• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of Contemporary Eastern Asia
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• v.19 no.2
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• pp.40-60
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• 2020

Among Filipino entertainers in Japan, trans women (transgender women) or transpinay (Filipino trans woman) entertainers remain understudied compared to cisgender women. Though the number of entertainers has declined, transpinay entertainers remain relevant as transgender issues continue to be salient globally. This study explains the gendered experiences of the transpinay migrants, particularly in entertainment work and their relationships, which are different from cisgender Filipino women entertainers' experiences. Using grounded theory and drawing on concepts of performativity in interactions to analyze the narratives of transpinay entertainers, I delve into how transpinay entertainers negotiate their gender and migrant identities as they establish professional and personal relationships. Moreover, the transpinays' entertainment work is a significant contributing factor to their sense of belonging in Japan, as they form relationships with colleagues, clients, and partners who support them and, thereby, sustain their lifestyles as trans women. The transpinay entertainers' flows of migration between Japan and the Philippines reveal that they embrace various aspects of social remittances and use them to their advantage to create and enhance their transpinay identity in Japan. By examining the transpinays' migrant experiences, this study aims to elucidate the gendered experiences of transpinay entertainers, which involve significant negotiations in their migration pathways notably different from cisgender Filipino women entertainers, reveal resilience.

• ALGAE
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• v.36 no.1
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• pp.13-24
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• 2021

The present-day genetic structure of macroalgal species reflects both geographical history and oceanic circulation patterns as well as anthropogenic introduction across native ranges. To precisely understand the genetic diversity and how the factors shape the current population structure of Gloiopeltis furcata sensu lato, we determined the mitochondrial 5' end of cytochrome c oxidase subunit I (COI-5P) sequences for 677 individuals sampled from 67 sites spanning almost the entire distribution range in Korea and Japan. Results from the phylogenetic analysis and haplotype distribution revealed eleven distinct lineages within G. furcata s.l. along the Korea-Japan coastal areas and displayed divergent phylogeographic patterns among lineages. Despite the closely related lineages distributed in same habitats as high rocky intertidal zone, they display different phylogeographic patterns among lineages. The populations from the south of Korea-Japan harbored the highest genetic diversity and unique endemism in comparison with other populations in the distribution range. This could be the evidence of southern refugia for G. furcata s.l. in the Northwest (NW) Pacific and the recent migration from native to introduced region. The reason is that an exceptional distribution pattern was found high genetic diversity in Hakodate of Japan where is the northern location in the NW Pacific. Our results imply the contemporary influence on the distribution due to current circulation pattern and anthropogenic effects. These phylogeographic findings provide the important insight into cryptic species diversity and the detailed distribution pattern of Gloiopeltis in the NW Pacific.

• Korean Journal of Health Education and Promotion
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• v.21 no.3
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• pp.19-33
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• 2004

The focus of this paper is to critically evaluate the contemporary health promotion policy of g Korea and Japan. The primary purpose of this comparative research project is to stimulate policy debate and to strengthen the design and implementation of evidence-based policies that improve population health and reduce health related disparities. For the purpose of the research object we adopted analysis of health promotion(HP) sources. The HP Source which is still under development in Europe, is a potentially valuable tool for global use. This European Commission funded project lead by the London School of Hygiene and Tropical Medicine has brought together organisations from all of the European Union Member States, plus Norway, Iceland, Latvia, Switzerland and the Czech Republic to contribute their data. The findings of this research will be conclude by making recommendations for further comparative studies and in particular how EUHPID and the HP Source tool and database can be expanded for use at global level through the IUHPE. The result as follows: 1. The Health Promotion Act enacted 1995 in Korea and 2000 in Japan. The government has a national document on HP titled Health Plan 2010 and Healthy Korea 2010 in Korea and Healthy Japan 21 in Japan. 2. The Health Plan 2010 of Korea contains 14 goals, i.e. life expectancy, smoking, nutrition, mental health, dental health, reproductive health, hypertension, cerebrovascular diseases, arthritis, diabetes mellitus, cardiovascular diseases, and cancer. It should be emphasized that the Korean HP national document adds 3 goals of health expectancy, reproductive health, and arthritis to its Japanese counterpart. Health Plan 2010 of Korea specifies 37 objectives in 14 goals, and Healthy Japan 21 proposes 48 objectives and 80 targets in 9 goals. 3. Health Plan 2010 and Healthy Japan 21 have not been evaluated yet, and no regular systematic monitoring reporting of HP policies is available in Korea and Japan yet. 4. National Health Promotion Fund is a financial source of HP programs at the national level in Korea. Its annual amount is 736 billion Won(equivalent to approximately 640 million US$), otherwise no specific Health Promotion Fund in Japan.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• KIEAE Journal
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• v.8 no.6
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• pp.27-38
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• 2008

