• 한국의류학회지
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• 제25권5호
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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.

• 한국의류학회지
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• 제31권8호
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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.

• 복식
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• 제61권7호
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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.

• 기본간호학회지
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• 제6권1호
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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.

• 대순사상논총
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• 제37집
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• pp.191-227
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• 2021

본 연구는 진과 선의 가치가 미의 형태로 드러난다면 대순사상에서 진리는 어떻게 '미적인 것'으로 표출되고 나타나는지를 미학적 관점에서 분석하고자 하였다. 이에 대순진리회의 신앙을 감각과 감정, 아름다움으로 성찰하는 전통 미학 혹은 신학적 미학의 방법으로 접근해보고자 한다. 「전경」을 중심으로 살펴본 대순사상의 미 개념은 신성(神性)과 도리(道理), 일심(一心), 관계(關係)에 숭고와 균제, 절제, 조화미로 나타난다고 할 수 있다. 이러한 미 개념으로 고찰한 대순사상의 미학은 천지공사의 미학과 상생의 미학, 치유의 미학이다. 천지공사에는 하느님이 화신(化身)하여 이 땅에 다녀가셨다는 역사가 담겨있다. 인간 '강증산'이 상제라는 깨달음은 충격적인 미적 모티브이자 대순진리회의 신학적 출발점이라 할 수 있다. 상생은 상호관계의 사회성을 심미적으로 나타내는 용어라고 볼 수 있으며 관계의 조화와 통일에 상생의 미학적 구조가 있다고 본다. 치유에는 인류를 무병의 선경세상으로 이끄는 상제의 신성한 숭고미와 인간을 안심·안신으로 나아가게 하는 절제미가 담겨있다 할 수 있다. 치유의 궁극적 가치인 의통은 인류의 이상을 실현해 주는 수도의 종착점이자, 아름다운 삶, 가치 있는 삶이라는 영적 쾌감을 주는 치유의 미학을 보여주고 있다. 미학의 시선으로 살펴본 대순사상의 미학적 특징은 진멸지경에 놓인 세상에서 창생을 구원하고자 우리 곁에 머물다간 상제의 '거룩한 수고'와 상생의 실천으로 치유를 이끌어 내는 미적 태도를 갖고 있음을 알 수 있다. 우리는 아름다운 여인을 보면 '여신(女神) 같다'고 하거나 '선녀(仙女) 같다'는 말을 한다. 아름다운 음악을 들으면 '천상(天上)의 소리'라 찬사하고 즐거움이 가득할 때는 '신(명)이 난다'고 표현한다. 신(神)은 곧 아름다움의 상징이며 신의 세계는 아름다움의 원형을 의미한다 할 수 있다. 아름다움에 대한 경험은 우리의 영혼을 신에게로 안내한다. 대순사상의 미적 체험은 감정적, 지적, 영적 환희의 절정을 이루는 종교체험으로 그 무엇과도 비교할 수 없는 아름다움을 인식하는 심미적 체험이라 할 수 있다.

• 한국정보통신학회논문지
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• 제22권11호
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• pp.1481-1488
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• 2018

컴퓨터 게임 플레이 중에 발생하는 여성 혐오 현상도, 그에 대한 대응으로 발생하는 남성 혐오 행동도 여성 게이머의 증가와 함께 크게 중가하고 있다. 미국에서 벌어진 #Gamergate 사건이나 우리나라에서 벌어진 갓건배 사건 등은 이런 게임 내 성적 차별/혐오 행동이 직접적인 물리적 폭력의 위협으로 발전할 수 있음을 보여 준 위험한 사례이다. 이 논문에서 우리는 우리 청년 게이머들 중 그러한 성차별/혐오 행동의 가해자 군과 피해자 군, 그리고 일반 게이머군 사이에 어떤 차이가 있는지를 섹시즘 발현 척도를 통해 조사하고 분석하였다. 그 결과 성별로 유의한 섹시즘 차이가 존재하고 남성 그룹 중에도 세부 그룹들이 독특한 행동 패턴을 보이며 여성 가해자 그룹이 가장 높은 섹시즘 척도를 보이는 등 여러 가지 걱정스러운 현상을 감지하였다. 또한 Big-5 성격 요인 검사를 통해 이들 그룹 구성원들이 가진 성격 특성이 가해/피해 그룹 간에 차이가 있는지를 검사했는데 그 부분에서는 발생한 차이가 내재적 성격 특성인지 피해에 대한 상호작용의 결과인지는 분명하지 않았다. 결국 잘못된 성 고정관념이나 섹시즘 발현은 사회문화적 젠더 인식 교육이 청소년기에 적극적으로 이루어져야 개선될 것이라 생각한다.

