• Title/Summary/Keyword: the Image of God

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A Christian Answer to the Problem of Suicide in Korean Society (한국 사회의 자살 문제에 대한 기독교적 답변)

  • Je, Haejong
    • The Journal of the Korea Contents Association
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    • v.15 no.2
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    • pp.552-566
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    • 2015
  • This paper deals with suicide that has become a serious problem in our society as well as in the world today from a Christian perspective. Historical position regarding suicide is divided into two; some see it as a brave and honorable act and give approval to it, the others view it as act of giving up the life that is given by God and are opposed to it. Though suicides in the Bible are mostly committed to maintain honor, because of Augustin's position it became negative in Christianity, leading to a thought that one who committed suicide goes to hell. Why then people commit suicide? The views of scholars on the cause of suicide are divided into three; biological, psychological, sociological. My position is that though each or all of them contribute to suicide, yet the decisive factor is on how a person reacts to them. Major factor of suicide is how humans as interpretive beings accept the present despair. On the basis of this understanding of suicide and humans, I conclude this paper with three new recognitions as an essential answer to suicide. First, humans are made in God's image and belong to Him, thus their life is precious. Second, Christianity views humans as ones look for the hope in the future as the eternal life. Third, suicide is a violation of the commandment 'do not kill' yet it is not an act of sin but a disease that needs to be cured. To achieve this Christianity must not only spread the idea of respect for life and also run suicide prevention center every city.

Analytical Psychological Interpretation of the Book of Revelation Focused on Main Visions (요한 계시록의 분석심리학적 해석 : 주요 환상을 중심으로)

  • DukKyu Kim
    • Sim-seong Yeon-gu
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    • v.34 no.2
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    • pp.95-148
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    • 2019
  • The Testament is 'the repository of the psyche' which can understand the images revealed from human life, mind, and numinous experiences. When the Scripture is psychologically interpreted, not only does it offer an abundance in biblical exegesis, but is also incredibly valuable in understanding the actual dimensions of life. This study examined the meaning of main visions in the Book of Revelation from the perspective of analytical psychology. The core contents of these visions are 1) the image of Christ represented as One like the Son of Man and Apocalyptic lamb, 2) Sun and Moon Woman and Dragon, 3) Whore Babylon and Bride New Jerusalem, 4) Hieros Gamos and Descending New Jerusalem. Such archetypal images lead to become conscious of an individual, and at the same time the visions of Revelation as a drama of archetype present the transion of civilization, as ultimately penetrating the history of the time period. This article contemplated on the characteristics of the archetypal image emerging in the visions and categorized them into the father archetype, mother archetype, or anima archetype. The ultimate purpose of all the visions can be understood as the ascent, conjunction and descent. This will mean to become conscious of human and incarnation of God, i.e. the individuation process. In our time suffering from masculine one-sidedness, the vision of new Jerusalem presents how the feminine can redeem an individual and this world.

"A Study on Hebrews Clothing in the Old Testament" - Especially on Hair Styles, Headgears, Footwear and Personal Ornaments - (구약성서(舊約聖書)에 나타난 히브리인의 복식(服飾) - 두식(頭飾), 신발 및 장신구(裝身具) 중심(中心)으로 -)

  • Park, Chan-Boo
    • Journal of the Korean Society of Costume
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    • v.10
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    • pp.63-80
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    • 1986
  • The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.

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Some Views for the Buddhist Culture of Southeast Asia at Middle Ages through the Chinese Description (II) (중국문헌을 통해본 중세 동남아의 불교문화(II))

