• Journal of English Language & Literature
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• v.56 no.3
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• pp.409-427
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• 2010

In this paper, I revisit and problematize "blackness" in THH by building on Toni Morrison's call for the theorization of "blackness" in American literature. THH has received much critical attention in the decades that followed its revival, but this paper argues that the meaning of "Africanist presence" has not been adequately addressed in 19th-century women writers' works. This paper is an effort to fill in this gap, and examines the ways in which "blackness" informed and shaped this most popular text of 19th-century America. This paper argues that THH demonstrates contemporary America's fear of "blackness," and rather than celebrating Capitola's feminist credentials or criticizing the lack of sensitivity to racial issues in THH, shows that the significance of the text lies in the ways in which it prophesies an impending national crisis mediated through the disruptive force of Capitola and Black Donald. THH certainly reiterates the popular, contemporary racial paradigms and excludes blacks from the conceptualization of "manhood," and it may seem that the issue of race is subsumed under gender issues when the text continuously privileges gender over race. However, at the same time, Black Donald and Capitola's disruptive energies signify the fear of explosive "blackness," and the disruptive stirrings of "blackness" permeate the novel as the energy that might rupture the seemingly tranquil order of antebellum South. The novel encodes and reflects the fear of blackness in the minds of its readers, and the popularity of this novel foretells nothing less than the explosion of Civil War.

• English & American cultural studies
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• v.14 no.1
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• pp.241-267
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• 2014

Media representations of race have attempted to contain blackness by packaging and commodifying it to reflect and affect preconceptions and prejudices of dominant culture. From the early beginnings of blackface minstrelsy as entertainment form in the $19^{th}$ century, representations of African Americans in popular culture and mainstream media have been closely associated with the notion of performance. The performative nature of racial representations is situated within the discursive struggle over what it meant to be Black, or what it meant to be labeled and portrayed as Black in American culture. This essay discusses four films that contain performances of "blackness" that assemble race and gender in complex configurations: Bamboozled (Spike Lee, 2000), Girl 6 (Spike Lee, 1996), Big Momma's House (Raja Gosnell, 2000), and White Chicks (Keenen Ivory Wayans, 2004). I explore how the performative nature of "blackness" is emphasized, thematized, and problematized in these films through the physicality of corporeal figures that embody the close link between race and gender identities. Once we are cognizant of the fact that race and gender are fabricated cultural constructs and performative acts, we can recognize that notions of "blackness" and "femininity" are not naturalized or essentialist, but open to recontextualization and revision.

• Korean Journal of Materials Research
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• v.11 no.10
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• pp.851-858
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• 2001

One of the important phase of black titanium oxide is $Ti_4O_7$ which has the excellent properties such as the greatest electrical conductivity among the titanium oxides, chemical resistance against acidic and alkalic conditions and electro-wave absorption etc., so it has been considered as a promising material to be used widely all over the parts of industries. In this study, $Ti_4O_7$ phase was successfully synthesized by the reaction of TiO$_2$/ Mg system. With the change of the mole of TiO$_2$to Mg, the most excellent blackness was appeared in the 3.5 mole which was the smaller amount than the stoichiometric 4.0 mole. In addition, we found that the blackness decreased as the mole ratio of reactent increased. With decreasing particle size of magnesium, blackness of titanium oxide increased. The reaction property was changed with the compaction pressure, and optimum pressure was found to be 10 MPa. At 55$0^{\circ}C$ of reduction temperature, the blackness increased as the reaction time increased. The blackness of synthesized black titanium oxide was 14 to 18, and the average particle size was 0.2 $\mu\textrm{m}$.

• Korean Journal of Optics and Photonics
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• v.5 no.2
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• pp.238-244
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• 1994

We numerically studied on the dark solitons propagation for initial amplitude and phase shapes in the normalized nonlinear Schr dinger equation(NLSE) which describes the propagations of optical solitons. As the propagation distance increases, odd dark solitons evolve into a black soliton and pairs of gray solitons which have a different sign of blackness, and even dark solitons evolve into pairs of gray solitons without black solitons. When there exists a black soliton and a gray soliton, even though the initial amplitude shape is same, the sign of blackness of a gray solitons determines whether they would collide or not. We could see that the energy of dark solitons evolve into a couple of solitons of different blackness since there exists a continuous range of dark solitons with arbitrary blackness parameter, and this phenomenon was more clearly seen from the change of phase shapes from that of amplitude shapes. hapes.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.39-60
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• 2018

This paper closely examines the textual representations of 'blackness' in Korean military camptown (gijichon) literature from 1950's to 1980's, and argues that the animalistic portrayals and almost compulsive bestialization of blacks reveal an attempted hierarchization of Koreans above blacks with an underlying belief in white supremacy in coming to terms with Korean postcolonial subjectivity. Going against the grain of nationalist readings of gijichon literature, which largely celebrate its resistance against US domination, this paper problematizes racialized postcoloniality emerging out of these stories that span over four decades. The paper demonstrates that the racist depictions of blacks as the Other and even sympathetic portrayals of black soldiers all work to legitimate white supremacy and hierarchize race in the formation of Korean postcolonial subjectivity, paradoxically reinforcing and perpetuating colonial racial ideologies.

