• Science of Emotion and Sensibility
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• v.8 no.2
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• pp.137-153
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• 2005

Phantasy is the psychic reality in which drive, sadism and anxiety are represented and constructed. It is one of important metapsychological concepts of the psychoanalysis which explains the formations of symptoms, internal psychic structure, and the mutual relationship between internal subjective world of man and external world. Through the understanding of phantasy we can approach the man's unconsciousness and fathom the structure of the subject itself. Especially S. Freud and M. Klein's psychoanalysis give us the deep insight into the phantasy, on the basis of which we can investigate the cause and structure of the pathological phenomena of the man.

• Trans-
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• v.7
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• pp.19-48
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• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• Korean Journal of Social Welfare
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• v.56 no.4
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• pp.149-172
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• 2004

The main purpose of this study is to explore and understand the reality of culture of poverty that employees of emergent relief facilities recognize. For this purpose, it had been carried out questionnaire with employees of emergent relief facilities from November to December 2003. It was applied quantitative research method to this study. Major findings of the study are as follows: 1) the awareness of employees to facilities in which they work is positive, 2) but their awareness to service user is negative(the degree of individual characteristic, educational characteristic and economical characteristic of service user is generally negative, while the degree of familial characteristic is generally positive), 3) the awareness to relationship with service user is positive. The results of this study reveal possibility that the culture of poverty can be expanded under the poor and psychic rehabilitation programs should be reinforced.

• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.36-66
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• 2011

The goal of this article is to examine the connection between creativity of unconscious and religion. Jung criticized how Freud's approach in studying the unconscious as a scientific inquiry focuses on the unconscious as reflecting only those which is repressed by the ego. Jung conceived of the unconscious as encompassing not only the repressed but also the variety of other psychic materials that have not reached the threshold of the consciousness in its range. Moreover, since human psyche is as individualistic as is a collective phenomenon, the collective psyche is thought to be pervasive at the bottom of the psychic functioning and the conscious and the personal unconscious comprising the upper level of the psychic functioning. Through clinical and personal experience, Jung had come to a realization that the unconscious has the self-regulatory function. The unconscious can make "demands" and also can retract its demands. Jung saw this as the autonomous function of the unconscious. And this autonomous unconscious creates, through dreams and fantasies, images that include an abundance of ideas and feelings. These creative images the unconscious produces assist and lead the "individuation process" which leads to the discovery of the Self. Because this unconscious process compensates the conscious ego, it has the necessary ingredients for self-regulation and can function in a creative and autonomous fashion. Jung saw religion as a special attitude of human psyche, which can be explained by careful and diligent observation about a dynamic being or action, which Rudolph Otto called the Numinosum. This kind of being or action does not get elicited by artificial or willful action. On the contrary, it takes a hold and dominates the human subject. Jung distinguished between religion and religious sector or denomination. He explained religious sector as reflecting the contents of sanctified and indoctrinated religious experiences. It is fixated in the complex organization of ritualized thoughts. And this ritualization gives rise to a system that is fixated. There is a clear goal in the religious sector to replace intellectual experiences with firmly established dogma and rituals. Religion as Jung experienced is the attitude of contemplation about Numinosum, which is formed by the images of the collective unconscious that is propelled by the creativity and autonomy of the unconscious. Religious sector is a religious community that is formed by these images that are ritualized. Jung saw religion as the relationship with the best or the uttermost value. And this relationship has a duality of being involuntary and reflecting free will. Therefore people can be influenced by one value, overcome with the unconscious being charged with psychic energy, or could accept it on a conscious level. Jung saw God as the dominating psychic element among humans or that psychic reality itself. Although Jung grew up in the atmosphere of the traditional Swiss reformed church, it does not seem that he considered himself to be a devoted Christian. To Jung, Christianity is a habitual, ritualized institution, which lacked vitality because it did not have the intellectual honesty or spiritual energy. However, Jung's encounter with the dramatic religious experience at age 12 through hallucination led him to perceive the existence of living god in his unconscious. This is why the theological questions and religious problems in everyday life became Jung's life-long interest. To this author, the reason why Jung delved into problems with religion has to do with his personal interest and love for the revival of the Christian church which had lost its spiritual vitality and depth and had become heavily ritualized.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.839-858
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• 2012

