• English & American cultural studies
• /
• v.14 no.2
• /
• pp.23-48
• /
• 2014

Considered as the first generation of the Chinese American male writers, Shawn Wong has often been tagged with the male-centered or cultural nationalistic writer for his first short novel Homebase since the 1970s. He has, however, shifted his own gender and cultural attitudes toward his male character in his second novel American Knees, published in 1995. By focusing on his second novel, this paper examines how Wong critically reconsiders the male-centeredness and cultural nationalism in a way to invalidate them in relationships among male and female characters in the formation of the Chinese American male's identity. Attempting to establish his own national and cultural identity as an American citizenship and the self-awareness of masculinity as a man, Rainsford Chan in Homebase believed that he could achieve his identity and masculinity with the chronological experiences related to his ancestors in American society. He even strictly erased the presence of female in his own identity formation. In doing so, he seemed to anchor his authorship at the discourse of the male-centeredness and cultural nationalist like other contemporary writers such as Frank Chin and Jeffrey Paul Chan who always strongly marked cultural tradition. By creating a non-conventional male character Raymond Ding with compromising and open-eared attitudes toward female characters, however, Wong dramatically changes the idea of representing the relationships between male and female characters in American Knees. In this novel, he suggests that the male character' identity can be properly formed not in the extreme reinforcement of masculinity or the ethnic-based cultural awareness but with the mutual understanding between male and female individuals regardless of ethnic and nationalistic biases. Consequently, Wong attempts to bail out of the male-centered images of the first generation of the Chinese American male writers through Raymond Ding.

• Journal of the Korean Society of Costume
• /
• v.53 no.2
• /
• pp.137-151
• /
• 2003

Fashion photographs from leading monthly fashion magazines in 1990s were analyzed. The types and the formative feature characteristics and the aesthetic values of domestic retrospective fashion were studied. The major conclusions of the study are as follows 1. The types of domestic retro fashion were historicism, ethnic, ecology. Retro fashion was expressed through applying and reappearing silhouette, detail. fabric and image of the costumes of the past. 2. Renaissance. Baroque, Rococo styles and the costumes and styles of 1960s and 1970s were mainly applied in domestic fashion. 3. Orientalism was emphasized and Korean traditional styles and Chinese costumes were expressed mainly in domestic fashion. Fashion trends recurrent and intimate to the nature were expressed in patterns, fabrics, dyeing and silhouettes of nature. 4. The formative feature characteristics of domestic retro fashion were recurrence, purity. tradition and decoration. As retro fashion applies costumes of the past newly, it supplies unlimited possibilities to the present fashion which seeks versatility.

• Journal of the Korean Society of Costume
• /
• v.6
• /
• pp.161-171
• /
• 1982

The idea of King Hungdok's prohibition of clothing was to restrict the use of chinese-made cloth on the one hand and to compell his people to use Korean-made cloth for their apparel on the other. The prohibition of clothing sprang from King Hungdok's aspiration to restore his dynasty that had been falling due to the repeated drought disaster and luxurious living of the aristocracy. Safflower, Rubeaceae roots and Sapan wood are well known as some of the earliest natural red-dyes, exhibiting beautiful red-color in our anciet cultural tradition. The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. Those plants used to make the color yellow are: Gardenia, phellodendron amurense, Turmeric, coptis, safflower, Arthraxon hispidus, Styphnolobium japonicum. Shikon, root of violet plant, is well known as one of the earliest natural days. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color.

• Journal of architectural history
• /
• v.19 no.3
• /
• pp.107-124
• /
• 2010

The coner high column method that is used in the multi-roof building Sungryemoon seems to have been used for the first time during the Choseon Dynasty, and it's characteristics and trend of usage are studied in this paper. In the results, it was confirmed that the coner high column method is economic and structurally safe, and selectively combines the structural factors used in the Chinese seats. It was found that this method was a newly adopted construction method to effectively express the authority of the country with the establishment of a new dynasty. Also the meaning of the method could be guessed since it was continuously used in important structures from the Choseon Dynasty to the Daehan Empire, in spite of the new multi-roof building technologies.

