• The Journal of the Petrological Society of Korea
• /
• v.15 no.1 s.43
• /
• pp.10-24
• /
• 2006

Staurolite grains in staurolite, kyanite and sillimanite zones occurred in the Littleton Formation, Northcentral Massachusetts have interpreted to form by Barrovian-type metamorphism during Acadian orogeny. However, various occurrence of staurolite in the three zones, (a) porphyroblast, (b) randomly oriented and coarse-grained muscovite pseudomorph after staurolite, (c) recrystallized staurolite at the margin of garnet porphyroblast and within the pseudomorph, indicates that they have resulted from polymetamorphism. Staurolite in these three metamorphic zones can be formed by demise of chlorite or chloritoid that depends on difference of bulk-rock compositions and changes of P-T conditions. Staurolite modal proportion calculated in MnNCKFHASH system using THERMOCALC program reveals that staurolite could have grown with garnet with increasing pressure and temperature, if it coexist with chlorite. After demise of chlorite and appearance of biotite, staurolite mode decrease with increasing pressure and temperature. Therefore, based on the previous P-T paths for the Acadian metamorhism, staurolite porphyroblast grew with garnet during 400-370 Ma. Randomly oriented and coarse-grained muscovite pseudomorphs after staurolite probably have grown due to heating with appearance of kyanite and sillimanite. Consequently, pseudomorphisrn of staurolite occurred by heating derived from locally intense Alleghanian shearing (ca. 320-300 Ma) overprinted the Acadian metamorphism. Recrystallized fine-grained staurolite in sillimanite zone observed between the grain boundaries of muscovite in the pseudomorphs and at the edge of garnet porphyrobasts has formed during decreasing temperature and pressure (ca. 300-280 Ma) after peak temperature (ca. $700^{\circ}C$) of the Allegllanian metamorphism.

• Proceedings of the Petrological Society of Korea Conference
• /
• 2006.05a
• /
• pp.52-57
• /
• 2006

• Korean Institute of Interior Design Journal
• /
• no.36
• /
• pp.102-110
• /
• 2003

This Study is concerned with the architectural problems particular to the design of the sanctuary in Catholic churches. The paper is meant to address two distinct groups - clerics and architects. Architects do not tend to think the church buildings theologically or liturgically, and priests, though they are often trained in the arts, do not tend to look at buildings the same way architects do. Hence, my goal is to adequately address the concerns of each in a language the other will understand, thereby building a bridge of communication between the two groups. The two main concerns of the study are to provide guidelines and reflection lot liturgically correct buildings, and to re-establish the traditions of church buildings. I discuss the idea of the sanctuary in the Catholic church,(in chapter 2) and examine each of the main furnishings of the sanctuary with regard to history, liturgical use, symbolism and related pastoral concerns.(in chapter 3,4).

• The Journal of the Petrological Society of Korea
• /
• v.6 no.1
• /
• pp.52-64
• /
• 1997

Pelitic rocks of southwestern Nova Scotia have been affected by widespread contact metamorphism due to the intrusion of the Shellburne Pluton, with aureole up to 15 km wide. Well-preserved pseudomorphic textures indicate that common staurolite and andalusite metacrysts formed at the expense only of plagioclase, muscovite and biotite. Excess components (K, Na and Ca) from such replacement reactions imply extensive metasomatism throughout the contact aureole. Modal analysis of a typical andalusite-bearing rock indicates a one-to-one volume ratio of product to reactant. However the products of the replacement reactions contain approximately three times more aluminum than the reactants, indicating that the regional metasomatism also involved aluminum.

• Sim-seong Yeon-gu
• /
• v.39 no.1
• /
• pp.1-60
• /
• 2024

This thesis originated from a dream of a young man clad in green, suspended like Christ on the stair landing. This dream reminded me of Jung's vision of the Christ on the Cross, bathed in a greenish gold aurum viriditas. Jung associated the analogy of Christ and aurum non vulgi, aurum viriditas of alchemy from this vision. I was fascinated by Jung's words that originally there were four alchemical stages, but by the 15th-16th century they were reduced to three (nigredo-albedo-rubedo); and that viriditas used to exist after nigredo had vanished. This thesis is about the process of unraveling these mysteries through amplification. In the realm of alchemy, viriditas (verdigris) was an old and humble substance, yet it would eventually metamorphose into pure gold under the supervision of alchemists. It was the prima materia of alchemical work and the ultimate product, mercurius itself. It was the celestial spirit, concealed beneath the earth, and the embodiment of transformation, enriching the earth, sprouting a myriad of buds and flowers, turning the land green. I examined the dreams, visions, and pictures of Hildegard of Bingen, C.G. Jung, my analysands, and my own to figure out whether viriditas was the fourth that leads to wholeness that engaged in the whole process of individuation. While working on this thesis, I learned that for our personalities to mature, we must include the lower, the secular, the feminine, the chtonic, and even the evil. To achieve this, we cannot avoid our opposite, the fourth, but to wait and persevere until we can walk together. Then, our lives will be fresh and blossoming.

• Journal of Digital Convergence
• /
• v.18 no.5
• /
• pp.455-463
• /
• 2020

This researcher has sorted out the development process of death aesthetics contained in human art through advanced research. This research is a follow-up study of related research, which studies the aesthetic meaning of death in Alexander McQueen's fashion works. This study first classifies the aesthetic characteristics of death, and then analyzes and sorts out the aesthetics of death in Alexander McQueen's clothing works based on this. The results of this study are as follows: first, the aesthetic manifestations of death are divided into three categories: reproducibility, symbolic and religious. Among them, the representation of reproducibility includes the representation of real objects and the representation of virtual objects, and the symbolic performance includes two types of external performance and internal performance. Second, in Alexander McQueen's works, the reproducibility of death was mainly reflected by virtual stage scenes and costumes. Thirdly, the symbolic death is not only reflected in the skeletons and blood etc. directly related to the death of the body, but also in the various emotions and psychological states caused by the death. Fourth, the religious nature of death was represented in Alexander McQueen's works through such representative things as crosses and religious stories.