• The Journal of the Korea Contents Association
• /
• v.14 no.4
• /
• pp.47-57
• /
• 2014

The horro movie which was released in 2003, was a box office hit drawing audiences totaling 3,140,000 people. Then, there were partial opinions that it was difficult to understand the content of the movie. However, it was most favorably received in the horror movies which were released before and after 2003. The 4 main characters in the movie are a family. The family conflicts begin as the dad has an affair. Muhyeon(the dad)'s infidelity leads his wife to kill herself. The suicide of the wife and mom again leads Suyeon(the younger sister) to be dead. At this moment, Suyeon's death is related to Eunju(the step mom). Sumi(the older sister) is deeply hurt by the fact that Eunju left her younger sister's death after she was dead. But at the same time, she realizes that she is also related to Eunju's act. And she felt guilty about her younger sister's death. Eunju was also hurt by Sumi's biting remarks. However, she feels guilty about the fact that she made Suyeon be dead. Director Jiun Kim said in the interview when it was released, "this movie is about hurts and guilt among families." These hurts and guilt are expressed by horror images that imagination and reality are mixed. Hurts are expressed by virtual images and guilt is done by real images. This paper presented still pictures which explain the virtual and real images and examined what hurts and guilt mean. And it described the symbolic meanings of three media which cause conflicts among main characters.

• Journal of the Korean Society of Costume
• /
• v.18
• /
• pp.225-245
• /
• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• Sim-seong Yeon-gu
• /
• v.36 no.1
• /
• pp.1-54
• /
• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.

• Cartoon and Animation Studies
• /
• s.20
• /
• pp.121-139
• /
• 2010

As a society gets digitalized, world of simulation will expand. The world of simulation is a forced, human-making world where we are going on our lives. It is power that dominates human beings. It is a main discourse producing forces. We are using violence to ourselves to escape this forcing phenomenon. Cindy Sherman is being paid attention as an artist who expresses physical human being in the world of simulation - human who desires something, is sacrificed by violence and is using violence to himself. She is casting a question about the violence of power in the world - who are you right now in the border between the real world and the fake one? - Her method is by various symbols: masks and makeup in her works, human desires and violent realities in symbolic packages. Only when we see the world as flesh, that is a specific body, not as separated organs, can this world be something we can feel. This world is something simulacre and at the same time is bearing violence in it. She sacrifices herself to violence to avoid the very violence. This behavior is to refine or avoid gigantic violence. She is saying that the others' pains, birth and death of flowers are not only theirs but also ours.

• Archives of design research
• /
• no.16
• /
• pp.225-234
• /
• 1996

The purpose of this study is to provide and suggest useful data in use of kinds of violet that is resulted from general color images of violet. The origin, history, and general images of kinds of violet were studied, and were classified vased on documcntary reviews. Findings are as follows: 1) The kinds of violet were used purple, violet, mauva, and magenta in the order of appearance of its color names and the categories of violet had been extended from dark reddish violet to affilicated colors of bright violet by development in synthetie dyestuff. 2) The kinds of violet has neutral characters due to the combination of two extreme colors, red and blue, and thereby revealing voth attreibutes in terms of symbolic, emotional, and spychological features of colors. The positive images in kinds of violet can be classified as nobleness, holiness, mysteriousness, sleep/sedation, sensuality, femininity, fragrance, and the negatibely classified images are weakness, sadness, maelancholiness, death(for example, the mourner's gard in royal families), symbols of moral corruption, and superstition.

• Cross-Cultural Studies
• /
• v.26
• /
• pp.445-463
• /
• 2012

Beltenebros is Antonio Mu?oz Molina's third novel. Its plot originates in a criminal act. Darman, the main character, arrives in Madrid to kill a traitor of the undercover organization to which he himself belongs. Treason is paid with death and Darman is in charge of the executions. The intricate story of espionage and intrigue is absorbing. Unlike other novels of the genre, in Beltenebros we can witness a unique psychological development of the main character. In his fiftieth anniversary, Darman becomes conscious of the painful and devastating effects of his criminal acts on the lives of the people he has crossed paths with. Then, for the first time, he acts like a Romanesque heroe by killing Valdivia-Ugarte, a deceitful mole who has been manipulating the strings of the plot to his own benefit. The story unfolds along an almost uniform progression of chronological time, only interrupted by random memories of a past that twenty years ago destroyed Walter's life, and in which Darman and the rest of the characters are all implicated. Few references to the Spanish Civil War inserted in the discourse are, however, of paramount importance as the depiction of a historical trauma, as a triggering force for the episodes of the novel, or as justification to Darman'scrimes as well as those of the clandestine Comunist Party. Indeed they were the victims of the conflict and the winners inflicted upon them hatred, repression, treason and disloyalty. As in other Mu?oz Molina's novels, the literary space, in this case Madrid, propels the development of the plot, and plays a protagonist role only equal to that of the main characters. It is in Madrid where Darman lives until he becomes prisoner of the enemy army, or where the symmetrical deaths of Walter and Andrade take place. Other spaces inhabit Madrid: the Universal Cinema, symbolic territory of the secret and hidden, where the story, as well as the relationships of the characters start and end the warehouse; or the Bo?te Tab? the nightclub that frequents Valdivia-Ugarte through secret passages connected with the Universal Cinema.

