• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.5
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• pp.945-956
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• 2001

The costume for gods in the Ancient Roman myth was studied by examining in the embossed-carving, sculptures, mural-painting and various documents of the period. The clothes item, hairstyle, symbol & ornaments and shoes of the gods in the Roman myths were analyzed to understand the formative process in the religious costumes, and results are as follows. First, the costumes for male gods are the same as those for ordinary men lived in ages, including toga, paludamentum, tebenna, tunica. The costumes for female gods are also the same as those for ordinary women lived in ages, including stola, palla, tunica. Second, the hairstyle of male gods is short curled-hair, twisty roll-up hair and braid long-hair due to the influence of Etrurian in the early days. Another hairstyle is appeared in form of the laurelled-crown. The hairstyle of female gods is curled long-hair, chignon style and braid roll-up hair decorated with hairband. Third, the symbol & ornaments which represent the responsible possession of male gods, are appeared in beard, a stick of the message, arrow-case, offering-dish, antlered-glass, shield, spear-handle, as the superhuman forms, such as the lightning shape. For female gods they are is appeared plastron, a stick of the message, flower. some female gods wear necklace, foot-ring, bracelet. Fourth, male gods wear shoes in forms of sandal, buskin, boots, but all female gods are in barefoot. It could be explained by the fact that a man-centered society in the ancient roman is reflected in the world of gods. As mentioned, Gods costume in Roman myths was very similar to or nothing different from the ordinary peoples in Rome. However, they used corps, sacrifices or sepcific symbols depending on the fields that they were responsible for in order to be distinguished from the ordinary people. This is the result from the peoples expression that they should keep a close relationship with Gods hoping to be protected, and rely on them under whatever circumstances.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.35-50
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• 2011

In this study, repression of the body is defined as a restriction on natural developments or movements and a modification either temporarily or permanently of the human body in shape, color, texture and odor. In addition, it involves physical and (or) mental pain. Chinese foot-binding and the Western corset are extreme examples of female body's being repressed in the history of fashion. The analysis of this type of repression will be based on historical research and theoretical concepts such as Darwin's (1809-1882) survival condition, Freud's (1856-1939) renunciation of desire, Weil's (1909-1943) privilege, and Foucault's (1926-1984) L'Usage des Plaisirs(the use of pleasure). Chinese foot-binding symbolically represents ideal beauty, the distinction of an ethnic group, and a desire for improved social status in the struggle for political power. It also represents psychology and a esthetics of eroticism and fetishism that originate from a man's desire and his individual taste. Symbolically, the Western corset represents abundance and fecundity, obedience and devotion to religion, the sanctity of God and ideal beauty as defined by political power. It also represents psychology and aesthetics of eroticism and fetishism as man's desire and a fashion icon. In conclusion, Chinese foot-binding was pursuit of power in male ideology but Western corset was a power struggle between God and mankind.

• Journal of Korean Academy of Fundamentals of Nursing
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• v.6 no.1
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• pp.78-95
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• 1999

The grafting of a kidney has been found to be the best medical treatment for patients who have renal insufficiency failure, but the patients still have experienced much trouble and apprehension. This study was done to further nursing theory developing for patients who have has a kidney graft from another person. The research method followed grounded theory methodology of Strauss and Corbin. The subjects were three female and four male patients. This study done befween Oct. 1997 and Mar. 1998. All of the subjects were interviewed by the author. Interview were done by the long interview technique and observation. In the process of data analysis, 'heart-boiling' was found to be the core phenomenon. The results were composed to 101 concepts. These concepts were grouped into nineteen categories, and then to twelve categories. There were 12 super-class categories as follows ; 'pain', 'heart-boiling', 'experience of dialysis', 'term of admission to a hospital', 'support of other person', 'dependence on God', 'direction', 'negative reaction', 'positive reaction', 'comfortable', 'lacking', 'acceptance'. In this process, 14 hypotheses were derived from the categories as follows ; (1) The more experience with dialysis that the patients have, the stronger the heart-boiling will tend to be. (2) The less experience with dialysis the patients have, the weaker the heart-boiling will tend to be. (3) The longer admission to hospital the patients have, the stronger the heart-boiling will be. (4) The shorter the admission to hospital the patients have, the weaker the heart-boiling will be. (5) The weaker the intense-grief is, the more positive the reaction to heart-boiling the patients wll have. (6) The stronger the intense-grief is, the more negative the reaction to heart-boiling the patients will have. (7) The stronger the support of other persons that the patients have, the more positive the reaction to heart-boiling the patients will have. (8) The weaker the support of other person that the patients have, the more negative the reaction to heart-boiling the patients will have. (9) The stronger the dependence on God that the patients have, the mure positive reaction to heart-boiling the patients will have. (10) The weaker the dependence on God that the patients have, the more negative reaction to heart-boiling the patients will have. (11) The more positive thoughts that the patients have, the more positive reaction to heart-boiling the patinets will have. (12) The more negative thoughts that the patients have, the more negative reaction to heart-boiling the patients will have. (13) The more positive reaction the patients have, the more free from heart-boiling the patients tend to be. (14) The more negative reaction the patients have, the less free from heart-boiling the patients tend to be. From the analysis of observed data and comparing each class, I concluded that there are four formula relation types between reaction of patients and heart-boiling. (1) If patients have the experience of dialysis, have a long term admission to hospital, are strong in heart-boiling, depend on God, have positive thoughts and another's strong support, they experience release by positive reaction to the intense-grief. (2) If patients have the experience of dialysis, have a short term admission to hospital, are weak in heart-boiling, do not depend on God, have negative thoughts, and have few supports from others, they experience attachment to heart-boiling though a negative reaction. (3) If patients have the experience of dialysis, have a long term admission to hospital, are strong in heart-boiling, do not depend on God, and have negative thoughts, they experience attachment to heart-boiling through negative reaction in spite of support from another. (4) If patients have the experience of dialysis, have a long term admission into hospital, are strong in heart-boiling and satisfaction is low, but they have positive thoughts, then they experience acceptance and harmony through the positive reaction to heart-boiling. The results of this study are expected to help the way nurses care for patients who have had a kidney graft from another.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.22 no.11
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• pp.1481-1488
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• 2018

