• Journal of Korean Neurosurgical Society
• /
• v.59 no.4
• /
• pp.400-404
• /
• 2016

We report a case of acute ischemic stroke involving both the anterior and posterior circulation associated with a persistent primitive trigeminal artery (PPTA), treated by endovascular revascularization for acute basilar artery (BA) occlusion via the PPTA. An otherwise healthy 67-year-old man experienced sudden loss of consciousness and quadriplegia. Magnetic resonance imaging showed an extensive acute infarction in the right cerebral hemisphere, and magnetic resonance angiography showed occlusion of the right middle cerebral artery (MCA) and BA. Because the volume of infarction in the territory of the right MCA was extensive, we judged the use of intravenous tissue plasminogen activator to be contraindicated. Cerebral angiography revealed hypoplasia of both vertebral arteries and the presence of a PPTA from the right internal carotid artery. A microcatheter was introduced into the BA via the PPTA and revascularization was successfully performed using a Merci Retriever with adjuvant low-dose intraarterial urokinase. After treatment, his consciousness level and right motor weakness improved. Although persistent carotid-vertebrobasilar anastomoses such as a PPTA are relatively rare vascular anomalies, if the persistent primitive artery is present, it can be an access route for mechanical thrombectomy for acute ischemic stroke.

• Journal of the Korean Society of Costume
• /
• v.56 no.7 s.107
• /
• pp.1-17
• /
• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• The Research Journal of the Costume Culture
• /
• v.10 no.3
• /
• pp.213-235
• /
• 2002

The purpose of this study was to recognize the meanings of plastic language by analyzing the sign of the Graffiti depicted in western modern costumes. And the scope of this study was focused on analysing the costumes from 1980's when the Graffiti was recognized as one of the plastic arts. Graffiti was an unprofessional and covert desire of self-expression, having a close relation with our lives. It was used in diverse ways with repeating creation, development, and extinction, from expressing liveliness in Old Stone Age through describing symbolic meaning in the modern art. Graffiti means rude, humorous, or political writing and pictures on the walls of buildings. It's different from the delicate letters or pictures to inscript on the tree or rocks. Being introduced as part of Post-modernism in the 1970s, Graffiti was acknowledged as a new artistic action with the culture of hip-hop. In addition the Graffiti, the expression of sign was reflected artist's internal consciousness with boundless sign. The sign is something to transmit message from the nonverbal point of view, the oldest sign was the sign for petition or the expression of something as a primitive form. Sign can be defined as a framework of life inherited as a practice from the primitive age long past. Graffiti was cited as a concrete example of sign, theme of this paper, and general understanding on sign expression was pursued through free work which all artists present with essential and positive ways using signs, their own languages, and life style. The result of this study was summarized as follows: Since the end of the 20th century, a lot of fashion designers have represented symbolic images, such as letter and signs, as purely personal ways of expression through the western costumes. It was found that fashion designers of the Graffiti whose free work style from inherent inner consciousness might provide a basic framework to search for complex signs of modem costumes naturally understood life itself as plastic art, and sublimated human inherent desire and their inner world through their works.

• English Language & Literature Teaching
• /
• v.11 no.1
• /
• pp.119-136
• /
• 2005

This paper attempts to prove the possibility that Women in Love can be approached by ecological thought. It is necessary to research the family of Lawrence's childhood, the environmental surroundings and Lawrence's viewpoint of nature to prove the possibility. The most urgent problem for us in the modern world is the ecological crisis due to the destructive aspect of modern civilization. This Lawrence's attitude toward the modern civilization is clearly reflected in Women in Love. Lawrence diagnoses the destructive aspects of modern civilization and the human relationship through Gerald, Gudrun, Hermione and Loerke who represent the industrial society and suggests the apocalyptic vision to the human being from the nature. Lawrence thinks that we must restore the animated power of life to revive the modern man who lost the vital power of life. Birkin and Ursula represent this thought of Lawrence and they accomplish the idealistic human relationship based upon the true love and the real life. They do not have the posture of the binomial contrast that separates the human being from the nature, This posture of the binominal brings to one of the causes of the present ecological crisis. As a result, we can say that Women in Love is the novel that belongs to the category of literary ecology. And we can regard that Lawrence previously presented the paradigm that ecologist advocates.