• Journal of English Language & Literature
• /
• v.57 no.1
• /
• pp.73-105
• /
• 2011

The purpose of this paper is to contend the importance of resurrection of fluid identity and ecological imagination for making the habitable biosphere in Marilynne Robinson's Housekeeping. Ruth as a narrator suggests the future-oriented vision that the environment and nature(mother) can be resurrected, crossing Fingerbone bridge of the boundary line of society/nature as a faithful follower of her aunt Sylvie and becoming the existence with a transparent voice despite of her absence. This novel is to rewrite the American pastoral. Based on the patriarchical way despite of the absence of Edmund Foster, Sylvia's conventional housekeeping is to divide between inside and outside of the house. Nevertheless, Sylvia's relentless efforts to keep her house intact turns out to be fragile. Contrasting with Sylvia, Sylvie's housekeeping is to recognize the continuity of inside and outside. She willingly accepts the reconciliation of the self, the nature and the society. After Ruth and Lucille's staying at night in the lake, they are diverged into going their own way. Ruth accepts Sylvie as a substitute mother. Lucille leaves the house voluntarily and go to her Home Economics teacher, Miss Royce, pursuing the ideal mother of symbolic society. Sylvie and Ruth has the more intimate bond, with their trip to the deserted house in the valley. Ruth meditates on the non-solidity of house and the resurrection of her family. Leaving their house to escape from the town people's legal enforcement, Sylvie and Ruth become transients. Although their history is completed by the drown-death publicly, they always want to visit Lucille's well kept house in Fingerbone. Therefore the method for making Ruth and Sylvie as the existences of ecological imagination return to the real world is to accept the reconciliation of nature and society. This novel is not limited as the binary opposition of vagrance/stability and transience/durability. The significant element of fluid identity can be composed of the interactions with transience and stability.

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

• Sim-seong Yeon-gu
• /
• v.31 no.2
• /
• pp.113-150
• /
• 2016

Chobun refers to a temporary grave covered with straw thatch that contains a corpse until its flesh is gone. When all the flesh has rotted away, the straw grave is disassembled and only the bones are retrieved. Therefore, Chobun is an example of a secondary burial custom (German : Doppel Bestattung) that is composed of a first temporary funeral for processing the corpse's flesh, and a second permanent burial of the final remains (bones or ashes). The duration of the temporary burial is determined by the time needed for decomposing the flesh of the deceased. Building a Chobun progresses putrefaction and reduction to bone. In the literature of alchemy, putrefaction and new life occur simultaneously. The purpose of rotting is to make the flesh disappear, leaving only its essence. It is making the physical body enter a spiritual state, so that the dead can enter into a different world. One must endure the unstable rotting process until the smell of flesh has faded. The rotting process is the attitude of accepting the terrible, polluted aspect of the corpse, while maintaining a helpless, passive posture, in order to allow new possibilities. When we try to approach an archetypal aspect of the unconscious, it is often experienced in threatening, aggressive ways. In the individuation process, the unconscious offers us the blessing of a new spiritual awakening and renewed sense of life, only when we have the courage to see this terrifying and contaminated side of our psyche. This is exactly what putrefaction means. Bone and skeleton symbolize the indestructible, imperishable, and essential elements of life. Bone is the minimum unit and foundation for regeneration, where new life can grow. Reduction to bone is moving back to the origin of life, to the womb. Psychologically, it means discarding one's ego-centeredness and allowing the Self to lead the entire process of individuation. Going through the painful process of reduction to a skeleton for the purpose of further development is a declaration of the death of the ego, aiming at the liberation from perishable flesh and acquisition of the spiritual, regenerative, and immortal elements of life. Chobun also denotes the yearly decay and revival of life, especially of vegetal life. In Chobun, this symbolic meaning of the vegetal cycle of life is emphasized to represent the part of life that survives even after death. Vegetation related to Chobun deals with the continuity of life and psychologically with the Self. Images of vegetation are closely related to the existence of life beyond death, which is the existence of the Self, the source of energy that constantly renews and rejuvenates the consciousness.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.419-449
• /
• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.