다자이 오사무의 ｢직소｣는 신약 성경의 인물 가롯 유다의 예수에 대한 사랑과 배반을 소재로 만들어진 작품이다. 작품의 전면에 드러나는 것은 주인공 유다의 나르시시즘적 사랑과 정신 분열, 특히 편집증이다. 유다의 편집증을 초래한 근본적 원인은 예수에 대한 나르시시즘적 사랑에 있다. 그의 나르시시즘은 예수를 신적 존재가 아니라 인간적 존재로 간주하고 그에게 이기적이고 현세적인 사랑의 방식을 주장하는 모습에서 확인된다. 이러한 나르시시즘적 사랑은 철저히 자기중심적이기 때문에 필연적으로 욕구의 좌절 속에서 리비도의 분리를 초래한다. 문제는 유다가 리비도를 예수로부터 분리한 이후에도 다른 대상을 찾지 않고 계속 동일한 대상, 예수에게 집착하고 있다는 점이다. 그 결과 유다는 프로이트가 말하는 편집증의 망상 증상들, 질투망상, 피해망상, 과대망상을 드러낸다. 프로이트에 따르면 망상은 억압된 무의식의 내용이 왜곡되어 의식세계에 드러나는 것이다. 결론적으로 유다의 편집증은 대상에게 분배된 리비도가 자아로 퇴행한 이차적 나르시시즘 상태의 비정상적 자아의 결과로 이해된다.

본 연구는 나르시시즘의 시대에 정신화 코칭에 기반하여 기업의 나르시시즘 리더들의 정신화 능력 향상을 위한 정신화 그룹코칭 프로그램 제안을 목적으로 한다. 여기서 정신화 능력이란 자신과 타인의 행동을 생각, 감정, 소망, 욕구와 관련한 측면에서 이해하는 능력이며(Bateman·Fonagy, 2022a), 일상적 상호작 용에 기본이 되는 인간 고유의 능력을 지칭한다. 지금 우리는 사회 문화적으로 조직보다는 개인의 행복이 중요한 나르시시즘의 시대를 살아가고 있다. 이러한 시대적인 특징은 조직에도 큰 영향을 미친다. 특히 조직에서 리더의 나르시시즘 은 자칫 카리스마와 결단력으로 리더들의 필요 요건인 것처럼 보이나, 다수의 학자들은 기업의 존폐와 조직원들의 안위에 해악을 끼칠 수 있는 매우 부정적 요소로도 이야기하고 있다. 격변하는 4차 산업혁명시대를 살아가는 지금, 이러 한 시대적 변화에 대한 코칭적 응답으로 건강한 조직 문화 및 인력자원 양성을 위해 나르시시즘 리더들을 위한 그룹코칭 프로그램을 제안한다. 나르시시즘 리 더들을 위한 정신화 그룹코칭 프로그램은 사전준비, 그룹코칭 과정, 마무리라는 총 3단계를 따라 진행되며, 세부적인 그룹코칭 진행은 총 7회기로 구성되어 진 행된다. 마지막으로 본 연구에서는 그룹코칭을 위한 구조화, 코치의 자세 등을 제시하고, 본 연구의 제한과 한계점을 제시하며 마친다.

Analysis of how texts’ rhetorical strategies endanger or sustain the narcissistic structure of the self is an important approach in recent deconstruction criticism. This criticism carries out a challenge to the analogy between the mind and nature that is to establish a coherent image of the mind and the self. By taking Wordsworth’s the Prelude and a few poems in the earliest Yeats, this essay focuses more centrally on threats to the self and the possibility of self-representation posed by the process of representation itself. In Book IV of The Prelude, the dynamic of passion and memory operates through the image of self-knowledge as a ‘reflection.’ The motion from past to present is a totalization of the self by means of metonymical substitution: the mere eye that looks into the water receives a whole image. But as the word hang, deeps, and gleam suggest, the motion is not necessary to lead to a totality of the self. Passion and prop of affection is always already involved in the self-reflection, preventing it from closing upon itself. The complex dynamic of passion and memory thus is inimical to self-representation. The Blessed Babe passage in Book II is also governed by the figure of passage, present here in the word passion as a sort of originary movement. The self-recognition of the poet is structured as crossing between past and present relations. Here substitution occurs as a transformation of the negation of the mother into a positive gain of nature. But the phrase ‘unknown cause’ and the reference to a ‘trouble’ imply the disruption of the passage from the maternal props to natural properties. The dominant mood of Yeats's earliest poetry is one of narcissistic self-contemplation. The poet in the mood does not contemplate a thing in nature but the working of his own mind. The outside world is used as a pretext and a mirror for self-representation. In “The Song of the Happy Shepherd,” the shell is not sheer nature, impressing itself upon a passively receptive consciousness, but the subjective dream of a human imagination. In spite of the apparent replacement of all the substance of the object by its reflection, however, the image of the shell remains altogether conditioned by the existence of this object. The reflection can be left to exist as a mere phantom of the self without substantial existence of nature. The failure is made explicit in “The Sad Shepherd” where the same shell shatters his song into confusion. Yeats is well aware of this paradox. In order to escape from this narcissistic predicament, for example, he uses the image of a parrot in “The Indian to His Love” who rages “at his own image in the enamelled sea.”

