• Cross-Cultural Studies
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• v.52
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• pp.313-339
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• 2018

The purpose of this study is to explore the manner in which Edith Wharton's Ethan Frome conveys contemporary, (culturally) imperialistic ideology. Especially by focusing on the difference between the European germ (or invasion) theory and the 'Americanized' invasion theory, this paper elucidates how the American $20^{th}$ century fiction represents contemporary 'fear' of the immigration of non-whites, that generated anti-immigration public sentiment in early $20^{th}$ century America. Also, this study investigates how racial or gendered biases contribute to attributing all (societal or individual) evils or illnesses to minorities such as (non-Nordic or non-white) immigrants, including women. Wharton's Ethan Frome isn't short of reflecting cultural imperialism.

• Journal of Fisheries and Marine Sciences Education
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• v.11 no.1
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• pp.69-87
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• 1999

This study had been analysed the establishment, the closing and the actual conditions of the fisheries school according to the four times revision and promulgation of the law of education of korea which were devided by the early term (the first Chosun educational decree), the middle term (the second Chosun educational decree) and the last term (the third and fourth Chosun educational decree), and also been investigated how the fisheries education of the school had been acted to the mobocracy and the assimilation policy and together with it's back ground through this analysis. The aim of this study is to contribute to the study of the history of the fisheries school education, analysis of change of the fisheries school education according to practical application of the Chosun educational decree. The summary of the characteristic of the each term are as under. First, in the early term of the fisheries education under the first Chosun educational decree, Experts were despatched to the each province with donated money from emperor and opened seasonal the fishing training centre, a kind of social fisheries education, and trained directly fishing technic and were going to train fisheries trainees regularly under name of elementary fisheries school. Japanese imperialism attached great importance to the vocational education in order to snack economical products from colonized Korea but actually had a purpose to train low quality technician who follow blindly their colony policy of Japanese imperialism. The fisheries schools in the circle of system in early time of Japanese imperialism, Kunsan public elementary fisheries school was established in April 1915, Yosu public elementary fisheries school was established ill May 1917 and Kyungnam Tongyoung training school was established in March 1917. Secondly, After 3.1 movement, the Japanese imperialism established an appeasement policy so called cultural politics and continued assimilation policy with skilful methods. After revision of the second Chosun educational decree, the Elementary vocational school was changed as the vocational training school. The school of fisheries education in middle of Japanese imperialism trained low quality technicians to snack fisheries resources from colonized Korea. After the middle of Japanese imperialism they paid attention on training fisheries technician through fisheries school rather than training school. With high interest and crowded volunteers, Kunsan public fisheries school was promoted in 1922, Tongyoung public fisheries school was promoted in 1923, Yongampo fisheries training school established in 1922 was promoted as Yongampo public fisheries school in 1926. Thirdly, in the time of the third and fourth Chosun educational decree, the end of Japanese imperialism, they met Pacific war after Japan vs China war. During the war time they considered the vocational school as the source of supply for materials and manpower and consequently had to expanded vocational education and systematically despatched students to war field and practiced military training. In 1938, Namhae public fisheries school was established and Chungjin fisheries school was permitted. But in order to supply manpower to Pacific war, the study period of Yosu public fisheries school was shorten from 5 years to 4 year in 1943 and also that of Tongyoung public fisheries school shorten in 1944.

• Journal of the Korea Society of Computer and Information
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• v.28 no.5
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• pp.39-47
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• 2023

The purpose of this study is to examine the progress of negotiations between the two countries regarding the implementation of AFKN's satellite broadcasting on October 4, 1983, as well as the opposition of domestic public opinion, which emerged as an important variable in the negotiation process. Through this, it was intended to lay the foundation for the historical facts necessary to interpret the negotiation process between the two countries over the implementation of AFKN's satellite broadcasting in the context of world history of cultural globalization. As a research method, the historical literature research method was used, focusing on archive documents stored in diplomatic archives. The study revealed that public opinion's movement toward cultural imperialism under domestic political conditions, which had authoritarian control over the media, served as an accidental factor to help carry out the regime's interests of regime protection. Through these findings, this paper interpreted that AFKN-TV's satellite broadcasting, which was implemented under the U.S. Department of Defense plan without the prior consent of the Korean government, clearly shows that Korea has been "semi-forced" into the U.S.-led cultural globalization order.

• (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.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.579-597
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• 2008

This article discusses David Henry Hwang's M. Butterfly as a suggestive text for examining Western masculinity in crisis in the post-imperialist age, in which territorial imperialism is no longer valid. Previous scholarship on M. Butterfly has centered around the interlocking dynamics of imperialism, racism and sexism. Such critical attentions focus on how Hwang deconstructs racialized significations of the East and the West. In these discussions, the issue of gender is often addressed merely as a trope to represent the power relations between the East and the West. As such, gender as well as sexuality is highlighted as the very source of subversion of the power relations. My discussion departs from a critique of the gendered trope of the East and the West, highlighting a postmodern agent, the allegedly feminized character Song Lining: a Chinese actor who passes for a woman for political purposes in postcolonial China. Remaining an "inappropriate/d other" in the gendered imperialist discourse, Song becomes an emergent subject, who is capable of playing gender ambiguity for reclaiming a devalued identity, that of homosexual Asian man. Discussing how the central character Rene Gallimard's masculine identity is constructed in a cross-cultural space and how it evolves, I also argue that Gallimard's melancholic death signifies a historical unsustainability of imperialist masculinity in the postmodern/postcolonial age since World War II.

