• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.945-956
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• 2011

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer's brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer's name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

• Journal of Oriental Neuropsychiatry
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• v.11 no.1
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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.

• International Journal of Industrial Entomology and Biomaterials
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• v.18 no.1
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• pp.1-7
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• 2009

Quality of seed in the mulberry silkworm, Bombyx mori (L.) is determined by many important factors, wherein unfertilized eggs play an important role. Unfertilization of eggs are caused by several reasons such as, abnormality in the sexual organs of the male and female, abnormal development of the micropylar end of the egg, unfavorable environmental conditions during spinning, cocoon preservation, imperfect handling of moths, mating, ovipostion, cold storing of pupae / moths and indiscriminate use of male moths etc. Though the presence of unfertilized eggs would in no way affect the fertilized ones and their quality directly, the frequency of their occurrence underrates the quality and brings down the hatching percentage. Lower the occurrence of unfertilized eggs, higher is the rating of seed quality. Of the various intrinsic and extrinsic factors and events involved in egg deposition of an adult silk moth, mating is an instinct and a biological obligation for the ultimate perpetuation of the species and a must to provide stimulus for oogenesis and bring about biochemical changes in the spermatophore of the silkworm in order to ensure the presence of sufficient number of normal sperms and testicular fluid in the female reproductive organ, activating ovulation and accelerating oviposition behavior and egg deposition. An attempt has been made in this article to briefly elucidate the characteristics of unfertilized eggs, causes of their occurrence and its impact as well as the significance in silkworm seed production.

• Sim-seong Yeon-gu
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• v.37 no.1
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• pp.1-30
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• 2022

This text is an attempt to understand the psychological meaning of panic attacks occurring in the young people in their early twenties who play music. A panic attack is a type of anxiety neurosis known to occur primarily in their twenties and is characterized by extreme fear and terror accompanied by various symptoms in the autonomic nervous system. Situations with occurring panic attacks were examined in three cases combined with panic attacks and mood swings, suicidal ideation, and self-mutilating behaviors, and the psychological meaning of panic attacks was reviewed for each case. In the first case, panic attacks make one think or reflect with consciousness for someone who wants to remain unconscious. In the second case, for one who hesitates to move forward in life and finds oneself in conflict, panic attacks open the inner mind and allow one to come in touch with one's deeper mind, thereby opening possibilities to transcend the conflict. In the third case, one experience the instinct and impulse of desiring to realize the unconsciousness as panic attacks and thereafter consciously realize the impulse as well. Their panic attacks, which all seem to have different meanings, are likely a powerful approach of the unconsciousness to urge a renewal from the consciousness level of the youth period.

• Journal of Christian Education in Korea
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• v.63
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• pp.121-150
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• 2020

The important developmental tasks of young adults are based on encounter and identity. These problems of encounter and identity are also connected to the instinct of longing for the "face" of primary caregivers, who acknowledge and affirm themselves as their cherished children. James Loder emphasizes that human "face pursuit instinct" later reaches "formal-operational stage" and leads to religious yearning for God as "the Eternal Face." This pursuit of "face" and "the Eternal Face" is an existential and ontological move to find out "Who am I?" through meaningful encounters. Religious psychologist Carl Jung also points out that scientific thinking has contributed to the liberation of humans from superstitious beliefs. But this has also led to the loss of the precious value of human spirit and the sense of unity with nature. Jung emphasizes that "symbolic play" should help learners and counseler face-to-face with their unconscious mind. By doing so, learners can overcome the wounds and scars of unconsciousness and mature toward the true self. James Loder is a scholar who critically introduced Jung's "unconscientious confrontation" therapy to his educational theory. Beyond Jung's unconsciousness and "symbolic play," Loder proposed transformational education for the learners to participate in meaningful changes through interaction between human spirit and the Holy Spirit. With many young adults wandering around in their existential voids, it is clear that functional and socializational education cannot overcome their problems and developmental crisis. This developmental crisis requires a foundation of identity and intimacy in the encounter with God, the "Eternal Face." Therefore, this study suggests that when Jung's "unconscious confrontation" and Loder's "transformation logic" are employed, transformational Christian education for the healthy self-identity and intimacy of young adults can be accomplished. This inquiry presents not only theoretical reflection, but also the reactions of young adults and actual feedback obtained through implementing transformational Christian education for young adults. Through all of these endeavors, this inquiry was completed by proving that "Transformational Christian Education for Young Adults" is an educational theory that can yield actual results and abound fruits. (This enquiry was undertaken by the support of the research fund of PUTS 2020.)

