• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.113-125
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• 2021

This research has the purpose to approach 'Audience participation theatre' through applying the concept of 'Hybrid' which newly come to the fore after 21st in a theatre space. In fact, 'Hybrid' has been suppling crucial power to create and pass a culture down for a long time, and it could not different to a theatre space. The hybridity in previous traditional theatre which is central 'text' and 'architectural theater' is limited movement only on the stage, such as 'an actor between presence and absence', 'a theatrical time between real and fiction' and 'an objet between An Sich(thing itself) and Fur Sich(thing with inner meaning). However after 20st's 'Avant-Garde' with 'decomposition sprit', the hybridity become broader from only on the stage to entire theatre space including auditorium caused by collapse the boundary between auditorium and stage. In other words, 'auditorium' and 'audience' are considered as 'a theatrical element' coequal with other elements, and it can create various special results through they are mixed equally. Therefore, 'Audience participation theatre' could regarded a kind of hybrid phenomenon between 'auditorium and audience' and 'actor and stage' which are most disparate relation, and it is also approached 'hybridized audience', 'hybridized space' and 'hybridized text' as a new identity.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.172-179
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• 2016

Korea society in the 1980s is the timing of the hybrid intermingled with the continuous industrialization in the 1970s and the democratic aspirations of the 1990s. Korean films in the '80s codified a tension and conflict patterns of the industrialization and democratization in the style such as film space. The purpose of this study is to consider how this aspect of industrialization and democratization in the '80s was codified in Korean films of the '80s. Specifically, it focuses on the style representing the urban space in Korean films of the '80s. This study looks at the changing pattern of the Korea Society through the 1980s by analyzing the space configuration form of Good Windy Day(1980) and Chil-su And Man-su(1988). Good Windy Day to finalize the '70s and Chil-su And Man-su to greet the '90s show the hybrid aspect of the '80s. In particular, the urban space style of the two films codified the political, economic and social culture of Korea as a whole.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.215-240
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• 2009

This paper focuses on how Younghill Kang internalizes whiteness ideology through interracial romance to build himself as an oriental Yankee and recover his masculinity in his autobiographical novel East Goes West. This paper also focuses on Kang's strategy of racial and cultural hybridity presented in this novel. The theoretical basis of my argument is a mixture of Fanon's psychoanalysis in his Black Skin, White Masks, Bhabha's notion of mimicry in The Location of Culture, and notions related to race and gender of some Asian critics such as Patricia Chu, Jinqi Ling, and Lisa Lowe. In East Goes West, white women appear as "ladder of success" of successful assimilation and serve as cultural mediators and instructors and sometimes adversaries who Korean male immigrants have to win to establish identities in which Americanness, ethnicity, and masculinity are integrated. However, three Korean men, Chungpa Han, To Wan Kim, George Jum, who fall in love with white women fail to win their beloveds in marriage. George Jum fails to sustain a white dancer, Jun' interest. Kim wins the affection of Helen Hancock, a New England lady, but Kim commits suicide when he knows Helen killed herself because her family doesn't approve their relationship. Han's love for Trip remains vague, but Kang implies Han will continue his quest for "the spiritual home" as the name of "Trip." In East Goes West, Kang also attempts to challenge the imagining of a pure, monolithic, and naturalized white dominant U.S. Culture by exploring the cultural and racial hybridity shown by June and the various scenes of Halem in the 1920s. June who works for a Harlem cabaret is a white woman but she wears dark makeup. Kang questions the white face of America's self-understanding and racial constitution of a unified white American culture through June's racial masquerade. Kang shows that like Asian and black Americans, the white American also has an ambivalent racial identity through June's black mimicry and there is no natural and unchanging essence behind one's gender and race identity constitution.

• Child Health Nursing Research
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• v.20 no.4
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• pp.350-358
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• 2014

Purpose: The purpose of this study was to define and clarify the concept of developmental care for preterm infants. Methods: The hybrid model method was used to identify the main attributes and indicators. In the field work stage, data were collected in Seoul and Cheonan, Korea. The participants were 5 nurses working in the NICU. Results: The concept of developmental care was found to have six attributes and ten indicators in 2 dimensions. For the nursing practice dimension, four attributes were derived. They were being like intrauterine state, individualization, interaction, and integrative care with awareness of development. For the family centeredness dimension, supporting parental attachment and professional alliance were attributes of developmental care. Conclusion: Developmental focused care can facilitate the identification of behavioral responses of newborns and provide individualized interventions for fostering growth and development. This concept analysis could provide guidelines for "developmental care" nursing practice and be useful for research in the neonatal field.

• The Southeast Asian review
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• v.27 no.2
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• pp.77-118
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• 2017

This study examines the identities shifting experiences of the ethnic Chinese refugee migrants who have returned to Vietnam. Their complex and hybrid identities as diaspora is an analytical and empirical subject for this study. Since the Vietnamese government implemented the renovation (đổi mới) policy in 1986, the number of overseas Vietnamese returning to Vietnam for visit, work, investment and retirement has been increasing. Among the returnees, many are ethnic Chinese, as there were many Chinese Vietnamese in the Vietnamese refugee diaspora from Vietnam during the 1970s and the 1980s. When they left Vietnam they were called 'the Hoa' (Chinese) or 'Hoa kiều' (overseas Chinese). When they returned, however, they were recognised together with all other returnees into the category of Việt kiều (overseas Vietnamese). Although their 'Chinese' identity had once made them to risk their lives, their 'Vietnamese' identity brought them back to Vietnam at other turning points in their lives. The shifting identity of these returning Chinese Vietnamese has produced dynamic and complex migration stories and an intriguing category of hybrid diaspora.

