. 셋째, 주인공의 아니마/무스는 깊은 의식 내면과 현실을 연결하며, 페르소나와 보완적 관계에 있다. 넷째, 주인공의 자기(Self)는 총체적인 이상적인 인간과 화산의 근본을 상징한다. 주인공은 끊임없이 반복적으로 의식과 무의식의 통합과정을 거치면서 보상받는 과정에서 자기실현이 이루어지는 것으로 나타났다.

민담 <내 복에 산다>의 분석심리학적 해석 (A Psychological Interpretation of a Korean Fairy Tale "I live on my Fortune" - From the Perspective of Analytical Psychology -)

  • 박영선
    • 심성연구
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    • 제25권2호
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    • pp.163-193
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    • 2010
  • 한국민담 <내 복에 산다>를 분석심리학적 관점에서 고찰하고 해석하였다. <내 복에 산다>는 한국에서 광범위하게 채집되는 민담으로서 삼공본풀이, 무왕설화 등 여러 이야기에서 공통된 주제들이 발견된다. 누구 복에 사는가 묻는 아버지의 질문에 내 복에 산다고 대답한 셋째 딸은 쫓겨나 숯구이 총각과 결혼하게 되고 산중에서 금을 발견하여 부자가 된 후 아버지를 다시 만나 잘 모시게 된다. 분석심리학에서는 민담을 무의식의 원형적 작용이 상징적으로 표현된 것으로서 이해한다. 따라서 일방적인 집단의식을 보상하여 전체성을 이루려는 목적을 향해 이야기가 진행된다. 본 민담은 부성의 지배에서 벗어나, 세속적인 기준으로 볼 때 열등한 것과 결합하는 고통의 체험과 무의식적 세계에 대한 헌신을 통해 전 인격적 실현을 이뤄가는 한 여성의 자기실현의 이야기인 동시에 경직된 집단의식이 무의식의 작용으로 변화되고 통합되는 과정을 보여주는 이야기로 해석될 수 있다.

역사상 해적과 국제법상 해적 : 바이킹 해적을 중심으로 (Pirates in History and International Law Centering around the Viking Pirates)

  • 김주식
    • Strategy21
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    • 통권30호
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    • pp.263-285
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    • 2012
  • History, demonstrating convincingly that pirates have arisen continuously for a lengthy period of time throughout the world, is able to become a cooperative study of international law in terms of pirates matters ; Viking pirates. There are beneficial topics for the study of true nature of viking activities and the settlement of present pirates matters ; How were the pirates activities of Vikings, What sort of relations do they have between Vikings and other pirates which have arisen in world history, What are the differences compared to present concept of pirates. There were active pirates activities in the coast and waters of Scandinavia even before the period of the Migration Age because of geographical condition. With those experiences, Vikings began to ambush Britain Islands sailing across the North Sea since the late 8C, ages of migration in earnest. They ambushed all coasts of the European Continent expending boundary until the late of 11C. Pirate activities in a sort of guerrilla operations were operated when they encountered Islams in the Iberian Peninsula and the coast of North Africa. They showed twofold attitudes ; if the defence of the region and sea was weak, they plundered, or if strong, traded. In plundered europeans' position, Vikings were pirates with cruelty and barbarians. In vikings position, they were normal human beings who did a pirate activity to lead a better life. Viking pirates showed different characteristics in terms of three aspects ; area and aspect of action, activity after piracy. Meanwhile, Viking pirates showed several differences with pirates defined in terms of modern international law. Among the satisfying conditions of pirates, required by the international law of the sea, Vikings fulfilled animus furandi, desire for gain, activities for hatred and revenge, and private ends. Other conditions including attacking authority of the vessels, activities toward private ships, activities in the coast and the land, and illegal terroristic activities toward ships are found in viking pirates. However, Viking pirates do not show the activities in high seas and in the outside of a State's jurisdiction. In addition, it cannot be excluded that they pirated with vessels of regional leaders and the Sovereign, not private ships. Contrary to the definition of concept in terms of modern international law toward pirates, Viking invaded foreign waters, came on shore to foreign land and island, went up-stream the rivers to the back of interior, and attacked churches and abbeys. Strangely, they sometimes settled down in the places where they had pirated. Today, pirates appearing in history and defined in international law exist simultaneously and separately. It means, the historical nature and the nature under the international law are turning up differently. Historical cases of pirates should be reflected to modern international law. If so, it seems that the clue to solve pirate problems can be arranged. History is the immortal living thing, which not just existed as a past but reflects present.

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