• Journal of Powder Materials
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• v.28 no.1
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• pp.38-43
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• 2021

A high NIR-reflective black pigment is developed by Mn doping of Fe2O3. The pigment powders are prepared by spray pyrolysis, and the effect of the Mn concentration on the blackness and optical properties is investigated. Mn doping into the crystal lattice of α-Fe2O3 is found to effectively change the powder color from red to black, lowering the NIR reflectance compared to that of pure Fe2O3. The pigment doped with 10% Mn, i.e., Fe1.8Mn0.2O3, exhibits a black color with an optical bandgap of 1.3 eV and a Chroma value of 1.14. The NIR reflectance of the prepared Fe1.8Mn0.2O3 black pigment is 2.2 times higher than that of commercially available carbon black, and this material is proven to effectively work as a cool pigment in a temperature rise experiment under near-infrared illumination.

• English Language & Literature Teaching
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• v.15 no.4
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• pp.331-344
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• 2009

The purpose of this study is to explore sorts and roles of Afro-American music genres such as jazz, blues, gospel, and swing which were shown in post-structural Afro-American literary works: Toni Morrison's novel Jazz, Alice Walker's novel The Color Purple, and August Wilson's play The Piano Lesson. It has been phenomenal for several important Afro-American writers to create their works in which they invite traditional Afro-American music genres. This has made significant effects to depict a wide range of episodes in their works, which are historically and culturally associated with such music genres. This paper analyzes varied ways in which the writers combine these two artistic fields, which are all Afro-American, and express their authenticity and identity as being blackness.

• Clean Technology
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• v.27 no.1
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• pp.17-23
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• 2021

Black polymer spacers are currently used for physically separating aligned camera lenses in camera modules of mobile phones. However, the mechanical properties of polymer spacers have their limits, especially in the current trend of using more lenses in thinner camera modules. Thus, copper (Cu) becomes a good candidate for those polymer spacers because of its superior mechanical properties and its inherent blackness due to its black surfaced oxides, such as copper (II) oxide (cupric oxide, CuO). The latter property is critical in quality control because the closer the color of a spacer is to black, the less light interference and flaring phenomena can occur. A standard Cu blackening process and its operational conditions were proposed in this study through a comprehensive analysis of previous research and patents. The Cu blackening process is composed of cleaning, deoxidizing, activating, blackening and sealing. The effects of operational parameters, such as the temperature of each unit process and the activator concentration, were then investigated by measuring the blackness of the Cu strips with a colorimeter. The proposed operational conditions were determined by whether the blackness of Cu strips was within the on-spec. value used in the field.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.210-226
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• 2021

The purpose of this study is to explore the American black film director Ryan Coogler and his cinema world. Coogler as a youth director directs three movies as (2013), (2015), (2018) from independence film to Hollywood film, and represents black people' life and racial discrimination base on his cultural identity. For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood black film history. He represents blackness and self-reflection as a black youth director, and successfully succeed to the tradition of 'Black Film' in American film history. He also turn white patriarchal ideology upside down in Hollywood. He inherits the tradition of 'Black Film' in American film history, and simultaneously tries to re-write black film tradition. Youth director Coogler is a symbol of 'New Hollywood Black Film Power' at the 21th.

• Journal of the Korean institute of surface engineering
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• v.26 no.3
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• pp.109-114
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• 1993

Black magnetite film could be formed on Invar steel for shadows mask by iron electroplating in thickness of 0.46~0.63$\mu\textrm{m}$ on Invar steel and subsequent oxidation of iron by immersion in strongly alkaline soution for 30~60 minutes. blackness degreed of magnetite oxide film on Invar was C20BL90 in comparision of color chart of Dainippon Ink & Chemicals Inc. Co. and adhesion test showed excellent adhesion of oxide film on substrate. Magnetite oxide film grew up on iron in hot strongly alkaline solution according to 'Sato-Cohen' oxide film growth model.