• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.402-415
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• 2011

The purpose of this study is to research the ideologies of African-American hair-styles according to cultural phenomena. This is a qualitative research using the books and theses about society, culture, hair and beauty, and materials of internet. The results are; Firstly, African-Americans are citizens or residents of the United States who have origins in any of the black populations of Africa. About 75 percent of the dark-skinned people on this continent have hair labeled "kinky". Secondly, African hair-styles expressed Supernaturalism and Traditionalism in the formative period of African culture. African-American hair-styles reflected Colonialism in the period of slaves. African-American citizen's hair-styles showed Nationalism after 1960s' Black Pride Movement in the period of settlement in America, and expressed De-territorialism since the boom of 1970s' Reggae. Today, the wearing of dreadlocks, cornrows, and afros has transcended racial and religious barriers. No longer necessarily reflections of ancient traditions and cultural identification, they are just as often fashion items.

• The Journal of Korean Philosophical History
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• no.52
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• pp.213-241
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• 2017

The systematic research on the Joseon history under Japanese imperialism in the 1920s, including that of the Joseon History Compilation Committee, was one of the stratagems that Japan employed to perpetuate the colonization of Joseon. The 'renovation of national traits', one of the three cultural measures taken by Japanese imperialism after the 1919 Independence Movement, was an attempt to degrade Joseon's nationality as extraneous, dependent, factional, and uncivilized. Against this, Koreans tried to create their own tradition that could prove Joseon's uniqueness and independence. The purpose of their study on ancient history, which became animated in the 1920s, was not to escape from the reality of Joseon into the idealized past, but to construct the history of Korean people anew. In this context, Dangun could refer to cultural identity as the communal origin of the nation, and this invented identity could lead to the healing of the injured subject. An Hwak's attempt was part of this efforts to call out myth as history. He suggests that Joseon's national traits are superior even to the Western civilization in several ways, and his vast plan to set up Joseon's cultural uniqueness and identity as history of universal civilization bore fruit in the History of Joseon Civilization. With cultural research for figuring out Joseon's national peculiarity and identity and historiography for revealing Joseon's national potential, he makes it possible for people to imagine various agents in the Joseon's past as belonging to a single nation with an identical history. Through his study on Joseon, he fought back the Japanese colonial view of history and tried to exalt national consciousness. Asserting independent and rational individuals as agency of civilization and culture though firm in the national perspective, he eventually went a way quite different from that of Japanese history of culture.

• Journal of Korean Library and Information Science Society
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• v.37 no.1
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• pp.83-107
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• 2006

We share the critical mind about the decolonization of Library & Information Science(LIS) and Political Science in Korea. We did a bibliographical study on the decolonization discourse in the Political Science of Korea. Concretely, we traced the decolonization discourse of the scholars of the Political Science in Korea, and wrote their abstracts. Finally, this study provided the general view of their decolonization discourse. This study covers the decolonization discourse from 1945 to 2005. This bibliographical review may show the possibility of communication between LIS and social sciences in Korea, and can support the development of the decolonization discourse in the Political Science of Korea.

• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.115-124
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• 2008

My former thesis was about the present status of Korean film aesthetics of Korean blockbusters through the cultural hybridity. Now this thesis focuses on hybridity and tragedy in Korean blockbusters from the postcolonial perspectives. Typical examples are Shiri, JSA, Taegukgi containing a special Korean situation of division ideology and expressing an extremely Western style of production. These movies hardly provide any historical causes, critical explanation, or vision beyond the discourse of national tragedy. They simply supply sentimental feeling of sympathizing with the misfortune of heroes in the course of national suffering. Therefore, these movies shows limitation not to accomplish postcolonial resistance.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Iberoamérica
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• v.21 no.1
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• pp.1-55
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• 2019

In Brazil, racism exists without the clear definition of race. In other words, because there is racism without a clear concept of race, racial issues are complicated in Brazil. Racism is not just a social problem. It is, above all, a political problem that arises from economic separation, exclusion, and marginalization. From the enlargement process of European colonialism, racism has been the most profound and efficient way of governance of social, material, psychological and political domination of Brazil. From this perspective, this study seeks to research racism in Brazil as a race politics. In conclusion, racial discrimination and racial inequality exist in Brazil. Thus, to study the racial discrimination and racial inequalities in Brazil, Chapter 2 examines the origins of racial politics in Brazil. Chapter 3 explores the relations of Brazilian society and races. Chapter 4 examines Black's resistance to racism as a black movement in Brazil. The first half of Chapter 5 looks at 'racial inequality in Brazil' and the latter sees 'racism in Brazil'. Chapter 6, as a conclusion, discusses the challenges and limitations of racial politics in Brazil.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.417-425
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• 2017