Sunlighting offers the high quality of life and has potential to improve environment, economy and human comfort. Especially mirror sunlighting system has competitive power in price, saving energy and solving problems of sunshine lack. This study aims to analyze the adequate applications of mirror type sunlighting systems available in Korea to enhance the living environment. For the purpose, contemporary applications were analyzed by spatial characteristics, size and usage in Germany, Switzerland, Australia, Japan and Korea. As the results, they are being applied for the place with lack of sunshine in housings. For culture complex, they are usually applied for atrium. Nowadays, application of complex systems is increasing to solve sunshine lack and make uniform illuminance. Therefore both aesthetic and technical consideration is needed to apply the advanced mirror sunlighting systems in various spaces.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.7
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• pp.1184-1195
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• 1997

The purpose of this paper is to investigate the zen aesthetic tendencies of Japanese contemporary costume, especially designs of Rei Kawakubo and Issey Miyake. Zen is one of the Buddism, which is originated in India, and is the religion and philosophy for salvation. There are many resemblances between Zen and postmodernism. Zen has influenced on the 'non-ornamental' culture in japan, and attaches importance to poverty, moderation as the essentials of the son aesthetics, as it were WabiSabi aesthetics is connected with the art of Tea. In this paper, it was classified zen aesthetics with the beauty of non-dualism, the beauty of poverty, the beauty of purity, the beauty of emptiness and the beauty of deepness, and then applied aesthetic categoties to the costume designs of the Rei Kawakubo and Issey Miyake.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.16-32
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• 2006

Perceived meaning of color uniquely forms and is being highlighted as an element of creative design in the modern design industry as well as traditional culture. It is necessary to compare the perceived meanings of color and clothing color of Korea and Japan in order to find out the model of Korea's original color. The purpose of this study Is to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of the both countries and comparing them depending on contemporary times. The scope of study is limited from the ancient times to modern times (about BC.IC-early20C). In the methodologies, the literature and the empirical study focus on both counturies' literature, including art history, ethnology, and the history of clothing; and their paintings and relics, which are all related to clothes. The perceived meaning of color of Korea was prominent with the beauty of nature and gorgeousness throughout the history. The colors were mostly white colors, light colors, and single colors such as obangsaek, which are high pure degree colors by which color is changed depending on darkness and lightness, while that of Japan featured clothing colors combining various colors and middle colors.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.109-123
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• 2015

The object of this research is to take a bilateral look into cultural exchanges of the Netherlands and Japan through the East India Company and thereby improve the general understanding in regards to the exchanges of costume cultures between the East and the West. The study conducted qualitative analyses on features of contemporary costumes of the Netherlands and Japan from 1602 to 1799 by investigating the secondary sources, such as the histories of costumes, arts, and literature. The results are as follows; the traditional sleeves of the Japanese Kimono were basically cut out in a straight line. However due to the growing popularity of the kimono home gown in Europe, the producers of the kimono in India as well as several other European countries modified them into western-style sleeves. Regarding the costumes of the Netherlands, which were introduced to Japan, the study found that Japan imported Dutch fabrics, instead of specific clothing items. In Japan, costume controls and anti-conspicuous consumption regulations among social classes including a closed-door policy had negative effects on both developments and exchanges of costumes of the country. However, when it comes to the Jinbaori, a costume for ruling classes, Japan was open to using fabrics, patterns and designs of the West. In light of what have been discussed so far, the study confirmed that the costume exchanges between the two countries started long after their first business of the general cultural exchanges. Though it is clear that the advancements in the natural sciences that the Japanese made can be attributed to the West, Japan was one of the nations that impacted the costume cultures in Europe.

• Journal of Contemporary Eastern Asia
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• v.18 no.2
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• pp.90-117
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• 2019

How is science advice integrated in environmental policymaking? This is an increasingly pertinent question that is being raised since the nuclear catastrophe of Fukushima, Japan, in 2011. Global re-evaluation of energy policies and climate mitigation measures include discussions on how to better integrate science advice in policymaking, and at the same time keeping science independent from political influence. This paper addressed the policy discourse of setting up a national CO2 reduction target in Japanese policymaking between 2009 and 2012. The target proposed by the former DPJ government was turned down, and Japan lacked a clear strategy for long-term climate mitigation. The analysis provides explanations from a quantitative actor-network perspective. Centrality measures from social network analysis for policy actors in an environmental policy network of Japan were calculated to identify those actors that control the discourse. Data used for analysis comes from the Global Environmental Policy Actor Network 2 (GEPON 2) survey conducted in Japan (2012-13). Science advice in Japan was kept independent from political influence and was mostly excluded from policymaking. One of the two largest discourse coalitions in the environmental policy network promoted a higher CO2 reduction target for international negotiations but favored lowering the target after a new international agreement would have been set. This may explain why Japan struggled to commit to long-term mitigation strategies. Applying social network analysis to quantitatively calculate discourse coalitions was a feasible methodology for investigating "discursive power." But limited in discussing the "practice" (e.g. meetings, telephone, or email conversations) among the actors in discourse coalitions.