• 미술이론과 현장
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• 제16호
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• pp.71-103
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• 2013

This paper explores the key figure of minjung misul ("the people's art"), Kim Bongjun, and the art collective Dureong in the relationship between 'dialogue' and the dissidents' structural critique of Korea's modernities. During the 1980s' prodemocracy movement, the minjung artists and other dissident intellectuals used the notion of dialogue as metaphor for and allegory of democracy to articulate not only Koreans' experience of modern history, which they saw as "alienating" and "inhumane," but also the discrepancies between Koreans' predicaments and their political aspirations and their working toward the fulfillment of those ideals. Envisioning alternative forms of modernities, Kim Bongjun and other Dureong members paid attention to the fundamental elements of art, which consist of art as a modern institution, as well as the everyday lives of people as the very site of Koreans' modernities. They endeavored to create "art of life," which presumes its being part of people's lives, based on the cultural and spiritual traditions of the agrarian community. They also participated in the national culture movement, the minjung church, and the alternative-life movement to radically envision everyday lives through the indigenous reinterpretation of democratic values. Despite the significant role played by the church mission and its community involvement, its effects on minjung misul have received little attention in the relevant studies. Thus, I consider in particular the minjung church's and the alternative-life movement's confluence of multiple cultural and social constituencies in relation to Kim and the Dureong collective's vision of a new art and community.

• 한국실내디자인학회논문집
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• 제17권1호
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• pp.120-129
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• 2008

It requires great efforts to satisfy all functional characteristics of the rehabilitating treatments space for the specialized clinic for the elderly as the rehabilitating scope for treatment of the clinic has become more specialized and sectionalized. The specialization of the clinic for the elderly is saliently different in terms of rehabilitation treatment. The changed concept of rehabilitation for the elderly means that it places great importance in helping the elderly in their day-to-day life through a short-term or outpatient treatment, not a long term stay at hospital for retreat. The rehabilitation space in the clinic is essential in that it provided environment for efficient space placement in varied location. Thus, this study has been researched on 6 clinics for the elderly. It is because the space will have a variety of functions, which will be for the sake of the effective rehabilitation treatment of those aged patients who use that medical facilities, and not only for the physical therapy. It could have been designed to accommodate and realize not only the physical well-being, but also psychological, social and spiritual integrity for a variety of treatments, with which as the basis, this study theorizes the characteristics of the essential elements and the specialization factors by extracting spatial element through theoretical investigation. In conclusion the study here proposes the planned guideline for the rehabilitation treatment space to be designed inside the specialized clinic for the elderly, with renewed awareness of the importance on the spatial element in a recently established clinic.

• Journal of Gastric Cancer
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• 제4권1호
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• pp.27-31
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• 2004

Purpose: This study was designed to explore quality of life (QOL) in patients with stomach cancer by using the World Health Organization Quality of Life (WHOQOL) Instrument- Korean version. Materials and Methods: Thirty-one (31) patients with stomach cancer after curative resection were recruited with informed consent. Age- and gender-matched hospital staff served as controls. The 100-item WHOQOL Instrument, including physical domain, psychological domain, social domain, independence domain, environment domain, and spiritual domain, was employed for the all subjects. Results: In patients with stomach cancer after operation, only two domains, physical and independence, were associated with worse quality of life. In those domains, patients with advanced stage, with total gastrectomy, with adjuvant chemotherapy, and early or late postoperative period ($\leqq$2 years or >5 years after operation), could be perceived of having a worse quality of life. Conclusion: Not only scientific objective success but also individual subjective perception of condition could be important for managing patients with stomach carcinomas after curative resection. In this context, the WHOQOL reflecting multi-dimensional state of well being could be a useful tool across a variety of cultural and value systems in the world.

