• Journal of the Korean Society of Costume
• /
• v.51 no.7
• /
• pp.21-33
• /
• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.

• Journal of Physiology & Pathology in Korean Medicine
• /
• v.20 no.5
• /
• pp.1102-1110
• /
• 2006

Sambyun(三變) is standard classification for nine palace. Through sambyun you can define new meaning of 'self' in three perspective ways. First 'self' could mean desire, emotion and memory which are ontological values. second, 'self' could mean id, ego, and superego which are practical values. Third 'self' could mean unconscious, preconscious and conscious which are epistemological values. Samjae(三才) is method that analyze things base on common features. Sa sang is method that analyze things base on difference. They both are device that searching for reason. If you put one's mind in center to observe the universe creativity of great absolute and symmetry distinction of yingyang produces jeung(情), supreme intelligence(神), and soul(魂魄). With these facts identity of the heaven(天), earth(地) and man(人) which is named samjae(三才) generates symbols of independent sasang(四象). And also, sasang generates relations between five element(五行), six energy(六氣). From ten shen(十神) relation comes seven feelings(七情) of man which creates a category of the eight trigrams(八卦) for divination and unification of nine palace(九宮). All these process are united.

• Journal of Korean Philosophical Society
• /
• v.129
• /
• pp.53-82
• /
• 2014

This paper analyzes the concept of Lacanian subject and the structural definition of sexual difference between man and woman, and criticizes some problems of those definitions. It seems to me, to do so, that it is important to know precisely the core terms of psychoanalysis quoted by Lacan. We should analyze the basic meanings and the relation of the Imaginary, Symbolic and the Real, of ideal ego and ego ideal, of phallus and signifier, of desire and the other, of consciousness and unconsciousness, of alienation and separation, etc. I'm going to discuss the relation between the Imaginary and the ideal ego in chapter 2, and then, deal with the relation between the Symbolic and the ego ideal in chapter 3. I'll explain both similarity and difference between the ideal ego and ego ideal through those discussions. In chapter 4, I'm planning to explain the relation among the other, desire and the subject of unconsciousness. In chapter 5, I'll analyze the meaning of phallus and signifier. I'll criticize the Lacanian structural definition of sexual difference on the basis of the work made in former chapters. These discussions will lead to my final conclusion that the concept of Lacanian subject and the structural definition of sexual difference are only dependent on reductionism regarding everything as symbolic, which has in itself a lot of contradiction. In order that All discussions about sexual difference have at least a objective meaning, they have to rely on anatomical differences between man and woman.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.4
• /
• pp.325-330
• /
• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• Journal of Popular Narrative
• /
• v.25 no.4
• /
• pp.135-158
• /
• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.287-306
• /
• 2014

Human mind consists of what he or she knows, namely 'a portion of awareness', as well as of what he or she does not know, namely 'a portion of unawareness'.1) Self refers to both consciousness and unconsciousness, whereas self-growth seems to be an ability with which a human being appropriately faces with the hidden desire and resistance of unconsciousness for himself and maintains its balance and unification with consciousness harmoniously. On this account, examination on character's unconsciousness seems to be an important methodological means to prospect for the original looks of self, based on character's internal psychology, and to grasp the change and growth throughout the course. Study subjects, namely and , are quite similar in internal/external factors around the leading character. Two girl leading characters, who have nested in parental influences and boundaries, confront with unfamiliar circumstances under the abrupt absence of parents. In order to resist contradictory and irrational situations there and to restore all the things to its original places, both carry out a hard adventure. Interestingly, both characters are similar in their unconscious characteristics, but they take different channels for their journey, confronting attitudes and changes of internal self. The purpose of this study was to examine the concrete origin of two characters' unconsciousness and then comparatively analyze the role of leading character's unconsciousness in the drama and its effects on the whole work. Therefore, the author tried to prove such a hypothesis as the probability and persuasiveness of story could be found out through establishing a character of higher completion degree and connecting between situations and events that are most appropriate for character's internal unconscious psychology.

• Journal of the Korean Society of Costume
• /
• v.50 no.3
• /
• pp.13-30
• /
• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• Journal of Convergence for Information Technology
• /
• v.9 no.8
• /
• pp.233-242
• /
• 2019

The purpose of this study is to compare a supposedly "pot boiler", Sanctuary and Sanctuary: The Original Text and examine the fact that Horace Benbow in The Original Text is a more complicated and many-sided character who has suppressed desire, Oedipus complex, sense of guilt for a long time, until he came to confront Temple-Popeye case. Since literary narration means unconscious procedure, Horace's incestuous love for his step daughter and Oedipal relation reveals Faulkner's own psychology. In this sense, The Original Text serves as a matrix of many of Faulkner's major novels in terms of themes, characters, and the relationship between past and present. Among these novels are The Sound and the Fury, As I Lay Dying, and Flags in the Dust. Faulkner, while writing about his own world creating Yoknapatawpha County, tries to portray characters with artistic value through whom he wanted to express the deep anxiety and turmoil of the 1920s. Starting with Horace Benbow, Quentin Compson, Darl Bundren and young Bayard Sartoris can be doubling through his major works, conveying author's profound despair in the context of modern world.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.6
• /
• pp.551-556
• /
• 2023

In this study, John Burningham's picturebooks(『Come Away from The Water, Shirley』, 『Time to Get Out of The Bath, Shirley』) was analyzed using the concept of carnival among Bakhtin's conversationalism theory. In John Burningham's picturebooks, the unconscious desire for the deviation of the main character, Shirley, is transformed into an adventure in an extraordinary imaginary world, and is depicted as a festival with laughter. Through picturebooks, children are satisfied by indirectly experiencing the forbidden behavior in reality by converting it into an event in the imaginary world. This indirect experience is very important for children to naturally resolve their dissatisfaction in reality and to develop their own original inner development. This study also suggests that providing an environment where children can easily access various picturebooks at home or early childhood education institutions plays a very important role in their growth.

• 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.