• 영어어문교육
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• 제12권3호
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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.

• 문화기술의 융합
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• 제5권4호
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• pp.295-306
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• 2019

본 연구에서는 크리스천 독거노인들이 살면서 경험하는 심리적 현상의 의미를 심층적으로 탐색하고자 하였다. 이를 위하여 신앙생활을 하는 65세 이상 남녀 독거노인 5명을 대상으로 심층 면접을 진행하였고, 수집된 자료는 Giorgi의 현상학적 연구 방법으로 질적 분석하였다. 연구 결과, '죽음이 점점 가까워짐을 느낌', '대화할 상대자가 없어 외로움, '쇠약해진 신체 현상에 무력해짐, '단절된 관계, '하나님을 바라봄의 5개의 범주가 도출되었다. 독거노인의 삶에 있어 신앙이 홀로됨을 견디게 하는 중요한 요소로 밝혀진 본 연구결과는 교회 안의 독거노인들에 대한 이해와 돌봄의 목회적 상담 기반을 위한 토대를 마련하였다고 볼 수 있다.

• Journal of Hospice and Palliative Care
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• 제2권2호
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• pp.101-108
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• 1999

목적 : 본 연구는 호스피스 자원봉사자를 대상으로 죽음에 대한 인식을 파악하여 자원봉사교육에 기초자료로 활용하기 위하여 시도되었다. 방법 : 1996년부터 1999년까지 4년간 실시된 호스피스 자원봉사 교육 대상자 남녀 성인 465명 중 교육하기 전에 실시한 질문지에 응답한 327명에게 죽음에 대한 인식을 자기보고식 설문지를 통하여 수집하여 분석하였다. 수집된 자료는 SPSS/W를 사용하여 분석하였다. 결과 : 1) 대상자는 총 327명이며 여성이 307명으로 93.9%를 차지하였다. 대상자의 연령은 22세에서 74세로 평균 연령은 48세이었고 40(35.9%)${\sim}$50대(37.4%)가 가장 높은 비율을 보였다. 대상자의 종교는 기독교가 전체 대상자의 82.6%를 차지하여 가장 비율을 나타냈다. 2) 죽음에 대하여 긍정적인 인식을 나타냈으며 죽음을 인생의 한 과정으로 받아들이고 있었다. 사형제도에 대해서는 대다수가 비인도적이라고 응답함으로서 부정적인 태도를 보였으며, 현대 의학의 발달로 생명연장을 기대하며, 모든 방법을 동원하여 생명을 연장시키려 노력해야 한다에는 비교적 긍정적인 결과를 보였다. 대상자의 95.4%에서 신앙심이 깊다면 죽음의 공포에서 해방될 수 있다고 응답하였다. 3) 죽음에 대한 인식은 대상자의 연령, 종교에 따라 통계적으로 유의한 차이를 보였다. 연령이 높은 층이 젊은 층보다 죽음에 더 민감하였으나 대체적으로 죽음에 대해 긍정적인 인식을 나타냈다. 4) 종교적으로는 기독교 대상자가 기타 종교를 가진 대상자에 비해 죽음에 대해 긍정적이고 자연스런 과정으로 여기며 죽음에 대한 공포감은 깊은 신앙심으로 극복될 수 있다는 강한 종교성을 보였다. 결론 : 본 연구의 결과는 호스피스 자원봉사자를 위한 프로그램 개발 시 중요한 기초 자료를 제시하고 있다.

• 복식
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• 제10권
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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.