본 논문의 목적은 초의선사(1786-1866)의 우리 차의 우수함과 이 로운 점을 찬탄하는『동다송』을 중심으로 선다시와 마음치유 관계성 의 시학을 살펴보는데 있다. 시와 글씨 그림과 차에 뛰어나 4절이라 불리는 초의선사는 전남 무안출생으로, 속성은 장씨이고 법명은 의 순(意恂), 초의는 법호, 중부(中孚)는 이름이다. 24세 때, 다산 정약용, 추사 김정희, 해거도인 홍현주, 자하 신위 등 거유들과의 만남은 초의의 생애에 전환점이 되었다. 그들과의 교 유는 초의의 일생동안 유지되었으며, 초의의 독특한 차 정신을 발전 시키는데 영향을 미쳤음은 물론 그의 정신토대를 확립하는데 크게 도움이 되었다. 초의에게 선과 차는 둘이 아니라 하나였다. 다시 말해, '다선일미'였 던 것이다. 여기에는 마음을 수양과 찻자리 사이에는 어떠한 다름이 없다는 것이 함축되어 있다. 차와 선을 할 때에는 마음의 고요와 집 중이 있어야 한다. 그러한‘다선삼매’의 상태에서는 얻음과 상실, 사 랑과 미움, 너와 나 등 이항 대립이 있을 수 없다. 때문에 초의는 한 잔의 차에 법희선열이 녹아있다고 생각하고 다선삼매에서 법희선열 을 즐겼을 뿐만 아니라 타인들과 차를 즐겨 마시며 정담을 나누고 교 유를 했다. 따라서 정성을 다해 차를 만들고 마심으로써 집중과 통찰을 높이고 마음을 맑히며 깨달음에 이르렀던 선사들의 선다시를 읽고 감상하는 것은 오감의 정화는 물론 베품과‘내려놓기’,‘ 비움’을 통해 불안과 스트레스를 받으며 살아가는 현대인들의 마음을 치유하는 효과적인 방법이 될 수 있을 것으로 생각된다.

인간의 뇌파는 뇌의 활동에 따라 발생하는 전기 활동을 두피 상에서 추출한 것이고 발생한 뇌파의 주파수 대역에 따라 다른 특징들을 나타낸다. 최근 뇌파 측정 디바이스가 저렴하고 휴대하기 쉽게 출시되면서 게임 분야에서도 뇌파가 새로운 인터페이스로 각광받고 있다. 하지만 사용자의 감성적 반응이 게임에 큰 영향을 미치는 포커나 도둑잡기 같은 오프라인 게임들은 어플리케이션으로 개발되지 않고 있다. 이는 게임 규칙이나 진행 방식은 어플리케이션에도 적용 가능하지만 사용자의 감성적 반응을 적용할 수 없었기 때문이다. 뇌파를 통해 측정되는 집중도와 명상도를 이용하여 사용자의 감성적 반응에 대한 게임 규칙을 추가하고 사용자의 감성적 반응을 어플리케이션에 적용하여 도둑잡기 게임을 구현하였다. 도둑잡기 게임은 주로 오프라인에서 진행되는 게임으로 상대방의 카드를 선택했을 때 나타나는 사용자의 감성적 반응이 게임에 큰 영향을 미친다. 게임을 수행하면서 집중도와 명상도는 사용자의 감성상태에 따라 계속적으로 변화할 것이고 사용자가 의도적으로 집중도와 명상도를 높게 유지하여 게임에서의 우위를 점할 수 있다.

This essay examines Jacques Callot’s Les Grandes Misères et Malheurs de la Guerre (1633) as a moral meditation on war as catastrophe. It also uses Callot’s Miseries to reflect on the nature of catastrophe as such, particularly as “An event producing a subversion of the order or system of things.” As such, catastrophe refers less to nature or the natural gone awry, than it does to the abnegation or suspension of moral aspects of human nature. More than a reflection on war as catastrophe, and catastrophe as fundamentally moral, Callot’s Miseries are a timeless meditation on aspects of the human condition; or on human beings in what amounts to state of nature―as evidenced in times of disaster. Such reflection, again, does not by itself imply that all war―even when catastrophic― is unnecessary, let alone necessarily unjust. But it does suggest that artistic engagement with war understood as catastrophic, may yield insights into human nature that are as important to human self-understanding as those represented in artistic subject matter that is more quotidian.