This study is to analyze dreams and madness in Don Quixote and Hamlet which makes these two heroes quite identical rather than antithetical. Don Quixote is usually considered to be an idealistic, enthusiastic, and unselfish doer, whereas Hamlet is a skeptical, melancholic, and self-conscious thinker. However, Don Quixote and Hamlet both reveal a heroic desire to embody an ideal world into a reality through their dreams and madness. Based on Freud's interpretation of the similarities between dream and neurosis, this article focuses on the aspects of Don Quixote's waking dream and Hamlet's affected madness to find out their characteristics as new types of heroes. Don Quixote, the waking dreamer, acts like a maniac and tries to remain in a state of madness to sustain the dream world where he wanders to save the weak, the poor, and the deprived. He accepts psychic breakdown as well as physical trauma if only he can do the role of a knight errant. Sleepless Hamlet witnesses the dream world and experiences it tangibly while he hears an order from the murdered King's ghost. Yet, instead of becoming a neurotic, Hamlet waits for the chance to perform his task to regain the harmony of his family and kingdom. Even on the border of madness, Hamlet does not forsake his own life and duty but dreams in reality and acts without losing his reason. Although there are some apparent outstanding differences between Don Quixote and Hamlet, they have fundamental similarities with each other; Both of them exemplify a new type of hero who desperately tries to fulfill a mad dream to face the suffocating, suspicious, and strange world.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1221-1244
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• 2009

The death scenes are the culmination of both Doris Lessing's "To Room Nineteen" and Toni Morrison's Sula. Lessing's Susan, an intelligent white English woman, gradually loses the meaning of life as awealthy housewife in the patriarchal society and commits suicide as her solution in Room Nineteen of Fred's Hotel. Morrison's Sula, an African-American woman, grows up without having the normal ego under Eva's matriarchy in a black community named the Bottom. Sula, after Nel's marriage, becomes a symbol of evil to her community and drifts down to death in Eva's bed. Reading these two death stories from the perspective of Jung's archetypal psychology, Susan is not able to continue to live a meaningful life because her life energy is cut off from its source which is in the unconscious. According to Jung, the symbol is the medium of the psychic energy from the unconscious to consciousness. In modern society which is represented by intelligence, the religious and mythical symbols are removed by rationalism, which means disconnection of the flow of life energy from the unconscious. Susan's death can be read as a kind of creating symbol to connect the modern people to the source of life energy. Sula's case is the opposite of Susan's. She remains in the unconscious world without having the proper ego in the absurd reality of racial and sexual problems. Sula finally rises again in Nel's awareness, becoming a symbol of the feminine goddess like goddess Inanna.

• Cartoon and Animation Studies
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• s.37
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• pp.159-195
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• 2014

An animation film, , is a work that declared a perfect revival of Disney. It is considered that the success was the result of its impressive theme song and characters working influentially. The main characters let audience experience empathy as well as catharsis by building the image of women making their own future without relying on men, and among the characters, Elsa is still popular even if one year has passed since its premiere in Korea. In the narrative genre, the character's degree of completion is regarded to be so important that it can even determine the work's success or failure. Accordingly, to analyze the personality structure among the major components of character rising, this study focuses on the psychodynamics of fear and desire which determines the directions of thought or behavior. Fear is the emotion attributed not to a real threat but to an ominous assumption about the future. Because fear that is originated from the memory of any deficit or suppression distorts our sound needs, escaping from fear means facing the reality. To verify the unique psychodynamics of the characters, the researcher analyzed the hierarchy of their attitudes, psychological dispositions, and psychic functions by using 'MBTI Personality Typology'. According to the results, (1) Elsa and Anna are in a conflicting relationship in terms of psychic functions. Although they are the combination that shows the highest possibility of conflict, the two sisters overcome it basically grounded on fellowship and family love. (2) Although Hans and Kristoff, too, are against each other in terms of psychic functions, the two male characters do not interact with each other in the work. (3) Hans is a person equipped with psychic functions that can complement both Elsa and Anna the most effectively, but he abuses it and turns into the most fatal opponent to them. (4) Olaf is a type of person combining Anna's attitudes with Elsa's psychological dispositions. And according to the results of analyzing the frequency of expressing fear and desire, (1) Elsa employs overwhelming fear and Anna and others characters use desire as the major drive of their behavior. (2) Fear is the underlying deficit internalized in every character and is attributed to 'the deficit of family love', and as a result, they all share the pain of 'loneliness and isolation'. It is thought that analyzing psychodynamics will help us understand the character's growth tale, that is, the narration that they distort their desire for the first motive to avoid fear and end up being ruled by it, and also, they realize the underlying reason for the distorted desire in the process of getting rid of their own fear and reach self-healing. Lastly, regarding character rising in the animation, it is expected that the directions and analysis results of this research will be referred to as a database in creating characters and setting up relations among them.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.693-718
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• 2009