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.151-164
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• 2004

This Studies on 20th century fashion was carried out according to the classification of the times as made up Belle Epoque, New Look, Big Look, and Body-Consciousness. Aside from research in literatures, research into 20th fashion also include the analysis of photo had been taken from various collection. The enlargement beauty of costume had been place under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness. the true nature of the voluminous enlargement in costume had been traced. To conclude, this study finds there are between the aesthetic characteristic differences in the aesthetic consciousness of the costumes in history and the present-day fashion. The aesthetic consciousness of the voluminous enlargement of the present-day was found to have the following characteristic ; (1) History-oriented tradition (2) Metaphorica autonomous (3) Freedom of breaking with restriction (4) Dismantling the irregularity (5) Hedonistic play instinct (6) Psychological compensation (7) Sexual sensuality (8) Ideal of the times (9) Aesthetic ornament (10) Feeling of satisfaction through self-enlargement. From list above. metaphorical sensuality, aesthetic ornament and the feeling of satisfaction driven by Self-Enlargement are the same characteristics found in the aesthetics consciousness of the voluminous enlargement of the costume In history in that they are the aesthetic consciousness above time and space. It is metaphorical sensuality which transform woman's body in to distorted images as influenced by both capitalism and materialism in the last 20 years. These are represented by the sadomasochistic and fetish images as the woman's metaphorical voluminous enlargement is apparently becoming more positive, radical and obscene especially in terms of expression.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• Archives of design research
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• v.18 no.1 s.59
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• pp.17-26
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• 2005

Nowadays, display-contents are developing to an informative environment. that is under the logic of the media operating system. To perceive the media-environments and produce the cultural contents, the cultural designers seek to understand a skin structure from making up for shape. To appreciate operating system in data and database is not only systematization of form and contents of visual contents but also variety contents into multiple-platform and integrative environments. These days, the spectacle exhibition try to express for their surface design between algorithm of data and database. the information is expressing aesthetic which means presents the integrated contents through the play instinct environment to end-user. That was given web or game to participation is developing with the cellular device and ubiquitous computing system. in the linear perspective, the end-user should be immerse more and more hyper-simulation system because of the operating algorithm of database. To do this, human have need to get the information-ability from multi-platform society. In the virtual environment, database offer the experience of an unheard-of event to end-user that prepare the participants the circumstances priority of signifiers. To do that already based on a fixed sensibility endow with narrative of the freshness- experience.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.373-387
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• 2020

This study examined the concept and essence of archetype theories of Johann Wolfgang von Goethe, Rudolf Steiner and Carl Gustav Jung, which theatrically influenced Michael Chekhov. It analyzed how archetype theories were applied in Chekhov's Psychological Gesture and tried to fundamentally understand Chekhov's Psychological Gesture that embraced archetype theories. The concept of archetype repeatedly appears in Chekhov's Psychological Gesture. Chekhov stated that archetype exists in the inner psychology or instinct of the actors and he defined the Psychological Gesture as an archetypal gesture. While exploring references regarding archetype in Chekhov's Psychological Gesture, this study found that it is closely related to archetype theories. Therefore this study thoroughly analyzed Goethe's archetype theory(archetypal plant), Steiner's archetype theory(4 temperament archetypes, 7 human's soul archetypes), Jung's archetype theory(collective unconscious and 4 archetypes, 12 personality archetypes) and it confirmed that archetype theories had a significant influence on Chekhov's Archetype Theory and Psychological Gesture. Goethe and Steiner's archetype theories, Eurythmy are applied to theater education and actor's acting. Likewise, Jung's archetype theory is also adopted theatrical studies and theatrical psychotherapy. The author believes that Chekhov's Archetype Theory and Psychological Gesture influenced by archetype theories will significantly help an actor analyze characters in the play and portray them in creative acting.