The purpose of this study was to investigate the effects of meditation music with lumbar stabilization exercise on balance, concentration and muscle activation. Participants are divided into Group A and Group B. Group A listened to meditation music while doing 4 sets of lumbar stabilization exercise. Group B did not listen to meditation music while doing 4 sets of lumbar stabilization exercise. Surface EMG data was obtained rectus abdominis, external oblique, erector spinae, multifidus muscle during lumbar stabilization exercise. To examine the effect of before-after experiment for concentration and balance, paired t-test was adopted. Changes in EMG data of each muscles were analyzed by independence t-test. There were statistically significant increasing at concentration level and balance level in Group A. But significant difference was not shown in muscle activation. The clinical effect of the meditation music with lumbar stabilization exercise was investigated in this study with more excellent results in concentration and balance. In conclusion, these results suggest that meditation music and lumbar stabilization exercise may be useful in elderly people.

In this study, I will focus on “Byzantium” and explore how the poem mirrors the essence of Zen Meditation. Not only is the poem patterned after the progressive procedure of Zen meditation, but they also reflect the fundamental concerns of Zen meditation, such as the problem of duality, the concept of time, and an aspiration for freedom from the limitation of this life. These features of Zen meditation are expressed through the use of specific symbols, the implications of setting, and various poetic techniques. The purpose of this study is to provide another way to read the poem by analyzing it in the context of Zen meditation. The structures of the poem are loosely patterned after a typical process of meditation through which the meditator reaches Unity of Being. The process of Zen meditation is nicely depicted in the ten pictures titled “The Boy and the Ox,” each of which shows the gradual development of the meditator’s search for his won nature or Buddhahood. For the convenience of my discussion, I will simplify the ten stages of Zen meditation to four−confusion, immersion, union and return−which, I believe, cover all the important procedures in the meditation. The first stanza of “Byzantium” exhibits some typical features related to its meditative scheme, in which we can feel the sense of confusion on the part of the meditator or poetic persona. In other words, the meditator sets out his meditative journey to search for an answer for his sense of confusion or clear it. The second to the fourth stanzas are equivalent to the second stage (immersion) and the third stage (union or seeing the vision) of meditation. The last stanza parallels the final stage of Zen meditation (return). In “Byzantium,” we see the reflection of Zen meditation. The structural patterns of the meditative poems generally correspond to the four stages of Zen meditation: confusion, immersion, union or seeing the vision of the unity, and return. Yeats’ use of poetic techniques such as line scheme, use of number symbolism, and the arrangement of stanzas are closely associated with the meditative scheme of the poems. In addition, the major concern of the poems is reminiscent of that of Zen meditation in that they confront the problem of duality, which sets up the occasion for meditation. The agony of duality results from the concept of time. Thus, the meditator tries to reconcile the dichotomous elements, resulting in the state of freedom from time. More than anything else, the purpose of Yeats’ meditative poem lies in the poet’s aspiration for self-awakening, as in Zen meditation. The poem is Yeats’ record of his life-long efforts to meet his “fourth self” or Great Self.

수형자들은 수용생활 동안 우울, 불안, 분노, 두려움, 소외감, 무력감, 그리고 그리움 등으로 인한 심리적 고통을 겪는다. 대부분의 수형자들은 인생의 중반기에 도달한 사람들로써 정신적 번민과 신앙문제에 대한 상담의 필요성을 절실히 느끼고 있다. 수형자들의 이러한 심리적 고통을 감소시켜 줄 치유 프로그램의 개발은 매우 중요하다. 치유 프로그램인 마음챙김 명상은 고통의 소멸을 목표로 하기 때문에 수형자들의 전인적 안녕을 가져오게 하는데 매우 효과적인 방법이 될 수 있다. 마음챙김 명상은 이완, 노출효과를 통한 둔감화/탈민감화, 탈자동화 /탈습관화, 수용/수용적 자기관찰, 탈동일시/탈중심화/거리두기 등의 치료적 기제를 통하여 수형자들이 자신을 좀더 객관적으로 바라보고, 정신적 번민을 극복 하게 하는데 도움을 줄 수 있다. 그러므로 마음챙김 명상은 수형자들이 교도소에서 경험했던 심리적 고통을 극복하게 하며, 사회복귀 이후 재범 방지에도 도움을 줄 수 있다.

