• Journal of English Language & Literature
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• v.55 no.1
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• pp.61-82
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• 2009

This paper aims to reexamine the issue of racism in Conrad's Heart of Darkness, especially in the light of Chinua Achebe's critique of the novella as a racist text entrenched with European prejudices of Africa and its people in his 1975 speech at the University of Massachusetts titled "An Image of Africa." While the novella's indictment of imperial exploitation has been noted from an early stage of its critical reception, its racism had hardly been discussed until Chinua Achebe posed it. Achebe offers the canonized status of the text as a modernist classic, "the most commonly prescribed novel in twentieth-century literature courses," as one reason for its obvious manifestations of racism being glossed over. One may add that Conrad's militant denunciation of imperialist enterprises as "a sordid farce," his seemingly radical stance against imperialism, serves as ideological constraints upon his readers, blinding them to its immanent racism. A closer look at the novella's attack on imperialism turns out to be contradictory, for it also shows such liberal-humanist ideas as the civilizing mission, the work ethic, and the superiority of civilized man, all of which served to prop up European imperialism at the end of the nineteenth century. This ideological contradiction also accounts for Conrad's racist attitude, which is betrayed in his portrayal of Africans as obscure, primitive. Euro-American imperialism has frequently justified itself by recourse to racism, but racism has not always been allied with imperialism. Some staunch racists such as Robert Knox and Arthur de Gobineau went against imperialism, and Conrad proves one of such cases whose critique of imperialism is voiced in ways that can be characterized as racist.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.129-139
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• 1999

This paper analyzes the trend of fashion and make-up in 1990s and their relevancy to each other. Based on the chronological analysis, we propose a new category for the fashion and make-up trend in 1990s, which is 1) traditional ecology period(1990∼1994), 2) versatile trial or decadent period(1995∼1997), and 3) soft landing period based on the minimal neo-ecology and romanticism(1998∼2000). Between 1990 and 1994, there was no differentiation in seasons. It appeared that spring/summer and fall/winter trend have had no big differences. At the beginning in 1990s, it was basically based on ecology concept that emphasizes the natural image. However after 1995, seasonal differences in trend are appeared and there were various make-up designs. The trends of spring/summer in 1996 could be named as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel, and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. In 1998, pastel tone, pink, and purple color expresses the glamorous look based on the romantic feminism. S/S of 1999 is mainly represented by minimalism and avant garde. For fall/winter trends, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors in 1995 and 1996. These colors were the symbol of property and sentiment. Gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image. At that time, ethnic and romantic image appeared with vivid color lines, gold, red and violet. In 1998, romanticism was popular again with modernism and ethnic mood. It expressed the romantic elegant image. The trend has returned to the ecology mood again in 1999. This ecology is somewhat different from the previous ecology. It adds a sofistaiced feeling and sportic fashion. To express natural and sportic image, they choose pink blush. In coming 2000 as a new millennium, the yellow color will be main the stream to express vision, dream, and happiness in both fashion and make-up as an accent color. The minimal design and minimal tools will be used for the design and make-up, respectively. In addition, the fusion concept will dominate the fashion and make-up industry in the globalized and boundariless age. Through this paper, we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people and industry.

• The Research Journal of the Costume Culture
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• v.6 no.1
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• pp.84-93
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• 1998

The main focus of this paper is to provide clear understanding about the concept of make-up as total fashion by defining the essential meaning of it. First, we would like to go over the concept of make-up and total fashion, then analyze the make-up image, the changes of colors and images of make-up overtime and fashion that have influenced over those changes. In this paper, we analyze the trend of fashion and make-up in 1990s and their relevancy. Through this paper we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people. The trend of Spring/Summer between 1990 and 92is the image of natural beauty and comfortable and modernistic image that can be experienced through nature. In 1992, there was a revival look of 1960s and 1970s. Make-up also followed this trend. The overall color tone was to give natural and stable images with pastel tone to soften the images. This tone brought back the ecology of 1960s. The theme of restoration in humanity and nostalgia was reflected in clothing, and these trend changed the ecology of make-up to peace, love and romantic ecology which was expressed in coral, blue, and green tone to create intelligent image of woman. Year 1996 could be called as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. The beginning of 1990s Fall/Winter season was based on ecology concept that emphasized the natural image. Until 1995 it appeared that spring/summer and fall/winter trend had no big differences. But from 1995 seasonal differences in trend are appeared and there were various make-up designs. In 1995, 1996, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors. These color were the symbol of property and sentiment and gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image and at that time ethnic image, romantic image appeared with vivid color lines, gold, red and violet.

