• 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.

• The Korean Society of Law and Medicine
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• v.25 no.1
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• pp.193-222
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• 2024

From a global trend, discussions on the patient's death with dignity are gradually progressing from the issue of withdrawal of life-sustaining treatment to the issue of whether to allow assisted death and its requirements. Several states in the United States and Western European countries such as Canada, Belgium, and the Netherlands have institutionalized treatment to accelerate the time of death through the assistance of doctors. In France, after a long period of raising and reviewing issues, discussions on related legislation are taking place at a slower pace than in other European countries. In France, social discussions and legislative attempts on death with dignity have been actively conducted since the late 20th century. The Leonetti Act of 2005 prohibited the continuation of meaningless treatment against the will of patients, and after the Clay-Leonetti Act of 2016, it was legalized to administer intensive and continuous sedatives to patients until death. However, unlike many neighboring European countries, treatment that speeds up the time of death itself is still prohibited in France, even if the patient wants. As the existential and universal question of whether to allow dying patients to die painlessly with the help of a doctor has recently emerged as an important issue, a number of lawmakers have submitted legislation to legalize assisted death. This paper examines the legislative process developed in relation to patients' rights to dignified death in France, and compares and reviews French legislation that attempts to legalize assisted death with the amendment to the Korean Life-Sustaining Treatment Act.

• Journal of Agricultural Extension & Community Development
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• v.2 no.1
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• pp.61-70
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• 1995

The decentralization of local extension authority is due to several aspect of improper law on extension. First, extension authority has not treated the extension law properly though it has many local office in province, counties, villages. Second, the authority concentrated too much on the service ignoring the local offices are under the improper law. Third, the authority lost their dignity when other institutions argue for their work on the extension services, Extension Institution should change, but the change should come with proper law environment.

• Journal of Hospice and Palliative Care
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• v.23 no.4
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• pp.167-171
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• 2020

The finite nature of human existence leads many to search for meaning, which comes into sharper relief for those who are imminently facing death. Therefore, universal existential concerns such as the inevitability of death, existential isolation, loss of meaning, freedom, and dignity are inherent psychological issues in palliative care. Consequently, one of the critical challenges facing palliative care is how to address these issues effectively. This paper provides an overview of common themes of existential concerns and psychotherapeutic interventions to address existential distress among patients in palliative care.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• Journal of the Korean Society of Costume
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• v.39
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• pp.181-196
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• 1998

This study is about the similarities and the individualties of the traditional costumes in the ruling classes of Koguryo(高句麗), Bakjae(百濟), and Shilla(新羅). The analysis is based on the views of historical reformation on$\boxDr$Sam-gooksagi(三國史記)$\boxUl$Bongi(本紀). The costumes that were worn by the governing classes are categorized by the following, official duties, wars, ceremonies, and recreations(hunting). Up to the present time, there has been a great tendency to emphasize the similarities of the Three Kingdoms' costumes among most of academic researchers. However, the conceptions of individualities of the costumes among the Three Kingdoms were conceived by the facts that geological environments, political systems, social traditions, social aspects, and foreign affairs. The Three Kingdoms had different official rank systems along with official costume systems. Monopolization of official positions of the ruling parties tried to show their dignity and authority through styles of their costumes. The costumes of Koguryo were greatly differentiated by geographical regions ; One direct example is cheak of Pyoungyang and Anak regiona was named as official hats of rulling parties of Kokuryo. However, in this study, the cheak was viewed as a product of influences of Chinese costume. Further-more, the laguan was named as mooguan. Costumes of ceremonial occasions were heavily decorated to symbolize dignity and auth-ority. Metal ornament of headgear and belt, metal shoes were con-sidered as ceremonial costumes. the tight hunting costumes of Koguryo shown in mural pain-ting costumes of Koguryo shown in mural pain-tings were presumed to be spring and autumn clothing. Excavated from Neungasnlee, the hunting costumes inscribed in the gold incense burnner were confirmed as hunting costumes of Bakjae. The individuality of the costumes of the Three Kingdoms could also be supported by the fact that they had different climates. The temperature difference between Gipan region and Kyoungjoo(慶州) region was emphasized. Especially winter clothing would have had a big difference in style than the summer clothing. Through the research summarized above, this study was able to confirm that each of the Three Kingdoms had developed individualized costumes based on their geographical, cultural and environmental factors. Furthermore, through this study, it was possible to find out the difference as well as the similarities of their costumes according to each of their people's sociopolitical status, awareness of indepen-dence, andunique historical and traditional charactoristics.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Journal of the Korean Society of Costume
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• v.50
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• pp.119-128
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• 2000