Yeats published a total of four books of In the Seven Woods over 19 year period starting from 1903 through 1922. A comparison of these four books demonstrates how constantly and diligently he repositioned the order of poems, not to mention correcting lines and changing the titles of some poems. It was 1908 when the order of poems was finally fixed. Yeats's habitual rearrangement of his poems suggests that the poet was still struggling to reshape his intention. The fixation of order of poems in the 1908 volume of In the Seven Woods then implies that Yeats finally found himself satisfied with the message he tried to orchestrate through the volume. If so, what is an organizational principle shaping the final version of In the Seven Woods? And what message is Yeats going to send through the book of poems? The purpose of this paper is to answer these to questions. Here my argument is that what Yeats finally chose for the skeleton of the 1908 and 1922 volume was a meditative structure. That is, the final order of poems has been evolved over the years in such a way as to reflect a meditative structure. In other words, In the Seven Woods, as a meditative sequence, consists of three stages of a composition of place, analysis and colloquy, which resemble the process in a meditative poem. Hence, his poetic message for the volume is also concerned with the purpose of meditation--specifically the Yeatsian concept of meditation--that is, transcending human limitations by dissolving antinomies. There are two axes in In the Seven Woods: one--vertical--axis is made by an individual poem; the other--horizontal--axis is built by an arrangement of poems which provides another poetic statement. Here we have an individual poem which, when viewed separately, mainly deals with his emotional turmoil and deep psychic unrest due to his troubled love experiences with Maud Gonne. Here we also have a whole group of poems which are carefully framed to elevate his personal bitterness and anxiety to the collective problems of human beings due to their inability to deal with antinomian principles. Through In the Seven Woods, the main character, or Yeats, sets out a meditative journey, a progressive movement toward a state beyond time or an aconceptual state where the meditator finds an answer for his quest for oneness. In the end, however, Yeats shows his strong skepticism about the possibility of achieving oneness.

Yeats remarked, two years before his death, that it is the poets’ first business to describe desirable persons, desirable places, and states of mind. One of theses excellent persons and places in Last Poems―ascetics and the “half-way house” the Chinamen of “Lapis Lazuli” climb towards. Here we notice how many topographical associations lay everywhere: “the mountain,” “Alt” and the central character climbing some high point. Having lifted himself to the vantage point of age, Yeats is able to form a final altitude. The last poems are mainly set in the location of the open field, that dominates the poetic landscape. ‘The whole system’ of A Vision ‘is founded upon the belief that ultimate realit y…falls in human consciousness into a series of antinomies.’ Since he had long arranged his thought and disciplined his imagination by ideas of antithesis, it is natural that his later work should play out an extended series of oppositions: knowledge and ignorance; day and night; time and eternity. In the process of consciousness they have a tendency to be separated from each other into various sets of the opposite; while their attendant logic characterizes a struggle towards harmony. ‘Logical and emotional conflicts alike lead towards a reality which is concrete, sensuous and bodily.’ “Meru” invokes an image of human being in conflict with the cyclicity of a cosmic rhythm. Yeats, identified with the oriental hermits in the ascetic attitude to life, sees “the naked bodies” to awake to the realities of life, he is reassured that the higher perception should be gained through their sensuous experiences in the darkness of night. According to St. John of Cross, ‘the nature of the soul requires complete renunciation of the world.’ The darkness brings wisdom, emptiness sight. Yeats would describe it as ‘the luminous dark.’ This implies in ‘via negativa’ that one is nothing, paradoxically, to become everything. The open region for everything is the place Heidegger called ‘clairiēre,’ which Yeats would like to paint in his poetry. Its openness let brightness play with darkness in it. The relation to light and darkness characterizes as ‘a double’ like the dawn image. This curious relation Adams claims to name ‘identity.’ Identity has the same form, as does a metaphorical trope, where sameness and difference coexist in language. He would write a poem ‘cold and passionate as the dawn.’ The important metaphor, which Yeats uses to describe the intersection of the two worlds, is that of dawn. In this paper I was concerned with both the realm where religion, art, personal consciousness converge and the place in which gathers and protects everything. Yeats was life long a man who practiced both absolute integrity of craft and perfection of personality, the perfection of its surrender. I take poetry to be an exploration of human consciousness, where it faces time and eternity in their play. Equally it is an exploration of words.