• Journal of Hospice and Palliative Care
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• 제20권4호
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• pp.221-225
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• 2017

인간의 영혼에 대한 보살핌은 양질의 임종간호의 핵심 요소이다. 의미치료는 인간의 주요 동기가 삶의 의미와 목적을 발견하는 것이라는 전제에 기반을 두고 있으며, 호스피스 간호에서 환자, 가족 및 사랑하는 사람들에 대한 보살핌에 도움이 될 수 있다. 자신의 인생 경험, 가치관, 태도에 관한 질문을 제기할 때 소크라테스식 대화법을 사용하는 것은 성찰을 불러 일으키는 유용한 방법이다. 마지막 순간까지도 의미의 추구를 위한 지침은 세 가지 범주의 과제 또는 행동, 사랑과 아름다움의 경험 및 변화될 수 없는 운명에도 불구하고 선택된 태도들에서 찾을 수 있다. 자기 초월, 또는 다른 사람들의 이익을 위해 자아를 벗어나는 것은 삶에 의미를 부여할 수 있다. 고난에는 의미가 없지만 고난에도 불구하고 의미를 찾을 수 있다. 의미 중심의 치료 프로토콜의 적용이라는 새로 급성장하는 연구는 영적안녕과 삶의 의미 및 목적에 대한 인식을 향상시키는 데 유망하다.

• 대한통합의학회지
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• 제7권4호
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• pp.223-230
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• 2019

Purpose : Wellness tourism is defined as travel for the purpose of promoting health and well-being through physical, psychological, or spiritual activities. The development and verification of a comprehensive wellness program for health care for workers is needed. The purpose of this study is to investigate the wellness and skin health effects of skin health programs in order to develop high-value health care services. Methods : The subjects were 15 middle-aged women who understood the research and volunteered and participated in the two-day skin health wellness program. Participants were measured to determine their wellness index and skin health twice: before and after participating in the program. Wellness index measures include comprehensive wellness, physical wellness, mental wellness, emotional wellness, social/cultural wellness, financial wellness, and environmental wellness. Skin health measurement items consisted of skin oil, skin water, skin pore, skin elasticity, skin wrinkle, and skin pigment. The skin wellness program included aerobic exercise, endurance exercise, functional food, cosmetics, herbal tea, massages, spa treatments, meditation, and marine leisure sports. The t-test analysis was used to compare the difference between wellness index and skin health measurement items before and after the program. Results : Among the wellness index items, the comprehensive wellness index (p<.05), mental wellness index (p<.05) and environmental wellness index (p<.05) showed statistically significant differences. Among skin health items, skin oil (p<.05), skin elasticity (p<.01) and skin wrinkle (p<.01) all showed statistically significant differences. There was no statistically significant difference in physical wellness, emotional wellness, social/cultural wellness, financial wellness, skin water, skin pore and skin pigment. Conclusion : This study confirmed that the two-day complex wellness program is an effective program for some items of wellness index and skin health.

• 비교문화연구
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• 제37권
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• pp.51-79
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• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• 복식
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• 제30권
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• pp.85-99
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• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.

• 한국의상디자인학회지
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• 제7권3호
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• pp.181-188
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• 2005

