• Journal for History of Mathematics
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• v.32 no.1
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• pp.1-15
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• 2019

We divide the timeline of the history of Finsler geometry, which dates back to Riemann's inaugural lecture in 1854, into three periods (hibernation, hiatus, rebirth) and we study formation of Romanian Finsler school around Iasi, Romania during the hiatus period. We look for the history centered around Radu Miron who is a third generation geometer of Iasi University and the mathematical heritage there through five generations. We also investigate mathematical impact of T. Levi-Civita, D. Hilbert, ${\acute{E}}$ Cartan who are considered as top mathematicians at their time.

• American Studies
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• v.43 no.2
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• pp.83-110
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• 2020

This paper examines the meaning and significance of the rebirths narrated in Sylvia Plath's "Lady Lazarus." While the previous readings of the poem have regarded the speaker's rebirth as a single event, this paper aims to understand its plurality and the underlying problem of language and sound by listening to the poet's own reading of the poem. I argue first that the sound structure of the poem can be characterized by the poet's unique employment of vowel sounds. Drawing upon Plath's another poem entitled "Morning Song" and Julia Kristeva's concept of the chora, I contend that the poet's vowels signal her desire for regression to the pre-Oedipal space where sound and body are in direct contact without the interference of language. It is my conclusion that the rebirths in "Lady Lazarus" dramatize the poet's ongoing struggle to bypass the symbolic language in order to make her body heard.

• Journal of the Daesoon Academy of Sciences
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• v.19
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• pp.145-163
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• 2005

What is Buddhism for? Is the enlightenment the only valid goal of the Buddhist practice? In answering to such questions, this article attempts to challenge the traditional Buddhist notion on the enlightenment, which has been believed to be the utmost and unquestionable, the final goal of Buddhist practice. This article argues that the enlightenment as the final goal of Buddhist practice resulted from religious atmosphere of the ancient India, where the society was bifurcated with the lay and monks. Moreover, nirvana, the final enlightenment with no-more-rebirth, was not the goal of all the Buddhists, but the goal of a few, religious elites. In modern society, where the role of lay people becomes more and more important the Buddhist goal for the enlightenment needs to be reevaluated and to change, from the enlightenment to happiness.

• Journal of the Daesoon Academy of Sciences
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• v.16
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• pp.265-304
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• 2003

장례의식은 불교에서 가장 중요한 정기적인 의식들 중에 하나이다. 이러한 의식은 수도자나 죽은 사람들을 위해서 행해지고 있다. 그렇다고 장례의식의 목적이 죽은 사람들만을 위한 것이 아니라 근원적으로는 'saṃsāra'의 윤회로부터 완전한 해방을 구하는 모습을 의미한다. 티벳불교에서의 죽음은 두 가지를 의미를 인식한다. 하나는 열반으로 입적하는 것으로 다섯 가지에 완전히 융해되는 것을 뜻한다. 이러한 죽음은 더 이상의 '태어남'이 없다. 열반의 경지는 카르마 안에서 융해 되거나 평화를 얻은 경지인 것이다. 또 하나의 죽음은 카르마의 법칙에 의해서 통제 되거나 하나의 영혼이 열반 안으로 들어가기 전까지 순환적인 주기 안에서 지속적으로 반복되는 것이다. 카르마는 불교의 관례를 통해서 카르마의 힘은 없어질 수 있다고 할지라도 근본적으로 외부적인 간섭을 수행하지는 않는다. 즉 불교의 이념들은 각자의 노력을 통해 해방을 얻는 것을 가르치고 있다. 하지만 카르마의 경로가 식별하기 어려워 제의식의 효과나 수행의식을 통해 알아 볼 수밖에 없다. 여기서는 티벳불교에서 죽은 후의 몸을 적절히 배치하는 방법을 얻는 제의식이나 축제에 관심을 갖는 것이 아니라 이를 통한 실질적이고 복합적인 힘, 그리고 카르마적 흐름을 바꾸거나 심지어 없애버릴 수 있는 의식에 관심을 갖고자 한다.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.429-440
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• 2009

This paper does not follow the well-known critical practice of Charles Perke, Edward Brandabur and Phillip Herring who, regarding The Dead, James Joyce s earliest masterpiece, as the conclusion of Dubliners, classify Gabriel as one of the dead. Instead it concurs with such critics as William York Tindal, Kenneth Burke and Allen Tate who, interpreting The Dead as a story of Gabriel s spiritual maturation, discuss the famous snow vision at the end of the story as a signifier of his rebirth experience. A new reading of The Dead, which is the aim of this paper, examines the very processes which produce both form and content, thereby demonstrating that The Dead is a story of Gabriel s spiritual growth and that the supreme snow vision is prepared for his spirit which progresses towards a richer synthesis of life and death, a higher altitude of flight and wider horizons.

• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.