The goal of this study is analysing a box office success of The Handmaiden in terms of modified space-time and character. The movie which has original novel induces desire of watching by decreasing property of experience good of movie based narrative of novel. Contrary to novel that is set in Victorian age, the movie changed contents that make a character who realizes masculine of colonialism and women oppressed by man escape through transcending class by adopting period of Japanese occupation. It hereby decreases negative effect by substituting growth and solidarity of women for the element of homosexuality. Also the gender discussion about crimes against female when the movie was running increases factor of sympathy of characters and accord with subject of the movie. Beside that, The reasons of success are detector, star system of actor, effective public marketing of movie trailer and selection of movie won the award for best picture at a film festival.. Movie through adapting novel enhances ability of various creation and blow up appreciation of spectator. The differentiation of adapted hit movie is that the altered content is creative, has subject that corresponding with universal awareness transcending space-time and expresses property of media effectively.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.859-880
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• 2012

This paper aims at analyzing Robert Southey's Thalaba the Destroyer in relation to cultural colonialism of the British Romantic period and investigating the ways in which this text portrays the Other through its literary representation of the East. Especially, this paper attempts to show that the Oriental world constructed in Southey's text reveals the imperial subject's self-conscious awareness of its unstable relation with the unknown Other. For this purpose, this paper attends to the formal aspects of Thalaba the Destroyer, examining the process by which the reader's generic expectations about the "epic" undergo complex revisions and frustrations through reading this text. The epic elements contained in Thalaba the Detroyer include the battle between good and evil and the hero's moral epiphany arising from his struggle against malicious enemies. Yet, Thalaba the Destroyer constantly destabilizes the distinction between self and other by leading the reader to recognize the uncomfortable similarity between the poem's tyrannical figures and imperialistic monarchs in the Western civilization. Thus, when the hero enacts a revolution against despotism, the resistant power points not only to the imagined false kingdom within the text, but to the core of the real Empire that seeks to construct its own "garden" in the global scene. In addition, Southey's "panoramic" description of Oriental objects and stories in his footnotes lacks a framing perspective, erasing and de-stabilizing subject/object distinctions. In these footnotes, he exposes his profound attraction to the culture of "Other" and also conveys his aspiration to transforming Eastern myths and stories into profitable literary texts. Southey's attitude to the East in the footnotes appears to be partially grounded upon the interest of mercantile capitalists of the West, who need to discover potential commodities. Yet, simultaneously, he reveals a sense of moral hesitation about his own desire for the materiality of the East, along with deep anxiety arising from the fear of punishment.

• The Korean Publising Journal, Monthly
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• s.243
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• pp.20-21
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• 1998

탈식민주의의 주된 논지는 유럽 제국주의의 붕괴라는 공통의 경험적 자료에서 출발한다. 변방에 속한 것은 식민지 본국에 속한 것에 대해, 즉 주변은 중심에 대해 반감을 갖게 되므로 탈식민지 문화의 모는 경험은 전복을 지향하는 경향을 띤다.

• SUVANNABHUMI
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• v.3 no.2
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• pp.1-30
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• 2011

또세인꼬는 19세기 후반에서 20세기 초 식민지 버마의 지적 발전에 지대한 영향을 남긴 중요한 인물이지만 잊혀졌던 인물이다. '미얀마 연구'의 몇몇 뿌리가 식민지 시대에 있음을 고려할 때, 또세인꼬의 저작은 미얀마를 연구하고 이해하려는 오늘날의 노력에 의미하는 바가 크다. 그는 고고학적 저술로 잘 알려져 있긴 하지만, 그의 저작과 경력을 검토해 본 결과 그는 식민지사회에서 공적 지식인으로 활약했음을 알 수 있었다. 아시아 연구(특히 버마 연구)의 발전이 제국주의적 틀 속에서 이루어질 때, 또세인꼬는 식민지 버마에 존재했던 혼성적 저술전통을 따라 저술했다. 또세인꼬는 버마인의 관점이나 가장 공감할 수 있는 언어로 도회지 독자들에게 호소하는 방법과 같은 그 어느 길에서도 벗어났던 스콧, 오코너, 그리고 필딩-홀과 같은 영국학자들의 그룹에 속한다. 또세인꼬의 저술을 연구하는 것은 식민지적 지식과 버마에 관한 영국인의 저작에 관한 연구가 유용하게 재개념화 될 수 있는 기초를 갖추는데 도움이 된다.