• Anxiety and mood
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• v.16 no.2
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• pp.76-82
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• 2020

Objective : Previous studies have shown that depression, anxiety and embitterment are highly related to suicide. This study aims to investigate the mediating effect of embitterment between depression, anxiety and suicide. Methods : A total of 174 participants with depressive and anxiety disorders were evaluated with STAI-S, STAI-T, PHQ-9, PTED scale, SSI and suicide attempt history. A mediation analysis using bootstrapping was utilized in order to estimate the indirect effects of depression and anxiety on suicide through embitterment. Results : Embitterment significantly mediated the relationship between depression and suicidal ideation [b=0.291, 95% CI(0.18, 0.40)], and also it mediated the relationship between depression and suicide attempt [b=0.066, 95% CI(0.02, 0.16)]. Although a direct effect of anxiety on suicide attempt was not significant, but embitterment significantly mediated the relationship between anxiety and suicide attempt Conclusion : This suggests that embitterment may be a significant important factor to consider in the relationship between depression, anxiety and suicide. Understanding the mediating role of embitterment on suicide may helpful to prevent suicide.

• Anxiety and mood
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• v.15 no.1
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• pp.29-34
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• 2019

Objective : To determine predictors of posttraumatic stress disorder (PTSD) symptoms in burn injured patients and evaluate factors for identifying high risk group of PTSD. Methods : This study examined sixty one patients aged in the range of 19-65 years with burn injuries. All subjects completed self-assessment inventories about PTSD (The PTSD Check List for DSM-5. PCL-5), depression (Patient Health Questionnaire-9, PHQ-9), embitterment (Posttraumatic embitterment disorder self-rating scale, PTED scale) and meaning of life (Meaning in Life Questionnaire, MLQ). Stepwise multiple regression and ROC curve analysis were the tools used for analysis. Results : The results revealed higher depression, embitterment and lower presence of meaning in life predicted severe PTSD symptoms. ROC analysis indicated PTED scale and PHQ-9 were useful for discriminating high risk group of PTSD. Conclusion : The present study established that the need to consider embitterment, depression and meaning of life for alleviation and prevention of PTSD symptoms in burn patients.

• Monthly Duck's Village
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• s.248
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• pp.24-29
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• 2024

경기도 오리 행사에 빠짐없이 참석하는 사람이 있다. 조용한 말투에 고생 한번 안 한 것처럼 보이는 고운 얼굴에, 모르는 사람들은 오리를 키우는 남편 대신 모임에 나왔나 하고 생각하지만 자기 손으로 직접 일군 오리농장을 두 개나 가지고 있는 안성연 대화오리농장 대표는 안성 오리업계의 터줏대감이다. 남편을 잃고 아이 넷을 키우며 오리농장을 일궈온 힘은 이웃과 경기도 오리농가들의 도움이었다고 말하는 안 대표는 한국오리협회 안성시지부 사무국장을 맡고 있고, 지난해까지는 14년 동안 안성시 일죽면 대화동 부녀회장으로 일해 온 숨은 일꾼이다. 때로는 눈물을 삼키고 때로는 울분을 삼키며 일궈온 오리농장은 이제 막내 아들과 함께하는 즐거운 일터로 자리잡고 있다. 오리산업이 잘되는 것 말고는 소원이 없다는 안성연 대표를 만나보자.

• Anxiety and mood
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• v.10 no.1
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• pp.3-10
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• 2014

Reactive disorder is a group of diagnosis with a definitely known etiology and whose etiological factor is essential to the diagnosis. In DSM system, such reactive disorders are listed as adjustment disorder, acute stress disorder, brief psychotic disorder with marked stressor and posttraumatic stress disorder (PTSD). However, a growing number of individuals is suffering from a prolonged feeling of embitterment after exceptional negative life events and this condition could be diagnosed neither PTSD nor adjustment disorder nor depressive disorder in the context of DSM-IV diagnostic system. This clinical condition can be described as 'posttraumatic embitterment disorder' (PTED). PTED is a reactive disorder triggered by exceptional, though normal negative life events such as conflict in the workplace, unemployment, death of a relative, divorce, severe illness, or experience of loss or separation. The common feature of such events is that they are experienced as unjust, as a personal insult, accompanied by psychological violation of basic beliefs and values. The central psychopathological response pattern in PTED is a prolonged feeling of embitterment. In particular, the core emotion of embitterment can lead to the rejection of treatment. Therefore, "wisdom therapy" as a new treatment approach specifically designed for PTED has been developed. It is assumed that many patients suffering from PTED are often misunderstood and misdiagnosed. This review would help to introduce PTED into the clinical field in psychiatry.