• Journal of the Korean association of regional geographers
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• v.23 no.2
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• pp.354-365
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• 2017

This study is to analyze the dual language and hybrid identity of the students of Daegu Chinese Middle.High School. Such a phenomenon is being produced and changed at the site or zone of meeting different or conflict factors such as Chinese and Korean. The Chinese Korean students had learned Korean from their mother and her relative at a young age, and their dual and complex language habit was produced due to the learning of Chinese from father and his relative. A large number of the students were educated at a Korean kindergarten, but they were formally learned Chinese and China's society and culture at a Korean Chinese school after primary school. The Chinese Korean students talk with parents, brother and sister, teacher, friend and neighbor at home, school and local by Chinese and/or Korean. They use a dual language of Chinese and Korean based on various situations, but they do not particularly distinguished both language in cognition. The students have a hybrid identity of simultaneously recognizing Chinese and Korean. But some of them think Chinese or Korean. It is necessary for the results of this study to be objectified from the following research on the students of Chinese Middle･High School in Seoul, Incheon and Busan.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.91-92
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• 2016

문화연구에서 몸은 사회현상의 담론 주제로 성, 젠더, 섹슈얼리티, 이미지 등을 중심으로 다루어져왔다. 신자유주의 시대 몸은 점차 세분화되고 기능적으로 구획화되어 단절되었다. 콘텐츠화된 몸은 몸을 둘러싼 권력을 내재화하며 왜곡하고 길들여진다. 본 연구는 한국 문화연구에서 몸에 대한 연구내용을 분석하고, 이를 토대로 몸에 대한 연구영역의 혼종성을 제기하고자 한다. 나아가 본 연구의 목적은 몸의 담론들마저 인위적으로 콘텐츠화되어 정체해 있음을 비판하는데 있다.

• Journal of Convergence for Information Technology
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• v.9 no.2
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• pp.115-120
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• 2019

Chinese xian-xia films is a new genre that occurred through the fusion of the genre of martial arts and fantasy. This study analyzed the development of xian-xia films and the space aesthetics of xian-xia films through the miseenscene of the journey to the west films. In particular, the space for xian-xia in the films is divided into the human, urinary, heaven world and the space of conflict. It looks like the fantastic Middle Earth that Tolkien presented, however it is discriminatory in that it shows a highly Chinese appearance and overlapping world centered on the natural environment (the world of Mountains and Livers), such as mountains, deserts, caves, and grasslands, which usually appears in traditional martial arts history. Resently, the boom of journey to the west films is regarded as the change of the Chinese film industry under the influence of the development of IP (Intellectual Property) industry and the western fantasy genre in the 21st century China. This change marks the birth of the new Chinese fantasy "xian-xia" genre with the spirit of the present era that transcends the original world of journey to the west through the hybridization of the genre.

• Korean journal of communication and information
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• v.70
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• pp.66-94
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• 2015

Postcolonialism, as a school of thought, has become enormously influential for understanding the recent phenomena of globalization. While rejecting the universalizing categories of the Enlightenment, postcolonialism has called into question the old idea of culture and identity as a transcendent regime of authenticity and purity. It has also celebrated the diasporic experiences that entail porous and hybrid cultural identities as a potential site of struggle and resistance against the dominant cultural and discursive order. It is argued, however, that postcolonial theory's emancipatory claims relating to the diversified global culture tend to be complicit with transnational capitalism that brings about global issues of material as well as cultural injustice. This article, through a thorough review of the ways the postcolonial theoretical framework has been developed and appropriated by main figures in postcolonial scholarship, seeks for a theoretical and critical strategy to grasp the complex conditions of global inequality.

• English & American cultural studies
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• v.14 no.1
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• pp.141-167
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• 2014

The macro structural perspective of how race was formed nationally, politically, and socially has greatly contributed in revealing the ills of racialism until now, likewise, the dichotomous form of Asian-American literature corresponding to such perspective has made great contribution in awakening people's awareness of race. While acknowledging the contribution of such macro perspectives, we must take note that today's racialism is becoming materialized in different aspects. The tendency of present racial formation is that the recognition of race is spread out lightly but widely in everyday lives and is revealed through the perception of our body. While publicly stating that society is color-blind and inequality significantly resolved, racialism emerges in the personal and everyday aspects. Not erased but diluted and spread out more widely, and the more diluted, harder to erase, racialism has penetrated into the perception of our lives. Racialism works not as a conspicuous discrimination but as a common sense that is 'naturally' absorbed into our perception and perspective. Chang Rae Lee's Aloft shows the process of such racial formation in our age of hybridization. This study tries to clarify why present racial formation must be analyzed in the macro perceptual perspective and show how the racial perception in the narrative of the white dominant narrator, Jerry, becomes the field where he lives and how it is spread through his perception. Through the theories of Judith Butler and Linda M. Alcoff, this study analyzes how people are got to self-identification with the racialization through reiteration and what the relationship is between racial formation and the subject's performativity in Aloft. The study concludes that revealing such current processes of racial formation perceptively is not thinking it 'natural' and inevitable but the process of bringing about a change in it.