Yeats suffered greatly from the love affair with Maud Gonne but particularly from the contradiction that she manifested. The poet devoted his love and poems to her in vain. But the contradiction is not peculiar or unique problems to Yeats but all men in Western patriarchal tradition. Indeed women for men are figuring simultaneously as madonna and whore, angel and beast. Because the woman has the power to provoke the tumult of desire in man and to gain over him through the desire, the men is afraid of being weaken by her, infected with her feminity and of then showing himself incapable or castrated. The fact that woman from a phallocentric viewpoint appears to be castrated is as reassuring for men as it is alarming. On the one hand, he projects her as lack and sees himself completed in her, thus confirming male hegemony. On the other hand, the so-called castrated woman can reflect back to man a dangerous paradox: if she had been castrated, then his own possession of a penis was in danger by her. In order not to be a paralyzing threat, a woman must have phallic attributes and must become the phallic woman idealized beyond sexuality. The phallic woman is thus fantasized by the man as a defense against castration anxiety. Representation of the phallic woman, he believes, protects him against doubts about his masculinity. Making her like a man conserves the man’s narcissism. The ambiguous nature of the woman is well presented in Yeats’s “Presences.” Here Yeats categorizes the woman as archetypes “harlot,” “child,” and “queen.” And their seductive “rustle of lace or silken stuff” evokes a contradictory femaleness over which he has no rights and which can move rapidly from vulnerable to ruthless, even turning that very vulnerability into a disturbing power over him. In “A Bronze Head,” the woman representative of Maud Gonne remains mysterious and inaccessible, overflowing the ‘images’ and ‘forms’ in which he tries to capture her. In “No Second Troy,” Yeats blames Maud Gonne for her violent political action, perhaps because she cannot be desexualized, idealized, or fetishized fully as he wishes. One of the reasons that Yeats is desperate to prevent the woman from being involved in the politics is that for Yeats the ideal form of a woman would not allow for difference to infiltrate the idealized autonomy. In this sense Yeats prays for his daughter to be the woman with nature of mindless organic spontaneity and for her bridegroom to bring her to a house of custom and ceremony. The idealization of the woman as nature into civilization, however, will not entirely do because it inescapably exposed to the fearful power of death. As Freud argues in Civilization and its Discontents, Eros’s sublimation of the nature into civilization inevitably exhausts its power, which leaves it vulnerable to Thanatos that then threatens to destroy the social order one has so laboriously constructed. The dilemma of sublimation is well explicated in Yeats’s “Mediations in Time of Civil War“ where he perceives the conflict between insistent demands of death drive and the inhibitory requirements of civilization. “Leda and the Swan” shows that the phallic civilization is born together with the brute power of violence and destruction that is to threaten all the social orders. By desexualizing, idealizing, or sublimating the woman, the man may reduce the horror of castration. But his attempt is radically self-defeating and self-undoing, for the more he sublimates her, the more likely she becomes the destroyer of ideal orders. Because of this paradox, the woman remains ontological aphoria to Yeats.

Purpose - The purpose of this study is to investigate the relationship among narcissism, usage motives, usage behaviors, satisfaction with and continuance intention to use fashion social media. Research design, data, methodology – A questionnaire survey was used to collect data after conducting a pilot test. Based on the reliability test of the preliminary questionnaire used for the pilot test, the questionnaire was revised. The final questionnaires were administered to 238 fashion social media users and 216 were used for the data analysis. To assess the validity of these measures, exploratory factor analysis and the confirmatory factor analysis were performed. Structural equation modeling analysis were employed for data analysis. Results - Five factors of the usage motivation of fashion social media were extracted: information-seeking, relationshipseeking, practicality-seeking, enjoyment-seeking and self-expression motives. The statistical analysis confirmed the influence of the narcissism tendency on all of the usage motives of fashion social media, three of the fashion social media usage motives influencing information diffusion behavior, and the influence of the information diffusion behavior on users' satisfaction and continuance intention to use fashion social media. Narcissism exerted the highest influences on self-expression motive followed by information-seeking, enjoyment-seeking, relationship-seeking and practicality-seeking motives in order. Factors affecting fashion information diffusion behaviors are practicality-seeking motive, self-expression motive, and relationship-seeking motive. The greater the diffusion of information, the higher the satisfaction with using fashion social media. The consumers with higher satisfaction intended to use fashion social media and share information more frequently. Conclusions - The results indicate that narcissism is an important factor in fashion social media usage motivation. The main motives for narcissistic people to spread information is for the practical purpose at the most, and then to express their personality and style, and to build relationship with others. The satisfaction through active information sharing behaviors seems to play a key role to lead high continuance intention of fashion social media. These implies that marketing strategies to satisfy consumers’ narcissism and motives to use social media, and to stimulate the information diffusion behaviors can be used to meet their needs for higher satisfaction with fashion social media.