Though all of the poems including Yeats’s Last Poems were written during the last years of his life, the remarkable vigor of thought and of imagination, which increased with the poets’ years, is shown here once more. However, compared with the powerful impact of The Tower and The Winding Stair, the accent of their nonchalant freedom and more colloquial style was one principal source of the reviewers’ dissatisfaction. And T. R. Henn suggested that we should perceive the philosophical and satirical implications behind so many seemingly personal poems, even in the accent of lust and rage of the Last Poems. The primary concern of philosophy is the problem of the self, while the philosophical implication of Last Poems is the self itself. Yeats’s final aim in writing poetry is the perfection of the life and of the work in the process of creating the true self. In his last letter he said, “man can embody truth but he cannot know it, but he must embody it in the completion of his life.” In this sense, the life itself is the total work of art, the completed symbol. When he elucidated that he would write a poem “cold and passionate as dawn,” the pregnant word “dawn” is to be the completed symbol of the work of art. This passage concerns those transformations which are endemic to art. The prime idea must be that necessary infusion of joy in the most tragic contents - the incoherence of the actual life and the limitation of human life. It is the poetics of his itself which achieves “the dawn,” the twilight zone of the darkness of night and the light of day. Yeats found that his place could be the trysting-place of the extremity of sorrow and the extremity of joy, the perfection of personality, and the perfection of self-surrender, passion, and stillness. “Lapis Lazuli’s” “Black out: Heaven blazing into the head” means that the dark grow luminous while the void fruitful. Yeats wrote, “when I understand I am nothing and nobody” through the state of darkness, . . . there must be the dance at the trysting-place or at ‘the clearing’ Heidegger might coin, in the mingling of the contraries. The nobleness of art exists in playing together the contraries. Where all the contraries can play together, the dawn will break. As Yeats can embody the truth, his form of self-conquest should be achieved through the self-surrender and the transformation endemic to art.

본 연구는 S여대 교양수업 요가에 참여한 학생들을 대상으로 요가 및 호흡명상 수업에서 경험하는 효과를 질적 연구를 통해 심층적으로 알아보는데 그 목적이 있다. 교양 요가 및 호흡명상 수업에 참여한 여대생중 25명을 대상으로 심층면담, 불안요인검사, 일일체험일지를 통하여 자료를 수집하였다. 일일체험일지는 요가 및 호흡명상 수업에 체험을 통해 매일 일지를 작성하게 하였으며, 질적 연구방법을 통해 분석하였다. 그 결과 요가 및 호흡명상 수업에 얻은 효과는 신체적 효과(근육의 향상, 요가자세 향상, 자세교정, 몸의 이완, 호흡조절향상, 체중감량, 규칙적인 생활), 심리적 효과(기분전환, 정서적 안정, 집중력 향상, 스트레스 해소), 생리적 효과(혈액순환, 건강증진, 숙면, 숙변), 인지적 효과(인지의 변화, 신체지각, 추천요소작용)로 구분되어 그 효과가 나타났다. 전반적으로 흐름을 살펴보면 1주에는 신체적, 심리적인 효과가 두드려졌으며, 2주에는 생리적인 효과와 인지적인 효과가 상승함을 볼 수 있었다. 이는 꾸준한 요가운동의 필요성을 인식하게 하였으며, 장기간의 요가운동은 정신적인 요인에 많이 작용함을 보인 것이라 할 수 있겠다. 또한 요가 체험이 일상생활과 연관이 되어 생활습관의 변화를 가져왔으며, 더불어 피로회복과, 불안, 우울증 감소로 인해 모든 생활의 활력을 동반한 자신감 상승을 보였다. 그리고 자신의 몸에 대한 이해뿐만 아니라 자신의 몸을 위해 건강을 돌볼 수 있는 자세를 갖추게 된 것으로 나타났다. 교양체육으로 요가는 학교생활의 만족뿐만 아니라 정신건강과 더불어 건전한 대학생활을 영위할 수 있는 바탕이 될 것으로 사료되며, 학습과 함께 신심의 단련도 조화롭게 이루어져야 함을 제한하였다.