• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.194-207
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• 2022

Amid growing social interest in child abuse, and announced the seriousness of child abuse crimes and aroused public interest in related issues. Based on true stories and characters, both films created unique narratives about child abuse cases, but drew on the traditional representation and discursive construction of child abuse news articles. By setting the stepmother as the perpetrator and the father as the neglecter, the gender role of women as primary caregiver was reconfirmed and the stereotypical image of the 'evil stepmother' in popular narratives was exploited. The cinematic reenactment of the evil stepmother not only highlighted the normative family discourse, but also reinforced the maternal myth by emphasizing the binary opposition between the evil stepmother and the lost birth mother.

• Design Convergence Study
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• v.16 no.6
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• pp.43-58
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• 2017

Recently, service failure from dysfunctional customer behavior has been observed in various service industries. Customers so-called 'Jaycustomer' can make bad influence to other customer's service experience which can be the obstacle of ideal service delivery. Therefore, approaching dysfunctional customer in service design perspective have became necessary, and modelling such customers through persona could be useful. For this purpose, we suggested the concept 'Evil Persona', and to find statements of personality trait which can make designers predict dysfunctional customer behavior, literature review and Q method analysis were performed. In result, dysfunctional customer behaviors were differed from service characteristics and were able to predict by combinations of statements. Based on this, more detailed customer information could be offered by presenting differentiated dysfunctional behavior information according to service characteristics. Since service design expanded its area, 'Evil Persona' can be valuable as criteria of verifying and compensating idea's vulnerability and limitation.

• Design Convergence Study
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• v.16 no.2
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• pp.223-238
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• 2017

Due to recent increasing of tour, leisure industries, customer's usage of service became more grouped and customer-to- customer interaction became more important. Under these service environment, it is easy to find cases of damaging other customer's service experiences by some customers who use service in selfish manner. Customers called 'Jaycustomer' usually happen in low frequency, but they are serious service failure because they can deliver bad service experience. It seems previous service design tools couldn't handle these cases enough. So it will be good to reinforce to handle these incidents. This study was based on the empirical insights of service design case study by using 'evil persona'. Literature review and survey were performed to find out proper servicescape for 'evil persona'. From analysis, the service environmental factors which affect frequency of negative customer-to-customer interaction were selected. Also, many cases of such negative behavior were gathered and sorted to find types and patterns which affected by selected service environmental factors.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Journal of Oriental Neuropsychiatry
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• v.3 no.1
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• pp.3-24
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• 1992

This paper is aimed at finding out the clue to the medical solution to the pathological phenomena of the dehumanizing and demoralizing state of our society by centering around the Chiljeong that originates from Oriental Medicine, Sung Confucianism and Sa-sang Medicine(四象醫學). In these fields,the Chiljeong is based on the theory of Eum-yang and Viscera(陰陽.臟腑論) in Oriental Medicine, on the problems of good and evil in Sung Cunfucianism and on the theory of Sa-sang Visceral Localization(四象.臟局의 理論) in Sa-sang Medicine. The principles of geneation of Chiljeong : In case of Oriental Medicine, Sin(神) controls Chiljeong and of it is stored in five Viscera, it becomes Sin in the Heart, Hon(魂) in the Liver, Sa(思) in the Spleen, Bed-Woo(悲.憂) in the Lung, and Kyeong-Kong(驚.恐) in the Kidney. Then five Viscera react with outer stimuli or Sin, it gives off Chiljeong as Joy(from the Heart), Anger(from the Liver). Thought (from the Spleen), Anxiety and Sorrow(from the Lung) and Surprise and Fear(from the Kidney) In Sung Confucianism, Sim(心) comtrols Seong-jeong(性.情), and at the moment of that Sim gives off Jeong(情), it becomes good when the Li(理) gibes off itself and then Chi(氣) follows Li, or Chi gives off itself and is regulated optimally, out it becomes evil when Li cannot preside over Chi and then shaded by cloudy Chi. The pathology: If the Chiljeong exceeds one's capacity, the corresponding Vicsera will be damaged, and the Passions(喜.怒.哀.樂) that may harm to four types of constitution severly are the Joy and Pleasure(in Tae-eum-in 太陰人 and So-eum-in 少陰人) and Grief and Anger(in Tae-yang-in 太陽人 and So-yang-in 少陽人), so one should be alert on some passions by regrding his constitutional frailty. More over, because of the variations in Sa-sang Visceral Localyzatin there is various ability in human affairs, but as the clumsiness in human affairs may make him hurt by it, so one should be prevented from these passions and human affairs, that is flowing Joy and Participations(黨與) in Tae-yang-in, flowing Pleasure and Dwelings(居處) in So-yang-in, explosive Anger and Companies(交遇) in So-eum-in, explosive Grief and Affairs(事務) in Tae-eum-in. How to clutivate the human nature: The ulitmate purpose in Oriental Medicine is preserving Cheon-Jin(天眞), that is following the Tao(道) by making him be in harmony with the Chi(氣) of the Seasons and by living a simple life. In Sung Confucianism, the way preventing the lustful desire and preserving Cheon-li(天理) is to observate derectly the calm, original place of human nature with reverence, when Sim has nat given off itself yet, and when Sim has already given off, it also is to meditating on one's passion and thought that the principle of good should be researched on or the evil should be cut off according to it's being good or evil. Such like as these various aspects of research on the Chiljeong it will be helpful in understanding human nature by producing the various materials on it, moreover, by doing so, we can lead out appropriate solution on the confusions of judgement value and demoralization.