  • JOO, Su Wan
    • SUVANNABHUMI
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    • v.4 no.1
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    • pp.57-90
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    • 2012
  • This essay is for a study on the survey of buddhist cultural literary document about the Southeast Asia by Nanqishu(南齊書), Liangshu(梁書), Chiu T'angshu(舊唐書), Hsin T'ang shu(新唐書) which are included in the Chinese Official History and Jí-shénzhōu-sānbăo-găntōng-lù(集神州三寶感通錄), Weioshu Shilao Ji (魏書 釋老志). These documents allows us to imagine next some historical states. First, these documents are recording this area, especially Funan, as a plentiful diggings of gold, silver, tin, copper, etc. These are important materials for gilt bronze sculptures. Further, this local produced gold called 'Yangmai(楊邁)' is recognized as same as Zĭmòjīn(紫磨金) in china, and these documents explains the process of producing the bronze images and golden ornaments in Southeast Asia. Specially, this plentiful materials leads them to make a 10 wei(圍) tall golden-silver image which worshiped as hindu god or sometimes buddhist images. Second, Vietnam and Funan in Northern and Southern Dynasty periods were in antagonistic relationship not only in the political but also in religious between Vietnamese Hinduism and Funan's Buddhism. Under this situation, the monk Nagaxian(那伽仙) who had came from India was accredited to Southern Qi court as a delegate to build a good relationship by the common religion Buddhism. It means the Buddhism of Southeast Asia also took a role of diplomacy. Third, these documents proved the active Southeast Asian cultural exchange in early 3th century. At this time, Funan delegate Suwu(蘇物) visited the court of Kushan Dynasty in India and he is seemed to travel the city of Pātaliputra. It oppressed us to extend our outlook which have been restricted in the relationship between Southern india and Southeast Asia to more broaden area. In addition, the buddhist art of Southern India and Bodhgaya temple was imported to Southeast Asia directly to send to Southern China. For example, the wooden buddha image, Bodhgaya stupa image, and Sri Lanka style's buddha images are looked be introduced to Southern China at this time throughout the Southeast Asia. At last, we got to know that the court music of Kucha in the northern silk route was imported to the Southeast Asia in early middle age. Even it may be introduced by China, but this document is very important to make the surmise is not unreasonable that the buddhist culture of northern silk route imported to the Southeast Asia accompanied with Kucha music. The buddha images in Gandharan style which are excavated from some site of Southeast Asia may demonstrate this literary sources is authentic.

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A Study on Family Ethic of Buddhism (종교의 가정윤리에 관한연구)

  • 서병숙
    • Journal of Families and Better Life
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    • v.11 no.2
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    • pp.111-120
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    • 1993
  • The purpose of the study is to find how the family moral principles are placed in the Buddhist Sutra how they come up to the surface through certain course. We set up the following five kinds of question for aim of this study First in which form are the family moral principles placed in the Buddhist Sutra ? That is are they shown devided into two between the fundamental though of Buddhism and the concrete description? Second how are the family moral principles melted into the fundamental though of Bud-dhism ? Buddhism takes a cognitive method of pursuiting one from divesification,. If that is so the family moral principles will establish the fundamental thought of Buddhism melted along with other phenomena. When the fundamental thought of Buddhism is restored to the family moral principles which image are they presented with us? Third if the family moral princprinciples melted into the fundamental thought of Buddhism in itself came up to the surface ? Buddhism has a and is mixed together. The family moral principles of Buddhism are named from the fundamental thoughts to the family moral principles and do not come up to the surface but are melted into the important concepts of Buddism that is charity kama nirvara emptiness the principle of middle way. The aspects of the family moral principles which are melted into theses thoughts: 1) The concept of loving-kindness including equality non-self practice is shown in the family moral principles. 2) The thought of karma includes the moral principles for interdependence between the building up of home and family members. 3) Home should be a place of self-realization from the suffering realization This kind of home salvation should be set up by family members themselves and the consciousness of the master that such salvation is neither to be made by others not to be given by god is presented one should be the master of one's life 4) The thought of emptiness includes the social extension of home and those of the moral principles of collective body of family. 5) The Buddnist family is morality is based on the principle of the middle way shich means neither too extrim nor lacking.

