• Journal of English Language & Literature
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• v.58 no.5
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• pp.903-941
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• 2012

This essay examines Edward Said's Culture and Imperialism focusing on the concepts of 'culture,' 'empire,' and 'nation'. The approach is critical, theoretical, and historical rather than explicatory. Consequently, the range of the essay is not limited to Said's own explanation and argument about Western imperialism and its culture presented in the book. In doing this, this essay finally purposes to be a discursive resistance to the current global empire, the United States, via a critical reading of Said's work. Said's notion of culture is set upon to disclose the function of culture as an apparatus of ideological consent of the dominated to the dominant. When applied to imperial practice, Western culture functions to subject the colonized to the colonizer. Said's geographical approach to imperialism complements the historical understanding of imperialism. Imperialism is not only the practice of Western-centered historicism but also the spatially mutual interaction between the West and the rest of the world. Along with European imperialism, Said poses the current global empire of the United States as his main target of criticism. Said's problem is that he takes the United States as a nation-state. When examined, the United States is not a nation-state, but today's empire. The empire in the appearance of the nation-state United States does not work for the interest of the American nation, that is, the American people. The empire is the transnational and postnational political and economic institution that works for the interest of global capital. In order to resist the current global empire, this essay suggests that the building or restoration of nation-states with its basic principle of people's sovereignty is in need.

• Korean journal of communication and information
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• v.35
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• pp.114-146
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• 2006

Now, Korea-U.S.A Free Trade Agreement talk is underway in Korea. In FTA talks, the issues on audio-visual sector including screen quota, opening of broadcasting and telecommunication to the U.S.A. are becoming a hot potato. Globalization has been speed up by mass media and telecommunications. Cultures are no longer bounded by specific place but, through the migration of persons and the electronic flows of information, ideas and images, transgress established boundaries. So issues and debates have to be focused on global culture and cultural imperialism. Some would argue global culture is the consequences of capitalist world-system, so dominance by the center should be criticized and vanished. Some would say that global culture would help recipient society's people with cultural diversify and improvement. The issues on culture and communication, particularly at international level call for our attention in light of cultural identity, homogenization and diversity. Although I criticize the cultural imperialism thesis, I suggest critical acceptance of cultural imperialism. That is the observation of complexity between internal and external dynamics. The process of cultural imperialism is not simple and unitary. It rather involves the various forces of internal dynamics along with external forces.

• Cross-Cultural Studies
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• v.25
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• pp.213-236
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• 2011

The negative symbol of 'American imperialism', which was reinterpreted superimposed on the symbol imposed on Japanese imperialism in the 1945 Liberation of Korea, was more amplified added by the experiences of the bombing and massacre by US troops during the Korean War. In other words, the symbol of the extreme 'American imperialism' in the liberation in which even the role of America contributing to the liberation of Josun had been denied had continued for a long time adhered to and amplified through the war. Thus, unlike the current emphasis laid by North Josun, the assertion in the form of 'American imperialism=Korean wolf' is an idea made from the mixture of fact and fiction combined with the theory of imperialism rediscovered in the liberation and the experience of massacre during the Korean War. And this superimposed symbol for American imperialism naturally causes the problem of being superimposed also on the symbol of North Josun. And the extreme formalization for 'good' and 'bad' sides was based on the dichotomous compositions of beauty and ugliness, good and evil. The ground for saying that an act by a good side is 'unconditionally' legitimate is nowhere found. The anti-American viewpoint rediscovered in such an extreme form results in one aspect of criticism and resemblance as a result of being locked up in the same violence which one has rejected by oneself. The anti-American viewpoint going on in the form of anti-imperialist nationalism leaves nothing except another terrible retaliation for terrible brutality. It is self-evident that one can never get out of the enchanting power of imperialism which North Josun has continuously criticized in a ring of violence and vengeance, the familiar grammar commanded by North Josun literature.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.93-103
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• 1999

The objective of the present study was trying to explain the phenomenon of the character fashion using famous character of America and Japan as a cultural dependency of mass culture in Korea. Today, the cultural situation of the Korean society was influenced much from foreign countries, especially America and Japan in every culture. It means the penetration of foreign cultures, the cultural domination of them and it could be explained by the cultural imperialism approach and the cultural imperialism approach presented the theoretical framework of cultural dependency of mass culture. In this viewpoint, I emphasized the influence of the motives used character fashion as an important phenomenon to analyize the cultural situation of Korea.

• English & American cultural studies
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• v.9 no.1
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• pp.239-272
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• 2009

