• Title/Summary/Keyword: genuine feelings

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Overcoming Experiences of Family Members Caring for Elderly Patients with Dementia at Home (재가 치매 노인환자를 돌보는 가족원의 극복 경험)

  • Sung, Mi Ra;Yi, Myungsun;Lee, Dong Young;Jang, Hye Young
    • Journal of Korean Academy of Nursing
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    • v.43 no.3
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    • pp.389-398
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    • 2013
  • Purpose: The purpose of the study was to understand and describe the overcoming experiences of family members caring for elderly patients with dementia at home. Methods: Data came from autobiographies on the overcoming experiences of caregiving from 31 participants, who had submitted the autobiographies to a public contest held by the Seoul Metropolitan Center for Dementia in 2012. Data were analyzed using qualitative content analysis. Results: Four overcoming stages emerged from the analysis: confronting stage; challenging stage; integrating stage; and transcendental stage, representing transformation of experiences from frustration and suffering to happiness and new hope in life. The confronting stage illustrates severe negative feelings and exhaustion occurring after the diagnosis of dementia. The challenging stage signifies major driving forces in taking good care of their patients. It includes tender loving memories about the patients as well as family and social supports. The integrating stage shows genuine empathy for the patients' situation and the happiness of 'here and now', while the transcendental stage represents new hope in the future. Conclusion: Health professionals need to support caregivers to find true meaning of caring and happiness in everyday life, while providing specific information on dementia care and relieving various negative feelings.

Understanding the Meaning of Happiness Expressed by Nursing Students through Collage Art Works: A Content Analysis (간호학생이 소그룹 콜라지 작업을 통해 구성한 행복의 의미)

  • Jo, Kae-Hwa;Kim, Yeong-Kyeong
    • The Journal of Korean Academic Society of Nursing Education
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    • v.16 no.1
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    • pp.61-71
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    • 2010
  • Purpose: This study aims to understand the meaning of happiness among undergraduate nursing students through small group art works. Method: A qualitative study design was utilized. Data were collected from the students' clinical experiences and were analyzed with qualitative content analysis. The texts were a collage and related essays written by 36 senior nursing students about the impressions on happiness through small group art works. Result: There were three categories and sixteen themes classified. The three categories that emerged were definitions of happiness, feelings about happiness, and attitudes toward happiness. First category includes seven themes: hope, youth, balance, values, life, self-consciousness and companionship. Second category includes five themes: pleasantness, joy, preciousness, conflict, and disappointment. The third category includes four themes: doing something to be happy internally, doing comprehensive nursing care as a professional nurse, understanding that physical splendor isn't requirement for happiness, and letting everyday life be faithful. Conclusion: The results of this study may affect the students‘ major in human service area of understanding about the nursing students’ genuine happiness or human flourishment.

The Neurophysiology of Poetic Feelings' Partial Pressure and Diffusion -Focusing on Cho Ji-Hoon's Poem Dense Forest (시적 감정의 분압과 확산의 신경생리학 -조지훈의 시 「밀림(密林)」을 중심으로)

  • Park, In-Kwa
    • Journal of the Korea Convergence Society
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    • v.9 no.6
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    • pp.147-154
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    • 2018
  • The purpose of this study is to clarify the structure of healing coded through transcriptional activity in the poem of Cho Ji-Hoon in the aspect of literary therapy. In particular, the search for how the codes of emotion are activated through neurophysiologic synapse. The variation of emotional codes developed in Cho Ji-Hoon's poem is in line with the encoding of literary therapy. Emotions emanating from poetic statements stimulate the transition of new emotions and activate emotions of healing. Cho Ji-Hoon's poem fuses emotions through the floods of various poetic transitions. It is then forming an overall healing forest. The healing content is discussed by the structure of transition, and all the structures are linked to the contents of healing. It is a greater part of sad lyricism by the action of descent and ascension, and green aesthetics of the leaves. In the future, if Cho Ji-Hoon's research on poetry is activated, we will be able to meet genuine stories about his natural and literary healing life.

A study about the petition to the king of Doam(陶菴) Leejae(李縡) (도암(陶菴) 이재(李縡)의 상소문(上疏文) 연구)

  • Kwon, Jinok
    • (The)Study of the Eastern Classic
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    • no.68
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    • pp.35-67
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    • 2017
  • This paper examines the petition to the king of Doam(陶菴) Leejae(李縡), one of the key figures of 18th century. He wrote a total of 49 he petition to the king, mostly resignation petition to the king. He emphasized the genuine feelings and emphasized the accurate persuasion logic when he was writing a petition to the king. It is not contradictory to these elements, looking at his actual situation he wrote. He wrote the resignation petition to the king three times to resign Daejehak (大提學), he changed his persuasion logic in each of the resignation petition to the king. We can look at the aspect of transforming persuasion logic on the same topic. His resignation petition to the king, for the first time, was particularly well structured in terms of composition, and used a proper accent method. His resignation petition to the king has the beautiful literary art of gomun(古文), such as the expression of the so-called munjongjasoon(文從字順) and the composition of paragraph organically corresponding. The best work of his resignation petition to the king is Maneonso(萬言疏). The contents criticized Yeongjo(英祖)'s tangpyeongchaek(蕩平策) while evaluating Sinimoksa(辛壬獄事). It consists of a total of 5,300 letters. This work repeatedly used the irony, the method of seolui(設疑), and the incremental method to criticize the tangpyeongchaek(蕩平策), and put Yeongjo(英祖)'s position to the corner. This work is an example of other the resignation petition to the king.