• (The)Study of the Eastern Classic
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• no.33
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• pp.159-191
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• 2008

This study aims to look into the three-dimensional characteristics of Euniljisa (a scholar who lived in a hidden place) demonstrated in the poems of Myeongam Jeong-Sik (1683-1746, the 9th year of King Sukjong to the 22nd year of King Yeongjo), who was a scholar in the region of Yeongnam in the 18th century. Myeongam Jeongsik had a very righteous aspect in terms of integrity. He was born about 40 years after the Ching Dynasty was established. However, as shown in his pen name of 'Myeongam', he still used the Ming Dynasty as a subject of adoration and reverence, and he lived as an integral man of scholarly virtue in seclusion while refusing to have a government post during his lifetime. In his poems, there may be various discussions, but this study focused on following two aspects. First, the study reviewed his attitude toward the world, that is a retiring attitude, in looking into his works. Second, the study did not merely keep the existing two-dimensional perspective in simply reviewing a hermitage poem in the analyzing of a poem. Instead, the study attempted a three-dimensional review in seeking to see whether three items involving the fidelity and integrity of a dignified and daring person (a person who does not care about worldly views), the ambivalent emotion of Jo Wul reflected in the poem, and the delicate description and the expression of emotions, are placed in a serial relationship.

• (The)Study of the Eastern Classic
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• no.33
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• pp.193-230
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• 2008

We apply The classics of the Orient as a way of solving the problems calling for immediate solution in the changes of these times by reconstructing a wisdom from the Oriental literature which are complementary cooperation and great capacity on the basis of convenient scientific knowledge and thought of the Western. In this context, I would like to search the inflection and application about The classics of the Orient throughout the leaders all ages and countries who make use of "Sunzibingfa", the art of war by Sunzi. So, It is charged with a mission in translation of the oriental thoughts and values how to make a shining example its way in the current of time. In this aim to introduce the classics of the Orient. We can see the classics publication which is translated by many scholars. I recommended "Sunzibingfa" among the classics in this my thesis. Because I want to look into how to use of this book which has the thoughts by the leaders all ages and countries. Under this intention, I will introduce three leaders who are famous for using the book "Sunzibingfa" in "Sanguozhi(三國志)"-Records of Three Kingdoms, Caocao(曹操), Zhugeliang(諸葛亮) and Simayi(司馬懿) in ancient times and Luiz Felipe Scolari and Liddel hart, one is famous for using the book as the coach of the Republic of Portugal soccer team the 2006 World Cup Soccer and the other is a strategist of England in these modern days. We can see how to use this "Sunzibingfa" in their places and circumstances. Therefore We can have a chance how to use The classics of the Orient. This is my purpose to write this thesis.

• (The)Study of the Eastern Classic
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• no.72
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• pp.97-126
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• 2018

has many sexual elements among our literature. So is considered obscene. But if you take a closer look at , you can see that he is dealing with the real problem. Especially, the conflict between Gangsoe and Jangseung shows the contradiction of reality. However, it can not be questioned because it is hidden behind sexual elements. 's strategy of revealing is similar in Media Narrative. has been made into a film since the 1980s. However, these films stayed at the level of B-erotic movies. The real meaning of is gone, and the sexual image is more emphasized. Incidentally, this aspect is related to reality at the time. At that time, the military was in control of politics. So I wanted the people not to be interested in politics. For this reason, many erotic movies were created. Eventually, the strategy of revealing was even more maximized in Media Narrative. But recently there was a new attempt like . This was a new attempt to go beyond the standardized approach. Future interpretations of are expected more.

• (The)Study of the Eastern Classic
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• no.68
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• pp.69-97
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• 2017

In this paper, I tried to examine the aspects of overcoming the aftermath of war through literary works. As history is continuously being reinterpreted and reevaluated, historical figures are described differently and given new meanings especially in the field of literature. It is not only important to examine these interpretations from previous generations themselves; it is also important to analyze them from a modern day perspective and look closely at their meanings. This research, by focusing on the post Manchu's invasion period, I examined the contemporary discussion. Literary works which were written in the post Manchu's invasion had different meaning comparing to the other time. Scholars at that time wanted to use historical figures as an allegory of temporary national situation. And this social phenomena was deeply related to the temporary discourses such like wipe off a disgrace by taking revenge on Qing (boksu $s{\breve{o}}lch^{prime}I$, 復讐雪恥) or loyalty to the Ming dynasty ($taemy{\breve{o}}ng$ ${\breve{u}}iri$, 對明義理). So that this research takes genre, time period, and nationality as the main variables to interpret typical historical figures and study their aspects.

