• Korean Journal of Child Studies
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• v.38 no.1
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• pp.95-116
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• 2017

Objective: Middle school girls who belonged to the concerned group in their school assessment were treated by sandplay for relieving their emotional and behavioral difficulties. The purpose of this study was to explore the change of the internal world of the girls through sandplay. Methods: Analytical psychology and sandplay theories were used for this exploration, especially Turner's (2005) content themes in sandplay. The participants were four first-grade girls. Pre-test measures, a 12-session sandplay program, and post-test measures were administered. Results: For the first girl, the initial phase was 1-6 (time trip), the intermediate phase was 7-9 (seeking for an inner island), and the final phase was 10-12 (seeking for a real stone). For the second girl, the initial phase was 1-5 (my heart was like cold weather), the intermediate phase was 6-10 (fallen, sick, and risen), and the final phase was 11-12 (trophy given to me). For the third girl, the initial phase was 1-5 (seeking for oasis), the intermediate phase was 6-10 (difficult trip for climbing with camel), and the final phase was 11-12 (discovering oasis). For the fourth girl, the initial phase was 1-3 (an island drowning shortly ), the intermediate phase was 4-10 (my unknowable mind), and the final phase was 11-12 (a tree growing well). Conclusion: This study showed psychological phenomena in the sandplay of four girls such as opposites and the union of masculinity and femininity as they explored their own identity. Drawing tests and counselling objects indicated positive changes; thus, these findings support the effectiveness of sandplay therapy for transforming the psyche of middle school girls.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.527-544
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• 2013

William Shakespeare's dirge, "The Phoenix and the Turtle," is still a crux in the Shakespearean canon and interpretation. The poem is still believed a dark allegory dealing with some arcane and obscure courtly matters and politics. However, we cannot recover its allegorical significance. This interpretive situation enforces us to read the poem as a self-conscious artwork in terms of its paradoxical language and meta-poetic metaphors. Paradox, as a subspecies of metaphor, challenges categorical and judgmental absolutes, and produces a sense of wonder in reconciling the logically contradictory opposites. In this poem the urn containing the ashes of the phoenix and the turtle is the icon of the mysterious unity of art, born of the wonderful marriage of male and female. Shakespeare's poem demonstrates in itself the magical power of poetic language in transforming an elegy into an epithalamion. The union of the phoenix and the turtle defies the singularity of their respective entity, and at the same time it retains their distinctive particularity of the two-ness. This neo-Platonic mystery of the "married chastity" is a paradox which confounds reason and verifies the poetic truth of imaginative intellect. The marriage of Christian perichoresis is crystallized in the artwork of the urn, which is admired at by posterity, though the marriage was issueless, due to its passing virtue. "The Phoenix and the Turtle" depicts the metaphor-making process and its effect, the poem.

• Korean Journal of Child Studies
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• v.33 no.1
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• pp.41-62
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• 2012

This study explored the case of sandplay therapy for a 4th grade girl suffering from selective mutism. Her selective mutism apparently began following an extremely embarrassing experience in kindergarten. Her symptoms were a combination of symbiotic, reactive and passive- aggressive type behaviors. The goal of the therapy undertaken with this child was to enable her to express her repression and suppression, within a free and protective space during sandplay therapy. There were a total of 60 sessions of sandplay therapy. The client described the situations she had experienced in the first sandtray, by placing babies absent caring adults and food on the sandbox. She also placed baby fish away from their mother. In the mid-point of the sessions, she repeated her regressive behaviors by babbling like a baby and fought with snakes and monsters. In the final sessions, she showed integration and adaptation by engaging in snow play, expressing the union of opposites, placing blue and red mig and making a cross on the sand. This study showed the effectiveness of sandplay therapy since her selective mutism was lessened.

• Journal of the Korean Home Economics Association
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• v.49 no.1
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• pp.55-65
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• 2011

This study explored how a 5th grade girl from a divorced family recovered her femininity through the sandplay therapy. The client was referred by a social worker in her school because of maladjustments such as passivity in school work, poor peer relations, especially with girls, the usage of bad language and a lack of concern about her appearance. There were 41 sessions of the therapy. The first part of the therapy included 1-7 sessions, the middle part 8-35, and the final part 36-41. The client expressed her situation by showing guardians and a peeing boy and by seeking love in the first part. During the middle part she put copper ballerinas and needed to make them alive. In the final part she set figures facing each other who seemed to have mutual understandings and placed cars running well. The client recovered her femininity through the sandplay therapy in a free and protected space.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.55-86
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• 2021