• Sim-seong Yeon-gu
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• v.31 no.1
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• pp.1-40
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• 2016

This thesis is a study on the symbolism of 'Yeondo', a prayer for the souls in purgatory of Korean Catholic Church as a 'psychic container' for the spiritual transformation in the psyche from a perspective of analytical psychology. Yeondo' could be the 'rites of passage' of the last judgement for the souls in purgatory which is in between the heaven and the hell. And both the bereaved and the dead go through the stages of separation, transition and incorporation which are the schema of the 'rites of passage'. In particular, they have a special sense of solidarity at the stage of transition, a middle state. The symbolic process of 'Yeondo' is a spiritual transformation of recovery of paradise which could access by the confusion of death, purification and the rebirth. A spiritual reborn process of death and rebirth takes place by contacting the collective unconscious. In 'Yeondo', the death is not the end of life but the beginning of the eternal life. The confusion and disintegration caused by death can be purified and start incorporating. The rites of a paradise recovery has the meaning of trying constantly for the recovery of a wholeness. Praying for the blessing of God and a help from saints in paradise for the sake of the dead means to require conscious cooperation for the Self-realization. Integrating and recognizing unconscious also means something beyond the conscious. The blessed souls in purgatory recovers the paradise experiencing specific purifying process heading towards Self. Going into the center, abyss of unconscious will be recognized as an absolute part of oneself. One becomes the inner man, the transformed personality who is reached by the path of self-knowledge, the kingdom of heaven within oneself and can have the transpersonal energy, which enables to access to God's world and union with God. All desire and the will become one with God. In the final analysis, praying for the blessing of God and a help from saints in paradise for the sake of the dead becomes the path for the more and more conscious expansion of the alive. Therefore, 'Yeondo' as an initiation is the individuation process of the alive and the dead to reflect on themselves.

• 모자간호학회지
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• v.2 no.1
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• pp.70-86
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• 1992

What is the meaning of menopause experienced by urban Korean women? Nurses need an under standing of menopause as it is experienced by women themselves. Nursing needs to build knowledge of womens' health experiences. This phenomenological study examined what menopause means to modern Korean woman to build a structure of knowledge useful for practice to enhance the quality of life of women throughout this experience. Traditional definition of menopause according to physiological changes, as illness and more recently as psychosociocultural phenomena were examined along with the folk lore information generally available in the society A review of the research and scientific literature was done from the perspectives of four models including the medical model of menopause as disease, the psychosocial model as positive and negative behavioral responses to menopause, a feminist model of menopause as a time of rebirth and a nursing model of the changing patterns of meaning, rythms and transformation women experience through menopause. Van Kaam's method was used to analyse data audio-recorded during interviews by the investigator with 65 women, 40 to 60 years of agey whose confidentility was assured. Interpretation of the data was enhanced luther by consultation with professional colleugues and with informants. Four rhythmical patterns of process emerged : from suffering to comfort, from oppression to freedom from being a good wife and wise mother to becoming a woman and from a hard life to an abundant life. The detailed common elements making up each of the four patterns and definitions of each pattern were presented. Each pattern was discussed critically from the point of view of medical, psychosociocultural, womens' and nursing models. The structural definition of the synthesis of the four process patterns was stated as : in spite of suffering the middle-aged urban Korean woman find she is able to help herself to feel comfortable and to realize release as she moves from oppression to liberation and freedom from being a good wife and wise mother she experiences rebirth as a woman : she begins to live a profitable and valuable life : her life becomes one of transformed abundant living. The definition transcends the medical and phychosociocultural model to embody a nursing model. The analysis was critiqued by using Parse' Human Becomming theory of nursing because the emerging themes were process patterns. Parse' theory provides and explanation of the experience of menopause consistant with the data which enhances nursing understanding of womens' experience of menopause. Parse' practice methodology provide guidance for promoting womens' quality of life throughout the experience of menopause. Feminist analysis contributes valuable critique to nursing research, richly expanding the perspective from traditional approaches to promote understanding of the meaning of womens' health experiences.

• The Journal of Art Theory & Practice
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• no.14
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.59-72
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• 2012

This study aims to collect Minhwa, or folk painting, particularly the Lotus Flower Painting, to analyze its formative characteristics and related story, and to develop cultural fashion products by utilizing Korean traditional culture and modern flavor based on the results. Lotus flowers grow from mud, but are unstained, and they bloom beautiful flowers. Thus, they symbolize Gunja, a true gentleman who is very learned and proper in behavior. In Buddhism, lotus flowers are divine flowers that have the meaning of the creation of life and the eternal cycle of birth, death and rebirth. Lotus flowers also represent the love between man and woman as well as conjugal harmony and love. Lotus flower painting includes the paintings of the lotus flower alone as well as the paintings of the lotus flower with ducks, white heron, kingfisher, fish, butterfly, crab, or tortoise. Colors that are mostly used in lotus flower paintings is the compatible combination of red and blue (green). Based on these findings, fashion products such as bag accessories, sitting cushions, and kitchen utensils are developed using various designs such as realistically drawn lotus flower, schematized lotus flower, the lotus flower alone, or the lotus flower with kingfisher, crab, or dragonfly, that emphasizing the compatible color combination of red and blue.