• The Journal of Art Theory & Practice
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• no.13
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• pp.97-132
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• 2012

1799 Francisco de Goya published Los Caprichos with 80 aquatint etchings. On 6 February he advertised it on the front page of the Diario de Madrid. The long advertisement which began with "a collection of prints of capricious subjects, invented and etched by Don Francisco Goya" informed purpose, themes and methods of this collection of prints. According to this advertisement Goya "has chosen as subjects for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to provide material for ridicules, and at the same time to exercise the artist's imagination." The text emphasized that the 'author' of this series didn't to want to criticise any individual and to be a copyist. From his phantasy Goya invented many creatures like the anthropic, humanized animals etc.. With Los Caprichos he stood on the threshold to Romanticism. The early researchers of Los Caprichos classified its author, Goya as an enlightened intellectual. The similarity of the themes of the series with the subjects of the Enlightenment, his some enlightened 'friends' and the idea to avoid the prevalent mystification of his life supported this theory. But this trend became revised since the 80's of the last century. This made possible to research Goya's works in new perspective and to see that Goya didn't criticise the Spanish society and his contemporaries. Rather he showed its reality and parodied through creatures which are mixtures of the reality that he observed, and visions that he invented. Characters and scenes in Goya's prints are ambiguous and equivocal. They have the values which are defined by the dualistic metaphysic in Europe as oppositional, like good and evil for example, at the same time. Goya himself also appeared in various types in this series. This ambiguousness, or "polyphony", as Jennis Tomlinson defined, is a symptom of the decay of the belief in the Enlightenment which spreaded in Europe as a result of the attack of Bastille and the French Revolution. Goya's self-portrait in pl. 43 of this series, "El sue$\tilde{n}$o de la razon produce monstruos" shows the complex psychology of him and his contemporaries as well. As the rest etchings after this print show witchcraft and monsters reside in the world in which the reason of the Enlightenment and the through the reason weakened God's rule lost their authority. In this thesis I will examine and analyse how Goya represented in Los Caprichos the nature of man and its society, as complex being in which the 'antagonistic' value couple as good and evil couldn't be divided, but are united.

• The Journal of Internal Korean Medicine
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• v.10 no.1
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• pp.65-80
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• 1989

About Oui-Ga-Sil(胃家實) in order to considerate the contents recorded in Nai-Gyung Sang-Han-Lon and latter literature, definition, etiopathology, syndrome, differential diagnosis, therapy, Prognosis and prevention were classified. And the results were as follows: 1. Oui-Ga(胃家)was a term which indicated the whole digestive system such as stomach, small intestine, large intestine, rectum and anus. Sil(實)could be defined as the peculiar concept pertaining to the acute and last stage which was invaded to inside bowels because of abundance with evil influence. 2. Eliology of Oui-Ga-Sil was abunt gastric fever originally, injured mucus because of mistreatment, the invasion to inside of outside evil influence through meridian. Pathology was the opening and shutting appearance of gastric abundance with intestinal emptiness, and intestinal abundance with gastric emptiness, Oui-Ga-Sil could be occurred because of gastric abundant dryness and splenic humidifying capacity decrease. 3. Symptom of Oui-Ga-Sil was classified as for the sunlight outside syndrome and the inside abundant syndrome. The sunlight outside syndrome was body fever, sweating, no chilling, on the contrary hatred of fever. The chief complaint of inside abundant syndrome was daily fever, talking in delirium, hand and foot sweating, abdominal distention, difficult defection and those could be pertained to sunlight bowel syndrome. 4. Diagnostic views of Oui-Ga-Sil were that pulse was descending abundant large strong and smooth quick, a coated tongue was yellow, deep yellow, old yellow, thick, scorching dry rough or gray black. On abdominal diagnosis, pressing by hand, patient was conscious of pain, excessive pain, rejection against press, impossible press or intermittent abdominal pain and bowel cutting pain without press. 5. Differential diagnosis was that the sunlight of Nai-Gyung-Fever-Theory was outside desease making meridian the prime object, Baik-Ho-Tang syndrome was making figureless abundant fever the pivotal point. And important differential standard of splenic shrink syndrome was that a daily fever, an irritation with fever were not occurred. 6. Theory of Oui-Ga-Sil was that Seng-Gi-Tang classes had been used in attacking downward or making balance, and moxibustion on Jung-Wan, honey boiling induction theory had been also used. Attacking downward therapy was invigorating method to preserve mucus, and if mucus had been exausted with complicating emptiness prognosis had been appeared badly. 7. Preventing from Oui-Ga-Sil diet by rule, fitness to cold and warmth may be needed to prevent outside evil influence attack and inside evil influence occurrence. Prudence with being very busy, fatigue, wine and woman may be also needed not to be an injury to splanic and gastric spirit.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.10 no.1
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• pp.209-246
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• 1997