The initial situation in our tale shows that the earth-mother-feminine principle disappeared from the center of the collective consciousness into the collective unconscious. Therefore the heaven-father-masculine principle is dominant, which is represented by the king. And in the king's daughter, who is living without mother, the positive father complex is working. She stays in the heaven-spirit world playing with the golden ball, which can be seen as the state of inflation. She is disconnected from the earth-mother-feminine principle, which is important for a woman to find her genuine feminine identity. This demanded principle approaches her through the frog, a bewitched prince. Psychologically it means that a man is under the power of the negative mother complex. The disgusting, ugly frog is a symbol for the shadow, the earthly animal instincts of the princess. Only with his help she can find her golden ball again, which has fallen into the deep well. Their talk about the rewards to him for his help shows us very well the opposites. The frog wants the feminine value such as relation, earthly eros, but the princess offers the masculine value such as heavenly logos. After the frog brought her the lost ball, i.e. she regained her libido, she completely forgot her promise. Like this the content, which is becoming conscious, here the shadow, is easy to fall back into the unconscious and to be repressed. The frog cannot be with the princess without the help of the king, a father figure, a firm protector of the collective oder. At first unwillingly the princess obeys Logos of her father. But her authentic instinctual urge grows stronger and it causes that her ego is released from the power of her father complex. At just this moment the frog turns into a prince, i.e. he is liberated from the mother complex. The marriage of princess and frog-prince symbolize the unification of the opposites: heaven becomes earthly and earth becomes heavenly. Three iron bands, wrapped around the heart of Heinrich, a young king's servant, are snapped, while he brings the prince and princess back to his kingdom. The heart, the place of earth-mother-feminine consciousness, is now liberated. This principle, which disappeared into the unconscious, emerged into the collective consciousness and the wholeness is recovered. The Self is now leading the collective consciousness, which includes not only the principle of Logos but also Eros.

• Human Ecology Research
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• v.56 no.6
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• pp.589-601
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• 2018

This study explored the internal world through sandplay therapy for an elementary school boy who had social and emotional difficulties of poor peer relations, anxiety and withdrawal. This study examined the changing processes of sandboxes, how a boy expressed his internal world by the content themes in sandplay according to Turner (2009) based on analytical psychology and sandplay theories. There were 72 sessions. The initial phase was 1-6 (The beginning of war) expressing confusing wars as the start of a long internal journey. The intermediate phase was 7-55 (Struggle), dividing by phase I 7-18 (Hero's fight I), phase II 19-36 (Hero's fight II), phase III 37-48 (Seeking for a male identity), and phase IV 49-55 (Centering). The client identified himself as a teenaged hero and expressed the conflict between good and bad, between death and rebirth and struggled for seeking treasures in the fight of heroes. He found identity as a male by finding a sense of existence, establishing order in the middle of confusion, and expressing strong and rational masculinity. The final phase was 56-72 (The winner of the struggle). In the fights repeating, he expressed an adventurous and positive male energy such as racing, speed contests and a union in the opposites of hero and heroine as well as the birth of a new conscious. This study provides a basic knowledge of educational guidance in school and counseling fields by expanding the understanding of a boy's unconsciousness.

• Sim-seong Yeon-gu
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• v.38 no.1
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• pp.45-111
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• 2023

This paper examines the apparition of the Virgin Mary revealed in Rue du Bac, Paris, France, in 1830, from a perspective of analytical psychology. To do so, it amplifies the archetypal motifs manifested in the images of the Virgin Mary of Rue du Bac by introducing the medieval alchemical picture titled "Glorification of the body portrayed as the coronation of the Virgin Mary" from Reusner's Pandora (1588). This image of the Virgin Mary is full of archetypal motifs that show the process and end result of individuation, which is the main idea of Jungian psychology. These symbols that depict the individuation process, both in Reusner's Pandora and in the Mary of Rue du Bac, are expressions of mythologems, constituent elements of the collective unconscious. Jung noted that these mythologems are the ultimate base and matrix of all religions. Through examining the archetypal motifs, which appear in the Mary of Rue du Bac, the apparition of the Mary turns out to be the revelation of the archetypal image of the Self in a space-time continuum, which is constellated in the collective unconscious. That is, an archetypal figure revealed itself to a witness' ego-consciousness to whom a space-time continuum functions as a cognitive category. The Mary of Rue du Bac represents the union of the opposites of divinity and humanity, which lacks in the symbolism of the Cross in Christianity. In this regard, she is an image of the new savior, who opens the new aeon of the Aquarius. The revealed image of Mary shows that divinity originates from the inner realm of the human psyche, that corporeal human beings are the matrix in which the divine incarnates, and that human being is the subject of psychological redemption. The image of Mary awakens us to the value of divinity in the human psyche in the times when the spiritual values Christianity has retained declines drastically.