This study attempted to investigate the plastic characteristics of cyber punk fashion with a focus on fashion in the cyber punk movies in order to inquire into how the influence of the cyber punk taking the lead in the spiritual culture and way of life of the humankind in the 21th century would be expressed in fashion. For this purpose, it sought to analyze the beauty of new fashion creating the cyber environment and identify its contemporary meaning. An attempt was made to investigate the image of cyber punk fashion with a focus on fashion expressed in the cyber punk movies. As a result, the following findings were obtained: First, the image of cyber punk fashion expressed in the cyber punk movies was simplicity, which was to express the modest silhouette and details exclusive of decoration. In addition to clean and smooth gloss, it contained the modest image of resistance', not 'revolt' by borrowing the partial motive and image from existing punk fashion. The change of cyber punk fashion into the characteristic of concise, smooth external appearance brought about the restraint of its image and symbolism as well as its plastic characteristic. Second, it was characterized by the Eroticism nature of emphasizing the body line while expressing the future and modest image or exposing the body. Cyber punk fashion expressed the avant-garde image by using materials that gave a mysterious and future feelings, as well as unsymmetrical silhouette, the slit of body-conscious line, coarse cutting, the method of do-constructing and reconstructing the silhouette, the method of applying diverse underwears such as corset, brassiere and the like. Third, cyber punk fashion was marked by the nature of mined sex. It had the masculine image by using the black color containing the image of masculinity and resistance in female clothing and expressing the suit, coat and military looks giving an masculine impression. And it expressed the image of mixed sexes with the masculine image in male clothing by borrowing feminine images such as body-conscious line, widely cut neckline, floral decoration, leggings and the like. Fourth, cyber punk fashion was marked by naturalness. It was expressed as clothing made from silhouette, knit, cotton and the like in the atmosphere expressing love, comfortableness and truth. This contained the image of naturalness, a return to the primitive, that human being wanted to return to their original figure in the future element. The cyber punk movie may contain a dismal, gloomy future image on the whole, which can be overcome, and shows the possibility that it may grow into the alternative culture, not the revolting culture. The movie of 'The Fifth Element' demonstrates the meaning and role that shows the bright future image. It is thought that designers should make efforts for cyber punk fashion to perform its role in changing the gloomy future image into the bright image of society

• 대한한의학원전학회지
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• 제13권2호
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• pp.174-188
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• 2000

The meaning of Tiangui(天癸) in $Suwen{\cdot}Shanggutianzhenlun\;素問{\cdot}上古天眞論$ is very important because it has the cause of 'having a child' and it shows the signs to being healthy. But until now there have been many arguments about what the correct meaning of Tiangui is. The most important thing in these arguments is to compare and analyze Neijing(內經) commentators' views, and to understand differences between their views. So I compared and analyzed by focusing on Neijing(內經) text, the other books with explanatory notes, and other commentators' views, and, after that. I got the following results. 1. On the meaning of Tian(天), Wangbing(王氷) and Mashi(馬蒔) considered that it is inborn. Zhangjiecong(張志聽) considered it as the Yang(陽) producing Yin(陰) Zhangjiebin(張介賓) regarded it as the Yang(陽) of Gua symbol. On the meaning of the Gui(癸). Zhangjiebin(張介賓) said that it is Yin qi(陰氣) which is the prior step to Xing(形). Mashi(馬蒔) and Zhangzhicong(張志聽) said that it is spirit or Jingxue(spiritual sanguine) which is the concrete constituents in our body. 2. On the relation bet ween Tian(天) and Gui(癸), Mashi(馬蒔) and Zhangzhicong(張志聽) said that Gui(癸) is made from Tian(天), and Zhangjiebin(張介賓) said that Tian is intrinsic in Gui(癸). 3. On the relation between Tiangui(天癸) and Jingxue(精血), Yangshangshan(楊上善). Wangbing(王氷), and Zhangjiebin(張介賓) regarded Tiangui(天癸) as a concrete matter which is the prior step to becoming Jingxue(精血). Mashi(馬蒔) and Zhangjiecong(張志聽) considered Tiangui(天癸) as a concrete matter. Mashi(馬蒔) considered Tiangui(天癸) as Jing(精)which is directly related to pregnancy. Zhangjiecong(張志聽) regarded Tiangui(天癸) as Jingxue(精血) which controls general physiology of men and women. 4. On the function of Tiangui(天癸), Yangshangshan(楊上善) and Wangbing(王氷) considered that Tiangui (天癸) has relation to menstruation. pregnancy. and, production and extinction of Jing(精). Zhangjiecong(張志聽) argued that Tiangui(天癸) strengthens and warms muscle and derma. and controls differential physiology between men and women, and said that the maintenance of its activity is based on the acquired spirit of food. A book of 『Huangti Neijing Yanjiu Dacheng(黃帝內經硏究大成)』 said that the function of Tiangui(天癸) is to promote generation, to develop the second sexual symbol, and to make growing and aging in body. It also said that Tiangui(天癸) has some relation to kidney and other organs, Chong Meridian, Ren Meridian, Du Meridian, and Dai Meridian. 5. Other commentators of 『Neijing(內經)』 accepted the meaning of Tiangui(天癸) as the prior step of both man's spiritual overflowing and woman's menstruation. 6. On the relation between Tiangui(天癸). and, Cheng and Ren Meridians, Yangshangshan(楊上善) and Zhangjiecong(張志聽) said that Tiangui(天癸) has direct relation with two meridians. Wangbing(王氷) said that Tiangui(天癸) and two meridians have no direct relation. Now I compared commentaors' views of Tiangui(天癸) and studied the differences between their views. I concluded that on the concept of Tiangui(天癸), Zhangjiebin(張介賓)'s explanations express well its connotative meaning. And on the function of Tiangui (天癸), Zhangjiecong(張志聽)'s explanations are excellent because he organized well his seniors' views, and extended its meaning by showing Neijing(內經)'s phrases related to Chong and Ren Meridians. Also, Mashi(馬蒔) suggested that if Tiangui(天癸) comes earlier than normal. people will die soon. But I think that more studies on male and female bodies are needed as to Mashi(馬蒔)'s argument.