A study on the usage patterns of Yun Dong-ju's poetry in the musical (- 창작가무극 <윤동주, 달을 쏘다>에 나타난 윤동주 시 활용 양상 연구)

  • Son, Mi-young
    • The Journal of the Convergence on Culture Technology
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    • v.5 no.3
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    • pp.85-92
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    • 2019
  • Yun Dong - ju's poetry and his representations are used in various visual and dramatic media. According to its medium and genre characteristics, Yoon Dong - ju's representations and his poems are selected and changed. It is also the process of reading what the text is trying to convey to the public through a single person. In this study, Yoon Dong - joo's poetry was compared with other poetry of poetry. Particularly, the discussion was focused on the creative actor . If the creative drama is transmitting the feelings of Yoon Dong-ju through the city, the film conveys the poem of Yoon Dong-ju. Gamuplays are more restrictive than the movies because of their genre. As a result, the emotional expressions of the characters are more intense, the progress of the narrative is also dramatic, and the aspect of Yun Dong - ju, a poem illuminated by the movie and the drama, also differs. If the film aims to portray poet Yoon Dong-ju as a genuine literary youth, the creative poet reinterprets Yun's poetry as having a meaning of resistance.

A Study on Lyricism Expression of Color & Realistic Expression reflected in Oriental Painting of flower & birds (전통화조화의 사실적(寫實的) 표현과 시정적(詩情的) 색채표현)

  • Ha, Yeon-Su
    • Journal of Science of Art and Design
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    • v.10
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    • pp.183-218
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    • 2006
  • Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

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Dreams of Admiral Yi Sun-sin (1545-1598) in Nanjung Ilgi (Diary in War Time) and Some Aspects of His Personality: From Jungian Viewpoint (≪난중일기≫에서 본 이순신의 꿈과 인격의 몇 가지 측면: 분석심리학적 입장에서)

  • Bou-Yong Rhi
    • Sim-seong Yeon-gu
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    • v.37 no.2
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    • pp.99-148
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    • 2022
  • This study aims at the psychological elucidation of some conscious aspects of the personality of Yi Sun-sin (1545-1598), the Korean national hero, and the unconscious teleologic meanings of his dreams mentioned in Nanjung Ilgi (Diary in War Time) from the viewpoint of analytical psychology of C.G. Jung. Yi Sun-sin was a man of discipline, incorporated with the spirit of Confucian filial piety, hyo (hsiao) and royalty, chung. He was a stern man but with a warm heart. In his diary, Yi Sun-sin poured forth his feelings of suffering, despair, and extreme solicitude caused by slanders of his political opponents, his grief for the loss of mother and son, and his worries about the fate of his country, which the Japanese invaders now plundered. The moon night offered him the opportunity to touch with his inner soul, by reciting poems, playing Korean string, 'Keomungo', and flute. Further, he widened his scope by asking for the answers from the 'Heaven' through divination and dream. Yi Sun-sin's attitude toward his mother who raised the future hero and maternal principles were considered in concern with the Jungian term 'mother complex'. Won Gyun, Yi Sun-sin's rival admiral, who persistently accused Yi Sun-sin of 'slanders,' certainly represents the unconscious shadow image of Yi Sun-sin. The reciprocal 'shadow' projection has intervened in the conflicting relationship between Yi and Won. In concern to the argument for the suicidal death of Yi Sun-sin, the author found no evidence supporting such an argument, No trace of latent suicidal wish was found in his dreams. For Yi Sun-sin, the determination of the life and death depends on Heaven. 32 dreams from the diary and 3 from other historical references were reviewed and analyzed in the Jungian way. Symbols of anima, Self, and individuation process were found. His dream repeatedly suggests that Yi Sun-sin is an extraordinary man chosen by the divine man (神人). In the dream, Yi Sun-sin was a disciple of the divine man receiving instructions on various strategies, and he alone could see the great thing or events. The dream of a beautiful blue and red dragon, whom he was friendly touching, indicates Yi Sun-sin's eligibility for the kingship. Yi Sun-sin seemingly did not aware of this message of the unconscious. Perhaps he sensed something special but did not identify with 'the disciple of gods' and 'royal dragon' in his dream. His modest attitude toward the dream has prevented him from falling into ego inflation. There were warning signals in two dreams that suggested disorders in the dreamer's instinctive feminine drive. Spirits of the dead father and brothers appear in the dream, giving advice or mourning for the death of Sun-sin's mother. Though Yi Sun-sin was a genuine Confucian gentleman, a dream revealed his unconscious drive to destroy the Confucian authoritative 'Persona' by trampling down the cylindrical traditional Korean hat. To the dreams of synchronicity phenomena Yi Sun-sin immediately solves the problem in concrete reality. He understood dreams as valuable messages from the superior entity, for example, the Confucian Heaven (天) or Heaven's Decree (天命). Furthermore, the 'Heaven' presumably arranged for him the way to the national hero and imposed necessary trials upon him. Both his persecutors and advocates of him guided him in the way of a hero. Yi Sun-sin followed his destiny and completed the living myth of the hero. His mother, King Seon-jo, and prime minister Liu Seong Yong, all have contributed to embodying the myth of the hero. Yi Sun-sin died and became god, the divine healer of the nation.