In the literatual study on the Ecthyma, the results were as follows. 1. The pathogenic factors of Ecthyma is divided three parts. One is exogenous pathogenic factors which including the wind evil, wind heat and toxic material produced by wetness evil. Another is endogenous pathogenic factors which including the declination of kidney-yang, impairment of the liver and kidney, the lower classes of yin-fire, accumulation of wetness-heat in the spleen asthenia, impairment of the liver and kidney, wetness-heat of three yang, asthenic heat-syndrome of three yin. The other is pathogenic factors neither endogenous nor exogenous which including the food and living, uncontrol sexual excess, anxiety and angry, injury of skin, injury of insects and animals. 2. Five viscera which was concerned with Ecthyma are liver, spleen and kidney. 3. Frequent region of Ecthyma are S-36(足三里) and C-7(陰交). External Ecthyma was rose to wetness-heat of three yang channel that cured easily. Internal Ecthyma was rose to asthenic heat-syndrome of three yin channel that cured hardly. 4. In the frequency of prescription, the most numerous prescription is Bojungikgitang(補中益氣湯) and the next are Kyukgigo(隔紙膏) and Yukmijihwanghwan(六味地滉丸). 5. In the frequency of medicine, the most medicine is Calomelas(輕粉) which included Hydrargyrum(水銀) and the next are Olibanum(乳香) and Resina Commiphorae Myrrhae(沒藥) which regulating vital energy and pain control medicine used that in order to destroy insects and remove polson. 6. In classification of the medical action, medicine of clearing away summer-heat and heat evil and activating blood circulation to dissipate blood stasis used to be very busy which in order to remove the disorder of vital energy for virulent heat-evil. 7. In classification of four characters, the most part is warm medicine, the next are cold and cool medicine and there is a few that is hot medicine. 8. In classification of five tastes, the most numerous tastes are bitter and acrid, the next are sweet, salty and sour tastes. 9. In classification of virulence of medicine, the most part is non-toxic, the next are weakly and deadly poison. 10. In classification of channel distribution, the most is the medicine that belongs to liver channel, the next are the lung, spleen, stomach and kidney channel.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.106-107
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• 2002

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.106-119
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• 2008

This study explores grotesque characteristics that were raised as the Aesthetics of the Ugly and how it was featured in Alexander McQueen's arts. In a methodological approach, the study attempted the analysis of historical literature that was published both nationally and internationally, along with justifiable investigation using fashion/collection magazines such as Vogue, Gap and Internet search. The scope of this study ranges from 1996's Haute Couture and Pret-a-porter collection pieces modern, to date The results of this study are summarized as follows: The first grotesque characteristic present throughout Alexander Mcqueen's arts is that it featured horrifying images or evil motives with pointy heads or horns, dark colored dresses, silver accessories, Dracula, witches, skulls, soldiers of evil, death and sickness. Second, aversion was realistically portrayed by frightening objects, extreme intimacy and motives that signify death and closely relative to cruelty to human bodies. It also became visible with physical destruction of the bodies and dissecting of internal organs, etc. Thirdly, its expression of humor is out of common sense with distorted human bodies by intentionally overemphasizing certain portion of the clothes or body parts. It also featured strangely deformed bodies by ignoring the typical shapes of clothes, vague definition of gender and using of unusual objects. Forth, half-man and half-beast images are portrayed using various types of bird species or animals to Identify disparity. It further defined this image in the form of non-human cyborg by incorporating technology.