• 조형예술학연구
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• 제12권
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• pp.97-124
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• 2007

본 논문은 도가(道家)의 대표적 철학자인 "장자(莊子)"의 "소요유(逍遙遊)"에 제시된 '유(遊)'란 개념이 미술교육에서 필요한 것인지를 연구하였다. 우선 장자의 '유(遊)' 개념과 미술교육의 배경 및 필요성을 정의하고, 동양미술에서 활용된 '유(遊)'의 의미를 미학적으로 분석하여 오늘날 '유(遊)' 개념이 현대동양미술교육에 응용되고 표현될 수 있는지 탐색하는데 역점을 두었다. 논문의 전개 중 제2장은 장자의 철학적 '노닐음(유(遊))'의 개념 및 사유, 제3장은 미술교육의 배경 및 필요성을 연구하였다. 제4장은 장자의 노닐음(유(遊))'을 통한 동양화실기교육 접근을 연구하였다. 우선 노닐음(유(遊))'을 통한 동양화실기교육 접근을 2장에서 연구된 사유방법으로서 공간개념인 '허실(虛實)'과 표현기법으로 '필묵(筆墨)', 작가의 정신적 화면의 경지는 '사의(寫意)'로써 각각 분석 연구하였다. 첫째, '유(遊)'와 동양화의 상호관계성을 허실(虛實)의 조형이념으로 고찰 했을 때, 허(虛)는 그외 대상이 본질로 드러난 실(實)의 부분으로 하여금 감상자들에게 연상과 암시, 상상을 불러일으켜 예술가가 표현하고자 하는 적극적인 잊음(유(遊))의 경계를 뜻하므로 '허(虛)'는 '유(遊)'와 서로 같은 경계의 맥락이라 할 수 있다. 따라서 허(虛)와 실(實)은 조형 활동의 경험을 통하여 표현 및 감상 능력을 길러, 창조성을 계발하고 정서를 함양시켜 미술교육에서 필요성이 나타남을 알 수 있었다. 둘째, 필묵으로 음(陰)과의 양(陽)의 걍약으로 신(神), 기(氣)(심제(心齊)), 전신(傳神), 사의(寫意)등을 각각의 예술적 경지를 표현하는 것이다. 따라서 필묵은 형사(形似)와 사의적(寫意的)적인 예술형상의 창조까지 연계되어 있는 중요한 것이다. 따라서 정신적 '노닐음'의 경계를 통한 자유로움은 사유에 의한 표현 할 수 있는 창조력과 자연 감상능력 및 미적 문화의 가치를 판단할 수 있는 교육을 탄생시킬 수 있는 것이다. 이상의 결과로 볼 때, 미적 안목의 육성, 창의성 계발, 감성능력의 함양, 조형능력의 함양 등의 인성교육으로 복합적인 미적 논리가 다양한 현대미술 속에서 동양미술교육의 정체성을 지킬 수 있는 하나의 방법론이라 본다.