As female gamers are rapidly increasing, the misogyny and the misandry in game playing situation are also increasing. Recent #Gamergate and GodGunbae incident exhibit that such discriminative/hate behaviour in game playing can be developed into real physical threat or crime. In this paper, we investigate and analyze young Korean game players on how the attackers group, victims group, and gender-issue-indifferent group behave differently in game playing through survey. We found that male gamers had high hostile sexism against female gamers especially on females' game attitude and streotyped hatred with respect to the gender ${\times}$ group interaction. In big-5 personality test, however, it is not clear if attackers and victims had a noticeable different personality patterns. In result, we verify that there exist gender stereotype and high hostile sexism among young Korean gamers. Active gender-equality education on their adolescent period is necessary to avoid such destructive hatred in game playing.

• English Language & Literature Teaching
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• v.12 no.3
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• pp.211-226
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• 2006

This paper examines the crisis of the protagonist's Jewish identity in Philip Roth's Portnoy's Complaint. Jewish values are centered on the philosophy of Judaism and Jewish history. Judaism is based on an ethical monotheism which is Bible-centered. It is characterized by its covenant with God, its humanism, and its emphasis on moral action. It provides essential reasons for man's existence and stresses human confidence and sufficiency. Jewish values can be found in words such as "good," "humanity," "dignity," "responsibility," and "sense of community." These positive Jewish values pervade Philip Roth's fiction paradoxically. Throughout especially Portnoy's Complaint, the protagonist fails to embrace Jewish values in contrast to Bellow or Malamud's heroes and repeat the same mistakes eliciting fits of laughter from readers. The protagonist suffers from his strongly-felt ethical and altruistic impulses perpetually warring with his extreme sexual longings against which he struggles. His desperation grows as he finds himself unable to channel his dissatisfaction and change his situations. His dominating mother and his confusion over Jewishness and Americanism are the main obstacles to his establishment of self-identity. He attempts to build up his gender identity and Jewish identity through his ego-centric sexual relationship with shikses(female gentiles). His inability to embody Jewish values leads to the failure to fulfill his identity. Roth paradoxically shows that the protagonist's realization of Jewishness is essential to the cure for his fragmented self.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.295-306
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• 2019

In this study, I wanted to explore in depth the meaning of psychological phenomena experienced by Christian living alone. For this purpose, five male and female living alone aged 65 or older were interviewed in depth, and the data after the interview was qualitatively analyzed by Giorgi's method of phenomenological research. The study found five categories : 'feeling closer to death', 'loneliness due to lack of a partner to talk to', 'helplessness to a debilitated body phenomenon', 'disconnected relationships' and 'looking at God'. The findings that the faith proved to be an important factor of overcoming loneliness in the lives of the elderly, provide a foundation for understanding and the pastoral counseling of the elderly living alone in churches.

• Journal of Hospice and Palliative Care
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• v.2 no.2
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• pp.101-108
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• 1999

Purpose : The purpose of this study was to identify hospice volunteers' perception of the death. Methods : This study was conducted with 327 adults who registered for the hospice volunteer education program in Severance Hospice Center from 1996 through 1999. The 4-years data was collected through a self-reporting questionnaire constructed and revised by the authors. The questionnaire was classified into 5 categories. The data collected were analyzed using SPSS/W. Results : 1) Hospice volunteers were mostly female(93.9%) with an average age of 48 years. The majority(82.6%) of the participants were Protestant. 2) From the 4-years data over 90 percent of participants thought of death as a process of life and responded positively to these three items : 'Death is a temporary separation from family', 'I will die in peace', 'Faith in God results in a freedom from fear of death'. 3) Age were statistically relevant to the following items: 'I often read the obituaries in the newspaper', 'Dying is a tragedy', and 6 items were significantly related to religion: 'I rarely think of dying unexpectedly', 'Death is a temporary separation from family'. 'Dying is a tragedy', 'We have to do our best to prolong life by use of modem medical technology', 'I feel comfortable thinking of death and dying, 'Faith in God results in a freedom from fear of death'. The finding that religiosity was related to perception of death is consistent with other reports. And $40{\sim}50$ year old Protestant women had more positive perception of death than $20{\sim}30$ year old women. Conclusion : The findings indicated an importance of considering the age and religiosity when we educate the hospice volunteers. And that will be a important basic-data to develope program for hospice volunteers.

• Journal of the Korean Society of Costume
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• v.10
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• pp.63-80
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• 1986

The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.