• Cross-Cultural Studies
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• v.33
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• pp.263-286
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• 2013

Is this a right way in politics that attitude of Japanese scholars to separate Natsume Soseki from the expansionism of pre-war Japan to protect 'sanctity'? Nowadays, most Japanese scholars are regarded to share the desire that minimize the memory of the behavior of Japanese Imperialism in East Asia, such as Korea, China, etc. Furthermore, 'the desire to minimize' inescapably concluded in avoidance, concealment, at last the temptation of deliberate misleading. Until now, the controversy about the Natsume Soseki's travel to Korea and Manchuria has repeated in defence and criticism surrounding the self-awareness and recognition of others of Natsume Soseki, making the expression in a record of Natsume's travel as the subject of study, for example, the degrading expression about Chosun people and scorn for Chinese and Russian. This paper will investigate that Natsume's travel is the political practice which is combined with the desire for the empire, focusing on the political context in the action of journey of Natsume and its contents other than the expression itself.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1041-1061
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• 2012

In the late nineteenth century, British colonial activities became aggressive and annexationist in the tropics, including the Southeast Asian Archipelago, which reflected the historical circumstances of both increasing resistance from the indigenous and severe competition among European powers. Interestingly, the change in English colonial policy toward an annexationist or imperialist vision adopted the motto of a civilizing mission, which was founded on the anthropological assumption that the white English were civilized, while the non-white indigenous were savage. The assumption developed into colonial discourse through systematic gathering of anthropological knowledge about the peripheries of the Empire. The knowledge system was flawed, which stressed the differences of the peripheral populations from the English and served as an inverted discourse on the Imperial Self rather than the description of the Other. Furthermore, the natives were heterogeneous, which rendered indistinct the racial and cultural differences between the English and the natives. Still, the aboriginals called Malays, who were comprised of many ethnic subgroups, needed to be deemed savage or inferior by the English in order to justify the English civilizing work or imperial ambition. Put differently, the representation of the English as civilized necessitated the (mis)representation of the natives as savage. In this context, Clifford's works contribute to systematic misrepresentation of the Malays, on which colonial discourse is founded, though not without self-contradiction. On the other hand, Conrad's novels that are set in the Malay Archipelago resort to a strategic misrepresentation that reveals the relativity of the discourse. Exploring the dilemma of denationalization to various degrees, Conrad's Malay texts problematize the (mis)representation of the indigenous as inferior, which is the basis of English claim to superiority.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.05a
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• pp.107-112
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• 2006

Current city that we live in exist many modern architecture have historical meaning and high value. This modern architecture is disappearing because study - definite thesis of concept, division of the time - of preservation wasn't advanced fully and we have the feeling of being victimzed for Japanese imperialism, in addition to lack of recognition for cultural treasure value. These days, a growing number of people tend to focus on preservation and uses of cultural properties including mordern architectures. Therefore, this study aims to figure out constructive uses of mordern architectures by purposing analysis and preservation methods with a selected architectures which deserve to be conserved.

• English & American cultural studies
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• v.9 no.1
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• pp.323-348
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• 2009

Kazuo Ishiguro's fifth novel When We Were Orphans (2000) tells the story of Christopher Banks, a private detective, who embarks on the ultimate case of his career, the puzzle of his own life. The novel consists of two overall parts, one taking place in London, the other in Shanghai-a division which reveals one of the novel's major themes, the relation between home and abroad. Set in the 1930s, Ishiguro's novel on the one hand contains all the classic ingredients of the so called golden age detective genre-an archetypal English private detective, equipped with fierce deductive skills and a magnifying glass, as well as suspects, criminals, and victims-and yet on the other hand it also deviates in significant ways. In this article, I will attempt to make some links between When We Were Orphans and the genre paradigm of the golden age detective story, arguing that Ishiguro's novel offers an exploration of the genre's ideological connections to a larger historical discourse of imperial nostalgia and decline.

• Archives of design research
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• v.18 no.2 s.60
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• pp.27-36
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• 2005

Illustrations in advertisement uses various social and cultural codes to stimulate the desire to buy in consumers in the first place, since this is an economic phenomenon orchestrated to sell a product. Hence, factors outside the product per se, such as tradition, social issues and class consciousness are introduced. Especially, in modern advertisement a strategy is adopted to differentiate standard products produced by mass production. In order to do so, such factors as mentioned above become as important as physical characteristics of the product per se and its usage value. As a result, phrases or images used for advertisement can have independent influences on the society irrespective of the sales effects on the product. In this respect, it is fair to state that advertisement reflects the phases and consciousness of a given period as a cultural phenomenon. Therefore, based on the premise of characteristics and roles attributed to the advertisement, this thesis proposes to make a comparative study on the images of women in commercial advertisement in Korea during Japanese Imperialism and China during Cultural Colonial period dating from 1900 to 1945. The starting point of this research will cover the period of foreign trade and Japanese Imperialism in Korea and interference of Western Power in China. It will also investigate on the birth of Korean advertisement by Japanese Imperialists and Chinese modern advertisement along with the modernization of Shanghai. Then, I propose to present the illustrations of women in advertisements based on comparative study of their characteristics and expressions as observed in several case studies both in Korea and China. Connotative meanings in such advertisement will be investigated in the context of political, economic and cultural dominance.