this study was designed to discuss the pattern of Confucian funeral ceremony and its costumes in Chosun dynasty thereby exploring the ideas and symbolic meanings expressed on them. 1. Male's official mourning dresses were composed of Choieui symbolizing sadness Choisang(최상), Dukun Sangkwan Sujil Yojil Kyodai and mourning stick Female's official mourning dresses consisted of Daersoojangkon and Kaedoo which were of simple kinds as compared to those of males. Duration of wearing mourning dreses was the longest to the death of father husband and eldest son The forms of mouring dresses were one and the same irrespective of the noble and the mean which expressed the sameness of the sorrow full of losting blood relative. Symbol expressed on funeral ceremony costumes were something like "eldestson-oriented" "male-centered" "distinction of the sexes" and "principle of yin and yang" to reinforce vitality to the costumes. 2. In the other funeral ceremony costumes in a royal fami8ly were those Euijangsu in red and blue colors Yeosakon in purple and white colors. Bandsman in Danryung and Guards in Kukonbok Changeui and Hoeui with five colors while the generally of people woere white dress in the ceremony Hoeui with five colors symbolized the principle of Yin and Yang costumes of military uniforms the dignity of the royal family: white dresses grife symbolizing the dignity of a royal family and Confucian sorrow as well 3. Unlike the mouring dresses there were great differences relative to socio-ecpmpomic status in funeral goods for dercoration Soyeo and daeyeo Among the goods the instrument to drive out evil spirites symbolized shamanism the distinction of Soyeo and Daeyeo separation of body and soul; the sculpture of the Lord of Hades and messenger philosophy of buddhistic netherworld: the engraving of blue and yellow dragons in bier and Juksanma the principles of Yin and Yang : elaborate burial accesaries realistic viewpoint of the hereafter.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.458-484
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• 2001

The costume originated from the idea that it could protect human beings from ferocious beasts. The military costume was from protection against an enemy equipped with weapons. Furthermore, the makers of the costume were afraid of supernatural powers and it made them devise an armour and decorate it by the concept of superstition for the purpose of overcoming it. The function of military uniform was important for increasing the protection against any enemies while they join in battle. However in harmonious time, it represented artwork of peace, dignity, and order. Since the uniform was a king of symbol to show their position, and their role. They could feel proud as a member of a military group they belong to and they gain honor, courage, patriotic sentiment through their military costume. The purpose of this study was to investigate the originality the military costume as it changed and developed continuously from ancient Egypt, Greece and Rome to modern times. This study was performed to show the comparison and characteristic marks of the past, and the influence of them on the modern military uniform. The method used in this study was using past manuscripts of the early times, information attained from domestic and foreign military documents and previously written reports. As a result, the military costume was one of many means of expression of their natural and social environment. It can be said that the most epoche-marking and powerful changes to the social environment are revolution or war. War absolutely has influenced on the changes of the changes of costume and the military armour according to the type of war and the development of weapons. Especially using the amour, the main purpose that of protecting the body has changed into distinguishing our forces from the enemy and instilling fear into enemy, Furthermore, the class who has the power has used it in order to express their power and dignity. Therefore, armour had required two rules to not only protect the body but also discriminating between classes.

• Korean Journal of Social Welfare
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• v.59 no.3
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• pp.33-58
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• 2007

Capital punishment is a system which is not finished simply as one of interim penalty but does away with one person's existence eternally. It is not only opposite to the existential humanism but also contrary to social welfare's goal like social integration. Therefore, this study tries to find out the issues related to capital punishment and further tries to draw out the rightness of capital punishment abolition by critically reviewing the capital punishment system on the basis of the value and philosophy of correctional welfare. In brief, capital punishment is possible only when we negate the inviolable fundamental right which is called life right, and deny the human life existence which surpasses space and time. As long as we can not deny the macroscopic viewpoint to search out the basis of human behavior in the social system which is called culture and society, capital punishment system is contrary to the philosophy of welfare that total society is responsible for guiding members of society to pursue self realization on the basis of value like social solidarity and human dignity. Also, it is against the objective of correctional welfare to head toward special prevention by positive correction and rehabilitation. Capital punishment system ought to be abolished properly.