Our investigation of the intricate relationship among nationalism, humanism, and imperialism begins from reading Song of Ariran, the auto/biography of Kim San recorded by Nym Wales, together with Margaret Drabble's fictional adaptation of Lady Hong's autobiography, The Memoirs of Lady $Hyegy{\breve{o}}ng$, in her novel The Red Queen, in which the story of Barbara Halliwell, a modern female envoy of Lady Hong, is interweaved with Lady Hong's narrative. In spite of their being seemingly disparate texts, Song of Ariran and The Red Queen are comparable: they are written by Western female writers who deal with Koreans, along with the Korean history and culture. Accordingly, both works cut across the boundary of fiction and fact, imagination and history, and the East and the West. In the age of globalization, Western women writing (about) Korea and Koreans traversing the historical and cultural limits inevitably engage us in post-colonial discussions. Despite the temporal differences--If Song of Ariran handles with the historical turmoils of the 1930s Asia, mostly surrounding Kim San's activities as a nationalist, The Red Queen is written by a twenty-first century British woman writer whose international interest grapples with the eighteenth-century Korean Crown Princess' spirit in order to reinscribe a story of Korean woman's within the contemporary culture--, both works appeal to the humanistic perspective, advocating the universal human beings' values transcending the historical and national limitations. While this sort of humanistic approach can provide sympathy transcending time and space, this 'idealistic' process can be problematic because the Western writers's appropriation of Korean culture and its history can easily reduce its particularities to comprehensive generalization, without giving proper names to the Korean history and culture. Nonetheless, the Western female writers' attempt to find a place of 'contact' is valuable since it opens a possibility of having meaningful communications between minor culture and dominating culture. Yet, these female writers do not seem to absolutely cross the border of race, gender, and culture, which leaves us to realize how difficult it is to reach a genuine understanding with what is different from mine even in these 'universal' narratives.

• International Journal of Contents
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• v.1 no.2
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• pp.44-47
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• 2005

One of the most important characteristics in Hollywood movies is that Hollywood movies have created heroes. But, the meaning of heroes in Hollywood movies is different from proto- typical heroes. America has such a short history, so it doesn't have the mythology. It is also consist of multi-race, culture. Thus, America people, especially governor need something that tie up governed people spiritually. Hollywood film industry has responded about this expectation since 1920's. Hollywood film producers have created mythology and hero like the western genre and Rambo. Now days, America, as only super power, wants to spread it's mythology and heroes over the world. That is cultural Imperialism.

• Korean journal of communication and information
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• v.45
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• pp.151-186
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• 2009

This article focuses on analysing and interpreting cultural imperialism issues that have long been debated. One of issues among them is related to the characteristics of international cultural fluid. What had been debated is that cultural imperialism has been ended or not and the debates were connected to the so called 'reverse cultural imperialism'. The other issue is about this fluid is the continuation of globalization or a part of localization and this is related to the phenomena of cultural homogenization or hybrid. General trend was that simplistic cultural imperialism which had been occurred during the 1970s and 1980s was no longer effective but global dominance by transnational global media is still strong and worldwide. Therefore my research interest is centered on how they look international cultural exchanges with regard to cultural imperialism. And is the framework of cultural imperialism thesis still effective tool in researching and analysing international cultural flows? How do we look globalization relating to international exchanges? Is globalization an another aspect of imperialism? In conclusion, international cultural fluid is not so simple. Like natural phenomena or human progress, a phenomenon is not consisted of a single factor or relation. Cultural fluid is a complex one mixed with various phenomena and relations. This is related to internal and external contradictions, internal and external dynamics of a society and nation, and social and cultural life of human beings. Recent research results show that globalization and localization are closely related to many country's programming schedule, and particular cultural interpretation of specific programmes and culture are adopted to the country's culture and patterns. Cultural fluid has both-sides. One the hand it has useful and positive sides and on the other hand it has harmful and negative aspects. Imperialistic factor, globalization, cultural homogenization or hybrid are all operated and functioned together in cultual fluid. It is difficult to say that cultural imperialism thesis has been ended because American and global media's dominance is still effective. What needed at this time for us is a complex and dynamic analysis of international cultural fluid instead of simplistic cultural imperialism.

• The Journal of Korean Medical History
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• v.21 no.1
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• pp.13-28
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• 2008

The concept of health has existed through the history of mankind; the recognition and adaptation of such concept has transformed over time with the development of culture throughout the age of humans. These concept wasn't absent in the content East Asian Medicines, which is represented by Huangdi's Internal Classic. However, due to imperialism and colonial polocies in the past, biomedical concepts of health has been accepted with force. The concept of "health" in pathological medicines of biomedicine refers to the of anatomical and biological completeness of the body system. In East Asia, Korean especially, a number of concepts regarding these subjects has been informed by Japanese physicians, such as Hukujawa Yukichi. Understanding the idea of body in the angle of philosophy, history, and medicine in the cultural area of East Asia is necessary.

• Convergence Security Journal
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• v.20 no.5
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• pp.81-88
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• 2020

China, since the early days, according to their ideology, neighboring countries and their citizens were under their sphere of power. This means that only the Hanzu are real native Chinese and the other minor ethics groups are technically immigrants. The People's republic of china, part of the chinese communist party, has had rapid economic growth after Deng Xioping took over and implemented various expansionist policies and reforms, opening china to the world. Internally, the minority ethnic groups were forcibly relocated to specific regions, prohibited from using their native languages, and their culture was absorbed or incorporated into the Hanzu culture in an attempt to internally suppress or erase them. Externally, various projects such as the 'Xia-Shang-Zhou Chronology Project', 'Origins of Chinese Civilization Project', 'Northeast Project', 'Northwest Project', and the 'Southwest Project' were implemented to spread their culture and history to neighboring countries in an attempt to expand their territory. In addition, as capitalism spreads throughout china through reforms and its expansion, it has pioneered the one belt one road aiming to secure as safe transit and raw materials, expand their military facilities, and expand their export market. By doing so, China is infringing on other countries' politics, economy, and borders, and as a result there is a need for Korea to also reexamine its policies in all fields related to china such as politics, economy, history, and culture.

• (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.