• (The)Study of the Eastern Classic
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• no.66
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• pp.75-101
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• 2017

Cifu(辭賦) is a style that has been pointed out to many people because of Shin Heum Family's literary skills. I focused on this point and outlined Shin Heum Family's Cifu, and searched the literary through the works in which Guiqulai(歸去來) consciousness appeared. Shin Heum and his family members wrote many Cifu works, which were mainly in the form of Gufu(古賦). And many of them revealed personal emotions, such as melancholy. Especially they formed Guiqulai consciousness by taking personal suffering as their nourishments, and it was expressed in Cifu. The feature of Shin Heum Family's Cifu works is that the shape of Guiqulai consciousness is remarkable. There was a political ordeals on the base of such a consciousness. It was literally shaped through various methods.

• (The)Study of the Eastern Classic
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• no.70
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• pp.157-183
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• 2018

Mokjae Lee Samhwan's "MaengHoEum" is the three poems of the Chinese quatrain of 5word 7poetry created according to the previous age. This poem is distinguished from the poem of the general "MaengHoHaeng" series because of it was created in the form of modern-style poetry of series, not a poetry of 5word or 7word or length phrase in a poem. The "MaengHoEum" of MokJae seems to have been built around 1801year when he was 73 years old. Therefore, his "MaengHoEum" can be called an allegory poetry or a society poetry and his poetry can be said that it was created under the criticism of the corrupt political power of the contemporary society, and the 'fierce tiger' which appeared in his poem refers to the factions of Noron Byek line which was the ruling power at that time. However, if you look at the "MaengHoEum" of MokJae, you will see a criticism of the real world, but the feeling is not intense or the description is not concrete. Although his poetry depicts the absurdity of the present reality, but he does not show positive criticism of reality or strong resistance. This characteristic, which can be seen in his poem "MaengHoEum", is the result of the study he pursued for the his life and is thought to be due to the weight of reality. The contradictions of the time of the Mokjae were never silent to him, but on the other hand he could not reveal his own struggle on the surface of the poem. Between his descendants, influenced by his actions, and the stinging gaze watching him, he had no choice but to end his feelings internally.

• (The)Study of the Eastern Classic
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• no.48
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• pp.169-194
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• 2012

This study is about patriotic poems and patriotism-dominated life of Lu You who lived in the Southern Song Dynasty. Lu You, one of the four greatest poets of the Southern Song Dynasty, left about 9,400 poems, out which the majority of poems described his patriotic spirit amid the nation's existential crisis. Among Lu You's excellent poems, patriotic poems that described worries over the nation and the national people were the most well-made ones. As Lu You was a war hawk who insisted on armed struggle with Jin to recapture political supremacy in the nation, he was persecuted seriously. But, Lu You didn't yield his patriotic will until death and he poeticized his patriotism. While discussing Lu You's patriotism and poetic figuration, this study focused on three large categories of his poems as shown below. The first category was the poems describing his will toward resistance and territorial recapture. The second category was the poems expressing his patriotic sentiment and sorrowful indignation. The third one was the poems symbolizing his patriotism through poetic materials such as dream and drink. Out of the poems in these three categories, the first category poems were deeply related to Lu You's political point of view. The second and third category poems showed his grand ambition and frustration he faced with in reality. In particular, Lu You's Kimongsi (dream-describing poem) that symbolized his patriotism gained great literary achievements.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.1-13
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• 2010

This research is the semantic study on the nature cognition and lyricism of pavilion builders as reflected in the pavilion tablets in the Damyang poetry culture area built during 16th century. The names of pavilions, pavilion writings and "poetry with given theme" were studied by actual site visits. The view on the nature and aesthetic awareness of the pavilion builders at the time were explored together with surrounding landscapes. Following conclusions were drawn. 1. Pavilion names borrowed phrases from the famous historical events left by the sages. Or, they took the compliment on the beautiful nature surrounding orthe academic achievement of pavilion owners as the theme, then elaborated them with thinking based on Sung Confucianism. 2. The writings of pavilion literature were the idealistic view on the nature. They think the nature and human as "object and ego are one, object and ego communicate each other, object and ego become one". 3. The nature in the 16th century was the "principle of birth-death-grow-wither" for the intellectuals. They thought that the nature is the ultimate place to return for the realization of life with self-respect. 4. The introduction of fairy land among literary activities in the pavilion was the symbolic means healing the frustrated ego. It was confirmed that they temporarily entrusted their depressed feelings by borrowing the fairy land, far from the reality. The pavilion was the space to escape from the reality and soothe the anger and discord in the reality. 5. The pavilion literature in the Damyang poetry culture area during 16th century sang their pleasure of enjoying the beautiful scenery in the rural area using their social status. The literary works also contained their agony due to the frustration of difficulty in the realization of ideal. When the intellectuals, who already mastered literature, history and philosophy, came down to rural area, built pavilions at the location with beautiful scenery, and spent time while composing poetry, it was an escape from the burden that they should take the social responsibility as the model intellectuals of the society. The pavilions in Damyang poetry-culture area during 16th century were the idealized conceptual world and the space of awareness reflecting the philosophy and thinking of the time.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.