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Mouk-Epic and "Novelization": Alexander Pope's The Rape of the Lock (의사영웅시와 "소설화"-『머리카락 강탈』을 중심으로)

  • Lee, Hye-Soo
    • Journal of English Language & Literature
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    • v.55 no.5
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    • pp.865-883
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    • 2009
  • The mock-heroic, "the single most characteristic and individual literary form of the neoclassical era," as Brean Hammond puts it, epitomizes the process of the "novelization" of the 18th-century British culture. Bakhtin mentions that when the novel reigns supreme, almost all the remaining genres are "novelized"; Hammond borrows the term "novelization" from Bakhtin and uses it as a "shorthand way of referring to the cultural forces that render epic anachronistic." Indebted to Hammond's apprehension of novelization, this paper reads Alexander Pope's Rape of the Lock in the context of novelization, particularly focusing on 'probability,' 'contemporaneity' and 'domesticity,' three important signatures of the novelization of the 18th-century British culture. First, Sylph as a counterpart of god in epic is presented in The Rape of the Lock just as a helpless, fictional and irrelevant thing that hardly affects the empirical world. It indicates how the mock-epic 'mocks' the classical world of 'epic' and stands closer to the world of the novel. Second, Pope's poem displays an accurate picture of the author's contemporary reality, a capital concern of the novel, such as imperialism, consumer society, commodity fetishism, or reification. Lastly, The Rape of the Lock lays out the construction of modern gender ideology, another quintessential interest of the novel, particularly with the fixed female image of a coquette. It efficiently silences and nullifies Belinda, a typical coquette, who stands as a threatening force to the ascendent domestic ideology.

On the Application of the Islamic Patterns to the Textile Design (이슬람 예술에 표현된 패턴 특징과 텍스타일디자인에의 활용)

  • 김희선
    • Journal of the Korea Fashion and Costume Design Association
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    • v.6 no.1
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    • pp.13-24
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    • 2004
  • This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

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Studies on the Analysis of the Turkish Mevelana Dress and on its Application to Fashion Design (터키 메블라나 복식 분석과 현대 패션디자인에의 응용에 관한 연구)

  • 이희현;이명옥
    • Journal of the Korea Fashion and Costume Design Association
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    • v.6 no.2
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    • pp.111-121
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    • 2004
  • The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

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Implication of Physical Education Based on the Zhaung Zi's Philosophy (장자철학의 체육적 함의)

  • Lee, Hak-Jun
    • 한국체육학회지인문사회과학편
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    • v.51 no.4
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    • pp.23-31
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    • 2012
  • The purpose of this study was to inquiry implication of physical education based on the Zhaung Zi's philosophy. In order to investigate this purpose, I analyzed the text of Zhaung Zi. The result of the study was as followed. Zhaung-Zi oriented ideal image of human beings who has attained the stage of play(遊). He is an acquaintance (至仁), a man of god(神人), a true man(眞人). The purpose of physical education in Zhuang-Zi is paly(遊) which play well naturally. 'play is the gaming and play in which we can see the true face of the world and ourselves and can become on with the object in the world. Forget-enjoyment(至樂) of victory, records, and results are the purpose of physical education which can be found in Zhuang-Zi. The methods of physical education is the whole mind(專一), xixium(虛心), the feast of mind(心齋), forgetting everything(坐忘) etc. Physical education is to harmonious study with nature not artificially. The relation between teacher(coach) and student(player) is a relationship of mutual respect and consideration. The teacher(player) have to find the potential ability of student and he can help student realize potential ability of them.

Study on Allegory shown in Bong Joon-ho's Cinema -Focusing on the Cinema "Snowpiercer"- (봉준호 영화에 나타난 알레고리 연구 -영화 "설국열차"를 중심으로-)

  • Kim, Seong-Hoon
    • The Journal of the Korea Contents Association
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    • v.16 no.10
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    • pp.701-710
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    • 2016
  • Perspective of director Bong Joon-ho shown in his movies up to now had been limited to domestic issues but that in the was shifted to the world, mankind, and future of humans. Images exhibited in his movies had the same meanings of many stories in the Bible and myths. The study looks into his philosophical world through the Christian view of the world and the Oriental circulation thinking; the story of the was expressed in before the glacial period, the 17 year glacial period spent in a train, and after the glacial period; structure of the story was composed of allegory as prior to Israelites' Escape from Egypt, desert life for 40 years, and entrance to Canaan. The end in the Bible does not mean complete collapse but it contains aspiration for new heaven and new earth to open a new era, to make a new promise with the God and to live a permanent life. This study intends to interpret the developed in a quite different meaning of imagination of humans' future from the previous one by the director Bong Joon-ho and to make another different explanation underlying in the image projected on the surface layer by the director.