• (The)Study of the Eastern Classic
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• no.73
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• pp.361-384
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• 2018

This paper aims to introduce Park Seon-su's ShuowenJiezi YIzheng from the perspective of Epigraphy, and incorporate it into the fields of Korean Epigraphy. Korean Epigraphy, which now categorized as a study since Kim Jeong-hee's powerful work in 19th century, can be listed either by studies published before and after Kim Jeong-hee's and by name of influential writers who have successfully presented each study and strive for the development of Korean Epigraphy. Earlier studies show that Korean Epigraphy has more books of data collection rather than the books of research on the epigraph. Regardless of the nationality of the author, all books containing Korean epigraph were counted as Korean Epigraphy, and those books made for religious reasons were not excluded from Korean Epigraphy as well. This indicates how wide the scope of Korean Epigraphy is. In this The reason Park Seon-su's research is ignored at present time, which was assessed as excellent in the late Chosun Dynasty, may come from lack of understanding on the ShuowenJiezi YIzheng. His book, ShuowenJiezi YIzheng, focuses on graphology but more broadly it includes translation of Epigraph and Epigraphy which leads to interpretation of scriptures. Such Park- Seonsu's great work must be presented in Korean Epigraphy studies to broaden its scope, also it is important to look for yet unfound pieces on the fields of Epigraphy.

• (The)Study of the Eastern Classic
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• no.69
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• pp.401-418
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• 2017

This study aims to consider the effects that the type of Chinese characters of "Kangxizidian(康熙字典)" manufactured under order of Emperor Kangxi(康熙) had on the type of Chinese characters on Korea from the latter part of Joseon(朝鮮) Dynasty to the present time, and to look for the meanings it has in the studies on history of Chinese characters science and character type science in Korea. "Kangxizidian" was introduced to Joseon on the 5th year of King Yeongjo(英祖)' reign(1729), the type of Chinese characters of had great influence on that of Chinese characters in Korea at that time. This can be seen from the fact that the types of Chinese characters written in "Hongmoojeongwoon(洪武正韻)", "Yeboowoonlaek(禮部韻略)", "Saengsaengjabo(生生字譜)", "Kyujangjeonwoon(奎章全韻)", "Jeonwoonokpien(全韻玉篇)", etc. which were published after King Yeongjo mostly included the character types of "Kangxizidian". Also, as seen from the fact that Ministry of Education specified that the character types of "Kangxizidian" shall be based for the standard of writing for 'basic Chinese characters for Chinese writing education' which were revised and proposed in 2000, the influence are said to be great until now. However, the concrete consideration of the effects that "Kangxizidian" has had on the type of Chinese characters in Korea and studies on its significance has been partially made, and it can be said that the studies thereof has not been made in earnest. This study was intended to make concrete studies on the effects of "Kangxizidian" on the types of Chinese characters in Korea and the insignificance, supplementing materials not dealt with in existing studies. The subjects of study by period which were dealt with in this study are as follows. In this paper, we reinforce data not covered in previous studies. And studies of "Kangxizidian" and the relationship between the type of Chinese characters in Korea characters and the influences of the past. Lastly, I showed the significance of the shape of the "Kangxizidian" to the modern Korean character shape of Korea.

• (The)Study of the Eastern Classic
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• no.56
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• pp.9-33
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• 2014

This paper aims to look into text of Toegye Lee Hwang's poem Cheongryangsan (Mt. Cheongryang). For that, the poetic aspects of experiences in staying in mountains presented in the poem were classified into materialistic aspect, a method of subject proposal, subject recognition and orientation to examine such aspects, and their respective meanings and limits were considered. First, from the materialistic aspect, the poem about Mt. Cheongryang can be divided into a case of materializing acts in Mt. Cheongryang and a case of materializing an individual scenery of Mt. Cheongryang itself. Second, from an aspect of methods of subject proposal, the poem can be divided into a case in which the space of Mt. Cheongryang is proposed syntagmatically and abstractly and a case in which each scenery is proposed by it being divided partially. Third, from an aspect of subject recognition and orientation, in case Mt. Cheongryang is realized as a solitary space separated far from the world, poetic self aims at reflection. However, in case Mt. Cheongryang is realized as a space for staying with friends and disciples, poetic self aims at communication. The above-mentioned difference is caused by the fact that Toegye had such an experience in Mt. Cheongryang twice at the interval of 10 years. This study is significant in that it intensively looked into Toegye' experience in Mountains and the poetic text which have not been studied and that Toegye's recognition and orientation of a space were discriminatively revealed.