• Fashion & Textile Research Journal
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• v.8 no.1
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• pp.34-40
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• 2006

Fascism is a term that began to be used from the late 1930s, means an idea and a system that the strong power of the state intervenes or control people's life based on the argument that the existential value of individuals is found only in the total. Fascist looks, which resulted from World War I and II, had brought a new pattern in women's fashion inspired by men's military uniforms. Thus, the purpose of this study was to identify fascist fashion trends in the first half of the twentieth century and to infer various aesthetic values of fascism expressed in fascist fashion looks. The results of this study indicated that expressions of fascism reflected the current ideology of rebellion and appealed to the original national sentiment of the masses. Fascism occurred in response to the contradiction of capitalism and its general crisis had emerged as an ideology with the highest popularity symbolizing power and government during the first half of the twentieth century. It was expressed in military looks as self-centered nationalism and yearning for minorities. Second, fascist fashion looks were not only for political and sexual temptation with the image of power but also for the display of women's status and roles through the bold expression of sexual attractiveness. Finally, fascist fashion looks expressed medieval images praising the feudal age in imagination that contained heroism and at the same time achieved integration under strict social hierarchical order.

• The Journal of the Korea Contents Association
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• v.8 no.7
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• pp.161-173
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• 2008

Silmido [실미도 2003] captures the covered historical reality and describes the spectacular training process of the special army stationed at Silmido in vivid detail. As a result, a fictional space is turned into a reality film. The film shows ideological inconsistency of the critical view about the fascism of government authority and at the same time the political aid about government authority. The film creates dramatic and friendly effect through melodramatic and emotional exaggeration called sinpa about historical events to produce the pleasure of assimilation based on the trust of the audience. Here, individual assimilation is subjectivity achieved through the general sympathy coming from the tragic national discourse. Silmido appeals to the imaginary community not in a logical but in an emotional way. The spectacular action and realistic images are supported by national tragedy divided into the South Korea and the North Korea, and integrated sentimentalism to amplify the tragedy. Silmido tries to strengthen the tragic situation caused by the division ideology through this sentimentalism called sinpa. In contrast to the brutality of the relentless military regime, the sacrifice of good-hearted Silmido force members is heroically portrayed.

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.7
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• pp.193-213
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• 2003

In dieser Arbeit wird der Versuch unternommen, die Rede Hitlers vom 10.12.1940 zu analysieren. Diese Rede $geh\"{o}rt$ zur politischen Rede. In dieser Rede gibt es verschiedene Funktionen. Sie dient der Erzeugung und Zusammenfassung von Massen im Vereinigungsakt, weiterhin der Verschleierung der realen $Verh\"{a}ltnisse$. Die dritte Funktion kann man in der Legitimation von Herrschaft sehen. Im ersten Abschnitt wird die inszenatorische Ebene der Rede beschrieben. Die Halle ist durch einige Hakenkreuzfahnen nur wenig $geschm\"{u}ckt$. Dies wirkt eine $N\"{u}chternheit$, die das Publikurn seine gewohnte Umgebung neu erheben $l\"{a}sst$. Die stiliserte Glorie ist geeignet innere Haltung zu provozieren, die Opfer der $verst\"{a}rkten$ Arbeitsbelastungen ertragen lassen sollen. Im Abschnitt zwei wird die Rede nach rhetotischen Kriterien analysiert. Hier handelt es sich um die $f\"{u}nf$ Bearbeitungsphasen der Rede, und zwar, inventio, dispositio, e1ocutio, memoria und pronuntiatio. Die dispositio ist der Gegenstand dieser Arbeit. Nomalerweise gliedert sich dispositio in vier Elemente, $n\"{a}mlich$ Einleitung, Schilderung des Sachverhalts, $Begr\"{u}ndung$ und $Schlu\ss$. Mit dem rhetorischen Aufbau wird eine summarische Darstellung der politischen Absichten und Ziele des Redners gegeben. Die Rede selbst hat deutlichen Appellcharakter. Die $Entr\"{u}ckung$ durch den Appell ist eine der hier $gew\"{a}hlten$ rhetorischen Methode, um die erwiinschte Wirkung bei den Zuhoren zu erzielen. Hitler versuchte, die durch die Aktivierung zwischen ihm und Publikum vorhanden, $unbewu\ss$ten psychischen Potentiale, die durch den Akt der Rede aktiviert werden, zu realisieren.