• Cross-Cultural Studies
• /
• v.29
• /
• pp.233-256
• /
• 2012

This paper aims to look into various symbolic meanings of the body shown in the film, Avatar (2009, James Cameron), and to ponder over a variety of media strategies carried by the pursuit of the corporality shown in this film. In a nutshell, the body in Avatar is a symbol of primitiveness rather than civilization, and the body language is a fundamental and effective means of communication much better than verbal language. A variety of physical contacts that appeared in many scenes of the movie emphasizes the role of the body as a means of real communication. Also, in the composition of the film dominated by the confrontation of civilization, numerous creatures in the planet Pandora with a variety of colors as well as a number of agencies and large body sizes express primitive richness. The narrative of the film telling the story of a 'moving' body ultimately emphasizes the superiority of the body with respect to consciousness, unlike the narrative of conventional movies dealing with the problems of the body. In addition, the corporality pursued by this film implies several important media strategies. It may reveal a self-reflection of the material civilization and the imperialism, or, on the contrary, an attempt to conceal or dilute them. It may also represent a self-reflection of the overdeveloped media technology, or simply the dilution of it. Finally, it may be an attempt to recover the feeling of "presence", not fully supported by the 3D technology, by the identification of the spectator's body and the character's body.

• Sim-seong Yeon-gu
• /
• v.31 no.1
• /
• pp.41-94
• /
• 2016

A Korean fairy tale "The uproot of an archenemy in the underworld" is discussed and interpreted from the perspective of analytical psychology. The essence of the story is as follows; When the three princesses were kidnapped by an archenemy in the underworld, a warrior appeared to save the princesses. He went to the underworld and killed the archenemy with the princesses help. When they tried to come back to the castle, he had difficulties because king's soldiers betrayed him. But a old wise man and a flying horse helped him to come back to the castle. He killed the soldiers that betrayed him and married one of the princesses and got the wealth from the underworld. The kingdom could be prosperous and peace because of the marriage. The psychological meaning of the three princesses were taken by the archenemy is that the archetypal shadow appeared from the unconscious and grasped a part of consciousness and repressed it in unconsciousness. This status could be called the lost of soul. So the warrior ego went through an unconscious trip, saving his anima from the archetypal shadow, and taking her back to consciousness and renewing the collective consciousness. The ego's trip is the individuation process like Shaman in primitive society. This fairy tale has hero motif. It reveals the feature of archetypal shadow. It also shows us man can make conscious with cautious attitude in the individuation process.

• Journal of Science of Art and Design
• /
• v.3
• /
• pp.145-177
• /
• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Philosophy of Education
• /
• no.46
• /
• pp.45-70
• /
• 2012

The purpose of this study is researching on educational difficulty in the history of western education. In other words, the goal and significance of this paper lies in knowing the essential meaning of education based on the norms of difficulty. The major method for this study is hermeneutical-anthropological pedagogy. My fundamental claim is the following: the essential nature of teaching is difficulty at any instructional condition and situations. Such a discrete idea was clearly identified and confirmed in the process of pedagogical anthropology. That is, through the consciousness of educational difficulty and critical review for the history of western education, I can cleary define the concept of educational difficulty. Educational difficulty was various ways for understanding by all audiences. Namely, various formulars were developed for understanding it according to the age, cultures, nations, ideology, etc.. But there are continuous characters on the way for understanding on educational difficulty. The results on research are as followings. In the primitive age, fundamental difficulty of education lies in the initiation ceremony. At the classical ancient time, the purpose of education was 'Politai' with politike arete, in this educational conditions, instruction have a complex dimension politically as well as psychologically. At the medieval age, educational difficulty lies in the 'Askese' for instructional methods. In the modern and conventional age, educational difficulty is more and more complex and confused on goals, methods, evaluations, etc.. Most of all, the major or key concept of educational difficulty in this world is the conflict between the two instructional principles, that is, objectivism and constructivism in education. At now, the schoolworks for instruction over all educational situations and conditions have a difficulty of traditional as well conventional dilemma. In conclusion, educational difficulty have formal, natural, original attribute and it is general and universal phenomenon.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.22 no.3
• /
• pp.381-389
• /
• 2021

Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.

• Cartoon and Animation Studies
• /
• s.33
• /
• pp.317-341
• /
• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.