• Journal of the Korean Society of Costume
• /
• v.8
• /
• pp.15-27
• /
• 1984

A costume study is a part of the cultural history and also has the greatest relation to life's senses as a concrete culture. Korean costume that consists a double structure with Chinese one through Chosun Dynasty five hundred years, has recently changed up to the Western Form. In this respect Korean Costume has a important meaning in relation to Western costume. Traditional costume, generally speaking, has tendency to keep up by the common people than the higher classes. Then there were four classes. They are aristocratic classes common people, those who are engaged in the form, industry, trade and low classes. Merchant of them partially took charge of the cultural exchange about contacting with tradition and new one. Because it's easy to flow in one's character the new civilization. So there is an important significance to research of the merchant's costume in Gae Hwa Gi changing age of civilization in politics, economic, and social system. The records appeared about the merchant's costume in the age of civilization through literature study and natural photo at that time.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.20 no.5
• /
• pp.860-869
• /
• 1996

This study is a research for an idea of costume containing clothing system in the early Practical Science School. The result are described as follows 1. Bak-Kyem, Han got a critical thought and attitude to seek for practical and rational as pect. Because that he studied an original text and wanted to find a basic meaning. And the result, he made a Pang-Ryeong Symeui. 2. Hwyeng-won, Rue contended that we had to model after chinese costume system to seek for a correct clothing system to harmonize with our culture and regulation. And he sought for the original courtesy because that his basic idea of reformation in the clothing system was an ancient system. But when there was a remedy, he suggested a new system. 3. Ik, lee considered a clothing system with a critical and investigated attitude. In the clothing system, he wanted to keep an original courtesy. But he asserted a constant reformation in evil tradition. He pursued a rationality not to be tied a formality, and he had also a flexibility to recognize real customs.

• (The)Study of the Eastern Classic
• /
• no.34
• /
• pp.167-206
• /
• 2009

This paper discovers and introduces the collection of letters, "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" which was made by Kim Youngjak(1802~1868) who had collected the letters from Chinese intellectuals. "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" is a collector which contains handwritten letters to Kim Youngjak from Chinese people such as cheng gong shou(程恭壽), weng xue han(翁學涵), zhang bing yan(張丙炎), shao yan han(少言翰), and li wen yuan(李文源). Kim Youngjak had frequent meetings with Chinese intellectuals not only directly but also indirectly. He had exchanged letters with li bo heng(李伯衡), shuai fang wei(帥方蔚) for 30 years. In 1858, he went to Beijing and met Chinese intellectuals ye ming li(葉名澧), zhang bing yan(張丙炎), wu kun tian(吳昆田), cheng gong shou(程恭壽), and zhao guang(趙光). After coming back to Chos?n, he continued to exchange letters with them. "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" contains autograph letters by Kim Youngjak and Chinese intellectuals. It has ten letters for Kim Youngjak written by cheng gong shou(程恭壽), weng xue han(翁學涵), zhang bing yan(張丙炎), shao yan han(少言翰) and so on. One letter and five poems which zhao ting huang(趙廷璜) wrote to the son of Kim are also contained. The letters by zhao ting huang(趙廷璜) shows a sincere friendship with Kim Youngjak. The relationship between li bo heng(李伯衡) (who had exchanged letters with Kim for 30 years) and his son li wen yuan(李文源) proves that the cultural interchange between Korea and China had lasted successively. Kim Youngjak has not been widely known in academic circles yet but should not be ignored for the study in the cultural interchange between Korea and China. He proposed to have a relationship with li bo heng(李伯衡) and shuai fang wei(帥方蔚) first and they sent back positively. Therefore, they had a literal and private relationship by only exchanging letters each other. Also considering the fact that Kim Youngjak, as a man of high birth, had a close relationship with Chinese intelletuals, we can notice that Chinese and Korean intellectuals had open minds based on sincerity and trust. This was possible because many intellectuals before him like Hong Daeyong made a basis of the tradition of companionship. At this point, the relationship between Kim Youngjak and Chinese intellectuals and "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" have an important value. The collections of Kim Youngjak's works contain only several letters and poems which he sent to Chinese intellectuals. Accordingly, the letters in "A Collector of Correspondence from Chinese Intellectuals (中朝學士書翰錄)" are important to understand the aspects of their interchange.

