• 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.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.131-151
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• 2011

The study alms to identify how the symbols and images of Greek Roman myths in contemporary fashion have been reflected in respects of meaning and forms, and to find out the organic course from meaning to forms by using Durand's classification. The results define the significance of Greek Roman myths in contemporary fashion, and systematically suggest a direction of imagination for more creative design. In the diurne regime, the symbolism of purity, heroism and fear appeared. In the nocturne regime, the symbolism of maternity and sensuality appeared. In the dramatic regime, the symbolism of androgyny appeared. The characteristics of designs contained in each symbolism are common. In this regard, it is possible to trace organic relationships in the creation of images through the verbal scheme. In addition, the verbal scheme creates archetypal images that lead to images and symbols in the socio-cultural context, so it is possible to analyze the relationships between archetypal images and the format of garments. The study examined how the archetypal images that appeared in the mythical images were expressed in garments through the verbal system.

• 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.

• Korean Journal of Human Ecology
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• v.22 no.4
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• pp.667-676
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• 2013

The purpose of this study is to establish a new method to develop the textile pattern design using Saengbul flower in Seo-cheon flower garden of Jeju Myth, in other words, to create mythic textile patterns by borrowing effectively from the mythic image of Saengbul flower. Seo-cheon flower garden is an incantation space and Saengbul flower means pregnance. Therefore, we drew Camellia flower motifs from a mythic image based on archetypal symbols about the Saengbul flower, and created mythic patterns. In order to achieve this textile pattern design, Adobe CS5(Photoshop, Illustrator) and Texpro were used to design the motifs of Saengbul flower, and then they were arranged in a square pattern and diamond pattern of Richard M. Proctor' set layout. And to conclude, development of the creative textile pattern design using the mythic contents of the Jeju Myth contribute to invigoration the fashion industry and regional culture contents projects in Jeju, and also become the basis of creating added valued to it.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.170-184
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• 2012

The purpose of this study is, as one of Jeju culture contents projects, to suggest a new method to develop the textile design using contents of Jeju Myth, Jacheongbi, in other words, to create mythic patterns by borrowing effectively from the mythic image of Jacheongbi on contemporary fashion. To achieve this, after extracting mythic contents from real animals from the myth (chicken, horse, cow and owl) of Jacheongbi, we draw the animal motifs from a mythic image basis of archetypal symbols and empirical awareness about animals and shamanistic imagination, and create mythic patterns. In order to achieve this design pattern, Adobe Photoshop CS5 Extended was used to design the animal motifs, and then they were arranged via bidirectional layout. And to conclude, development of the creative textile design using the mythic contents of Jacheongbi contribute to invigorating the fashion industry and regional culture contents projects in Jeju, and also become the basis of creating added value to it.

• Korean Journal of Childcare and Education
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• v.10 no.5
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• pp.273-298
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• 2014

The purpose of the study was to examine the image types of the traditional child rearing by mothers with infancy and early childhood through Q-methodology. To conduct that, Q-group was first formed from mothers who raised their child in traditional way after their brainstorming about the method and interviewing them. Based on the subject's shared statements, Q-standard was made with 40 subjects. The 40 subjects were asked to grade each statement from one to nine and then their responses were analyzed by QUANL program. The image types were classified into 4 groups. There were 'Type 1: Relationship-oriented parenting through harmony' 'Type 2: Archetypal Parenting based on the Korean traditional values,' 'Type 3: Practice-oriented Parenting to respect life,' and 'Type 4: Attachment Parenting modern variants necessary.' This study serves as a momentum to see the impact of traditional child rearing on modern child upbringing by examining mother's viewpoints on traditional child rearing.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.5
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• pp.691-700
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• 2009

"Lolita," a novel by a Russian-American novelist, Vladimir Nabokov, has been the center of controversy since its first publication in 1955. As it gained wide fame across culture, it has exercised a great influence, altered or developed to diverse forms. Lolita, the title of the novel as well as the heroine's name, now takes a significant part in our society through all cultures and is used as various meanings and symbols. The purpose of this study is to reanalyze and reinterpret the current use of Lolita based on the characteristics initially portrayed in Nabokov's novel. The traits of the heroine were categorized into purity, seductiveness, and dualism and the commercial use of each in the mass media and fashion in Korea was closely examined. First, purity was interpreted as the archetypal image of a 12-year-old girl, while seductiveness was construed to involve temptation and enticement, ultimately leading a man astray. The dualism of an under-aged sexualized nymphet delineated in the novel as a poor little girl as well as a depraved temptress was stated as another trait of Lolita.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.261-288
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• 2012

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the 'complex-genre-music-theatre', the methode to 'compose' the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience's imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for 'seeing' the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The 'Station' series(Station of Water, The Station of Sand, The Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.611-628
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• 2017

As a plan for establishing Korea's cultural identity and its competitive edge in the world market and for enhancing Korea's cultural status, creative and unique high value-added cultural products need to be developed utilizing our inherent cultural assets. Accordingly, this study focused on the development of the design of fashion cultural products that utilize the convergence of Hangeul our peculiar font style and Korea's cultural heritage, which is registered as part of UNESCO's World Heritage. A design method was devised that converges archetypal images of cultural property with the unique Hangeul font in a way that targets Korea's symbolic architectures. The symbolic architecture includes Korea's world-heritage pagoda architecture, such as Seokgatap pagoda and Dabotap pagoda at Bulguksa temple. It also included the architecture of royal palace, such as Injeongjeon hall at Changdeokgung palace. Finally, it also included the architecture of the fortress wall, such as Paldalmun gate in Hwaseong fortress. Thus, by developing cultural assets made from a convergence between architecture and the Hangeul font as a consumer-product image that has universality, the possibility of cultural products was pursued by applying color planning after an analysis that involved extracting the compositional colors of the flags of the world. This research and approach will lead to opportunities for further progress for Korea's cultural products in the global market as a results of additional recognition for their value, excellence, and universal appeal.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.60-71
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• 2010

The purpose of this paper is to provide a unified examination of apparently quite different gardens in terms of Carl Jung's psychological concepts such as Archetypes, Individualization, and a natural tendency towards balance or wholeness. In Jung's psychological framework, Archetypes are innate, universal prototypes for ideas and function as the first original models upon which all other similar persons, objects or concepts are derived, copied or patterned. Jung proposes that Individualization be achieved through a natural tendency towards balance, especially the balance between the conscious and the unconscious. This paper deals with three gardens, each of which represents a distinct cultural region: Bu-Yong Ji(芙蓉池) at the Changdeok Palace(Oriental), the Patio of the Lions at the Alhambra(Islamic), and the Fountain of Apollo at the Versailles Palace(Western). It is argued that all of three have in common a natural tendency towards balance and symbolize mandala, the archetype of wholeness. Bu-Yong Ji is in the form of quadrangle which embodies Yin and Yang. In the Patio of the Lions, the basin at the center and the four channels, which symbolize the waterway of the Garden of Eden and the four rivers in Paradise respectively, are constructed in the form of a quadripartite composition. The overlapped circle and rectangular shaped pond of the Fountain of Apollo also represents mandala. Symbols representing the same archetype can vary from culture to culture. This explains the differences among the three gardens with respect to specific aspects of external forms. In other words, an archetypal image can give rise to various forms in different cultures, and thus quite different mediums of design or design details may be developed. In conclusion, the three gardens give us a good example as to how an archetypal image can be expressed in different ways from culture to culture and how seemingly different design details can be analyzed in a unified way.