• Archives of design research
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• v.17 no.1
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• pp.135-142
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• 2004

This study is an analyze for Casa del Fascio, of Giuseppe Terragni, an important architect of fascism period of Italy. Based on the spot reinvestigation of first copies and unpublished data in a archive for a month of 2002. August, Terragni, Como, to compromise with the limit of studies up to the present. General's from early scheme to final constructed scheme, finally offered standard way to understand Terragni's scheme. Result of analyze are to two conclusions. 1) It has direct bearings between physical environment of site which was to build from original scheme and final decided external form. Especially there is direct relation between facade and composition of Duomo Cathedral, in the center of Como. 2) Although the image for scheme by architect represented as a physical form which was impossible to analyze the data as development sequence from archive, it influences on the first image, which had changed many times, exists as important element to final constructed scheme.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.809-837
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• 2012

Philip Roth rejects the narrative unity and singularity of the traditional novel and creates instead a multi-levelled, fragmentary, and repetitive narrative. It is not easy to distinguish fact from fiction in The Plot Against America. As an entertaining and creative work of the postmodern historiographic metafiction, Philip Roth's The Plot Against America interrogates the existence of historically verifiable facts, the validity of authentic and official version of history, and reexamines the narrative conventions of history writing. The aim of this paper is to examine Roth's narrative experiment or 'thought experiment' and to explore the intention of creating alternative history in The Plot Against America. Roth does a 'thought experiment' in The Plot Against America. In this cautionary "what if" political fable, Roth hypothesizes that in 1940 aviation hero Charles Lindbergh, an ardent isolationist who was sympathetic to Hiltler, won the presidency. Jewish communities are stunned and terrified as America flirts with fascism and anti-semitism. Reimagining his children-with considerable fact mixed in with the fiction-Roth narrates an alternative history that has an unsettling plausibility. Roth has constructed a brilliantly telling and disturbing historical prism by which to refract the American psyche as it pertain to the discord of individual, race, history in The Plot Against America. Roth analyzes the life of individual in a historic space, the situation of anti-semitism in world of invisible order, racial conflict between black and white in world of visible order, and the darkest side of national power in this work. Roth's stories argue for the equality of various cultures grounded on the common notion of humanity, for an ethic of mutual respect, and for the peaceful resolution of conflicts.

• Korean journal of communication and information
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• v.31
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• pp.261-293
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• 2005

This article aims at investigating the origin of 'gookmin', which is currently working as the dominant discourse and leading identity in the South Korean society. Like 'nation', 'people' or/and 'citizen', the term of 'gookmin' is a very much particular and historical outcome of the colonial modernity. Nevertheless, however, there have been not so much serious socio-linguistic, cultural-political studies about its root. It is theoretically as well as practically quite important to trace back the birth of 'gookmin', which is working as an ideological, epistemological frame in/between subject and reality. In this regard, this article will consider the late Japanese colonial period as a key period of the birth of 'gookmin'. It will then critically scrutinize how the total mobilization system by adopted the colonial government has formed the discourse and subjectivity of 'gookmin' based on various physical apparatuses. By revealing that a totalistic nation/state of Japanese colonialism is behind 'gookmin', which wanted to mobilize every individuals into a so-called article of empire, this article tries to show the fascist and propaganda nature of 'gookmin' continuing even after the liberation. As a historical-materialist work of deconstruction the dominant discourse of 'gookmin', this study will basically take a cultural studies approach.

• Cross-Cultural Studies
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• v.47
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• pp.191-216
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• 2017

Among 20th century Western ideologies (Western civilization), existentialism is a spirit of the times to restore humanity as rationality and advanced technology have driven mankind to impoverishment and death, experiencing the First and Second World War, Great Depression, Fascism and the Spanish Civil War. In his literature, $Andr{\acute{e}}$ Malraux records his existential agony of how mankind lives and faces death by questioning the fateful life and death of characters. For Malraux's characters, the absurdity of existence related to the human identity means self-examination. Malraux explores existential consciousness and actions of characters in the presence of a concept known as death relative to terror, revolution, and adventure. Malraux deftly addresses the concept of death in his literary works, and it has being emphasized as a central subject for philosophical speculation. In Les $Conqu{\acute{e}}rants$(1928), La Voie Royale(1930), La Condition Humaine (1933), L'Espoir(1937), Malraux suggested a philosophical thesis of the meaning of life through characters in tragic situations, and sought out the consciousness of being and the existential meaning through how the characters control their fate. Malraux, in such a tragic perspective of the world, portrays humanity, affirmation of life, and characters' consciousness and actions in denying death. The agony of death triggers escapist behavior such as having unpredictable instinctual desires such as gambling or smoking opium, but these are desperate struggles to flee from frustration and related to the question of one's existence. What is always emphasized with respect to Malraux's existentialism is the tragic metaphysics of the inevitable destiny of the human condition eventually leading to the question of how humans ultimately confront death. But as characters unite in times of war, revolution and adventure in the novel, such cooperative actions symbolizes a keen sense of solidarity reflecting a camaraderie that transcends individualism. Fellowship among people who voluntarily gather for the common cause of philanthropy and restoring humanity is possible because of the underlying human greatness to sacrifice for such a noble cause. Therefore, Malraux's camaraderie includes the victory of existentialism in creating a world of humanism.