• Korean Institute of Interior Design Journal
• /
• v.22 no.2
• /
• pp.31-38
• /
• 2013

In this study, we selected 12 typical traditional restaurants in Korea and China and analyzed their application of traditional design approach. Through this analysis, we tried to explore similarities and differences of Korean restaurants and Chinese restaurants in order to determine the preferable way to express their own traditional design. We categorized traditional design approach as cultural elements, designing method, coloring and materials. The results are as follows: First, following a tradition and interpreting a tradition are considered as compelling design methods to express traditional culture. However, when combining a traditional and a modern design approach, it is important to either strongly emphasize traditional design elements or use small number of traditional design elements as focal points in modern design restaurants. Second, when designing a traditional restaurant using modern design elements with traditional focal points, it is more desirable to follow and/or to interpret a traditional elements, rather than experimenting an excessively unconventional design. Moreover, the design elements of exterior of a restaurant shows the identity of the restaurant. Therefore, using traditional elements in the exterior helps recognizing the traditional characteristics and culture. On the other hands, for the interior of the restaurant, it is better to use modern design method and materials for the practical reasons, such as construction cost reduction and ease of construction. We also discovered that it is more effective to use traditional elements to the pattern and color. The results of this study will set a foundation for further research of developing a design guideline for traditional restaurants.

• Archives of design research
• /
• v.13 no.1
• /
• pp.103-110
• /
• 2000

Hangul came to life as part of the East Asian culture of the Chinese ideograph. Korean letter-culture is starkly different from that of Western letter-culture. In the Orient, letters were sacred and incantory; they were objects of awe, which incorporated elements of the majestic, mysterious, and of ritual. Here we had cultural tradition that acknowledged the intrinsic value of the letters. And it was in this context that Hangul was born as a completely phonetic system of writing. However, the characteristics of Hangul are quite different from those of Chinese ideographs, which are designed to convey a certain meaning. Despite the fact that Hangul is phonetic, its roots lie most definitely in the image of Chinese ideographs. This is something that contrasts with the roots of the Latin alphabet, which have been lost in its long journey of evolution. As a phonetic writing system, a notable characteristic of Hangul is that it has this and the attributes of image. In other words, in that Hangul is a compound, it shares some of the same attributes as Chinese ideographs, but also in that it is a phonetic writing system it is dose to the Latin alphabet. Hangul is definitely a visual writing system that has its origins in the visual culture of Chinese characters as well as being functionally a highly developed phonetic writing system. In short, Hangul has both of these attributes in one writing system. These characteristics of Hangul, for us living in the era of the image, are parts that awaken us to the meaning of existence in our visual culture. Unique among the world's writing systems, the identity of Hangul typography will become none other than the essence of our visual culture.

• Cross-Cultural Studies
• /
• v.47
• /
• pp.1-26
• /
• 2017

This paper focuses on three novels that reflect absence of family. Conflicts caused by absence of parents or lack of function and role of parents were principle drivers fueling growth novels. In Chinese growth novels, children in a long-standing tradition of emulsion and political pressure were unable to express their conflict with parents. Out of the collective interest and only until the late 1980s, which can be found of the individuals were able to fully appreciate the growth of children. Since the late 1990s, the creative individual cases to the growth is an important point of Chinese growth. Due to a close relationship of the literature and politics further noteworthy that the growth of state for personal growth for China's growth. Reform and opening up the end of the Cultural Revolution, the emergence of new generation of cultural sensitivity with a relatively free personal attention to the growth of the chance that can be. In this paper, created since the 1990s, the growth of the stories of yuhua (余華)'s "Cry in the Rain"("在細雨中呼喊"), sutong(蘇童)'s "The Northern Part of the City"("城北地帶"), wanggang(王剛)'s "English"("英格力士"), going to go through by focusing on how to respond in the lack of family. "Cry in the Rain" shows that a consciousness orphan child abandoned main actors 'consciousness from his birth parents and adoptive parents. "The Northern Part of the City" chronicles different growth stories of children who experienced a void because of their absent families and found comfort in peer groups. "English" is distinguished from the mainstream narrative of Chinese growth in terms of creating a role model. Individual growth through the role model in that it will eventually establish their own identities and further growth. Because of that, this novel is considered best practices of Chinese growth novels. This kind of narrative, which returns to the memory of the growth of growth, has a richer connotation amid various attempts by writers out of the past era of obsession and fatigue.