Kate Burns, a disillusioned Irish woman in Quetzalcoatl, has alternating feelings of fear, repulsion, oppression, compassion, and fascination vis-à-vis Mexican people. Together, these feelings are constitutive of a psychic process in which an imaginary appropriation of the other takes place. In this process white subjectivity represents or reconstructs the dark race precisely as its other. At the same time, Kate's feelings register her anxious recognition of the resistant, unappropriated being of the dark people: their true 'otherness,' or what Žižek calls "the excess of existence over representation." The otherness, frequently racial and sexual, evokes mixed feelings in the white subject. Kate's at once amorous and aggressive response to Ramón's body provides a case in point. Kate's emotional undulation is considerably mitigated in The Plumed Serpent, the revised version of the novel in which the theme of 'blood-mixing' is pushed to the ultimate point. Yet the interracial marriage resolves neither the racial nor the ontologico-sexual issues raised in the first version. Kate is still attracted to Ramón in his sagacious sensuality but goes on to get married to Cipriano, a pure Indian, only to find his mechanical masculinity ever unpalatable. This shows, not just Lawrence's wilful commitment to the 'blood-mixing' theme, but perhaps his lingering taboo against miscegenation as well. Changes in the plot entail those in the narrative voice. In Quetzalcoatl, Owen, a spectatorial and gossipy character, frequently competes for narration with the fully participant third-person narrator. In The Plumed Serpent, the third-person narrator becomes predominant, now attempting with greater confidence to present the reality of the racial other immediately to European readership. While such immediacy is illusional, narrative insistence on it implies a struggle to displace racial stereotypes and offer an experiential understanding of the other.

• Journal of Legislation Research
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• no.41
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• pp.7-42
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• 2011

The social welfare law concerning the children, the elderly and the disabled has been sufficiently in the center of the discussion in the academic as well as practical arena. One can find however rarely academic proposals about the way of understanding, spheres affiliated with this legal system, and systematic characteristics. So these problems stay now vague. This article aims to approach to these points of issue. First, it tries to reveal the physical, psychological and psychic characteristics of these group of people. These situation are not to be effectively protected by norms and measures provided by other instruments of social security, i.e. social insurances and social assistances. Second, based upon these functional limits inherent to these instruments of social security the own system of the social welfare law is explored in this article. The discussing points are as follows; 1. the concept of social welfare law, 2. as core principles; realization of the personality and freedom based upon self-determination right, universalism and equality. 3. rearrangements of the legal provisions to bring harmony with the legal purpose and function of social welfare law. Finally, it is pointed that the evaluation of the relevant legislation is essential, since in this area the difference between the norm purpose and the reality could be immense.

• Sim-seong Yeon-gu
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• v.38 no.2
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• pp.239-268
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• 2023

Humanity has faced destruction(chaos) due to catastrophes (Covid-19, war, earthquake) and awaits a new restoration. For civilizations and individuals, creation or creativity is essential to psychic development. Creativity is the driving force that renews an individual when a new stance and attitude of consciousness or a new adaptation to reality is desperately needed in the depth of the human mind. This article is the result of an exploration of the nature and characteristics of creativity presented by a series of four dreams. First, the definition and form of creativity were explored in the context of religion, mythology, and history of Eastern and Western. While Western mythology refers to creation or creativity originating from God, ancient China viewed creativity as expressed through the interaction of yin and yang, the movement of Tao. In East and West, the form of creation is divided into creation from nothing, creation from matter, and creation through dissolution from the matrix, which psychologically suggests that creativity or creation originates from the unconscious, the seedbed of infinite potential and creative power. Next, with insights from the second dream, the characteristics of creativity were discussed. Creativity occurs through transcendent function and 'going beyond the frame of reference,' that is, 'transgressivity.' Third, the nature of creativity was explored as the creativity of the unconscious aims for regeneration and drives the renewal of Self archetypal images within the collective and individuals. Ultimately, the creativity of the unconscious is the goal of the whole psyche and aims for individuation to become the whole. Realizing the creativity of the unconscious is the fate of humans as the second creator.