• The Journal of the Convergence on Culture Technology
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• v.4 no.1
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• pp.263-273
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• 2018

This study is based on literature review intended to understand how Taekwondo demonstrations have been made from the emancipation until the 1960's in the perspective of open demonstrations. The findings of this study are summed up as follows. First, Taekwondo demonstrations were influenced significantly by social situations like the emancipation and emergence of gigan studios, dispatching ROK armed forces to the Vietnam War, or the foundation of International Taekwondo Federation(ITF). Second, in terms of forms, Taekwondo demonstrations were made as a form of demonstrating martial arts that had been improved in each of the studios when there was an examination for promotion, the studio needed publicity, or they wanted to show how individuals' skills had been cultivated. In terms of contents, with basic skills of Taekwondo as the ground, they dealt with forceful hand/foot breaking, simple jumping up and breaking, sparring, and practical self-defense martial arts, and so on.

• Cross-Cultural Studies
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• v.23
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• pp.101-126
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• 2011

The principal purpose of this study is to analyse and critique how precisely the representation of women in the film Retrato de Teresa reconstructs the socio-cultural image of the female in the late seventies of Cuban society. The film of Pastor Vega is obviously an outstanding challenge on the new subject of 'women's liberation' against machismo in the context of the Cuban society. Teresa, the female character, as a socio-cultural image of the Cuban society don't focuses on the declarative and iconic images of the women's role as a revolutionary heroin that had appeared frequently in the films of the sixties, but she struggles for getting more realistic and pragmatic values such as women's emancipation to take rights in daily life. Therefore, the declaration of the emancipation of Teresa against machismo of her husband $Ram{\acute{o}}n$ has the special and symbolic meanings of social role and function of the film in the process of Cuban cultural revolution. The film concentrates on inducing the audience to make new perspectives such as women and gender issues in the daily experience of Cuban society where the machista ideologies and practices characteristic of a patriarchal society. Conclusively the female image of this film does not represent a national heroin, but reflects the women's desire, hope, and dreams in the society. Teresa makes the audience think of representations of the true meanings of the revolution in daily life, the machista ideologies in the patriarchal society, and the women's role and fuction in the Cuban society.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.140-141
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• 2004

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.1
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• pp.133-145
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• 2000

Costume in movies are used as an instrument to signify the personality image and status of characters, and even the main theme of movie itself. The purpose of this paper is to verify the feministic meaning of bloomer costume used in movie, 「OSCAR and LUCINDA」. The bloomer costume was anti-fashion in crinoline period, when women was normally not allowed to put on trousers. To achieve the purpose, I used content analysis to obtain meanings from existing literature and video tapes(including, slides and pictures). Bloomer costume, introduced by Mrs. Amelia Bloomer at 1850s, is an anti­fashion to express women's right to wear trousers that were exclusively used by men since the medieval age. In this sense, bloomer costume itself is a costume expressing values of women's emancipation movement. In 「OSCAR and LUCINDA」, heroine, Lucinda, with bloomer costume is described as a woman who has strong motivation toward work, who actively looks for a man she loves, and who has free­will to involve herself in what she wants, even gambling. This is not surprising in a sense that Lucinda's bloomer costumes itself signifies the meanings of feminism. I found that bloomer costume was well described in the movie from the historical point of view. But some details, including type of trousers, were expressed without strict historical evidence. Overall, it is certain that 「OSCAR and LUCINDA」, with a heroine wearing bloomer costume was a big step towards women's emancipation in movies.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.20-27
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• 2005

The built-in kitchen that is seen in every household is one of the achievements of the modernism architecture in early 20th century. Developed on the basis of two axis, one of which is the high industrialization and the other the sceptical assessment on the traditional value-system, the 20th century was launched in the form of the twofold entanglement, through the unfolding of which the cultural code of the modernism could be operated. The Quantification of the psychic that was attempted by H. v. Helmholtz and E. Mach in the pursuit of the reunification of sensation to the normal science was the first thread of that, while the second the break-down of the authoritative ideology and the emancipation of woman labour, which were initiated by the leftist movements. In this situation Margarete Schutte-Lihotzky was the woman architect who has tried to overcome the patriarchism in the household through architectural work by dwelling on that the emancipation of the housewives from the inefficient household labour is directly connected with the accomplishment of human freedom. She applied the modernist functionalism to the designing the kitchen for that purpose and outlined the effective range and operational realm of the rationalization. After all this the future preoccupying endeavor became the decisive moment that gave birth to a aesthetically and functionally good deliberated design of the kitchen in the present. This study is purposed to actualize the architectural ideas of Lihotzky into the present context through the consideration on the Frankfurt Kitchen of her and to grope for the relationship between architecture and feminism on the common horizon of the functionalist architecture and the women's liberation.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.793-820
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• 2009

The studies of correspondence between novel and nation-state, among which The Rise of the Novel by Ian Watt is supposed to be the first book, have flourished for more than twenty years, encouraged by Benedict Anderson's and Cathy Davidson's works. According to them, the novel should come simultaneously with, or after the foundation of the nation-state, and testify to its production or the emergence of its subject/citizen. This paper questions about these prepositions, trying to introduce a new paradigmatical approach, "between global and transnational historical approach," to first novels in transatlantic areas including England and atlantic coastal areas. In its complex relation to a variety of colonial, post-colonial, and transnational geopolitics, various cultural practices such as history, traveler's tales and epistolary novels can be included in the genre of the novel. The idea of the sexual contract by Carole Pateman is very useful because it helps more clearly understand the nature of relation between men and women in the capitalist reproduction, while the social contract tells about the relation between men as citizens. Unlike Freud in Totem and Taboo, Zilboorg argues that there were primordial and violent scenes such as rape before the first sexual contract. This paper will illuminate that "the rise of the novel" corresponded with the emergence of the sexual contract. In the so-called first novel Pamela, the heroine Pamela was threatened to be violated by Mr. B., and was really even confined in his cottage. Mary Rowlandson's The Captive Narrative shows that her body was confined as an English female captive, and troubled with imaginary rape by Indians which resulted in the unequal sexual contract between her and her puritan community in America. However, Leonora Sansay's Secret History in an alternative communality, which was not a nation-state, was different from both novels mentioned above, in that it shows the possibility of emancipation from their unequal marriage, the sexual contract. Therefore, it can be argued that "between global and transnational historical approach" has a possibility to provide a new vision of global sisterhood and solidarity to recognize globalized women's violence, and free themselves from the unequal sexual contract.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.105-110
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• 2023

This article attempts to analyze John Greenleaf Whittier's anti-slavery poems. As a Quaker, he criticizes and satirizes the rife slavery in the mid nineteenth century. His thoughts are based on his religious belief. "The Farewell of a Virginia Slave Mother" depicts the mother who lost daughter for she was sold to the South. The harsh state of the corrupt South is described. In "Massachusettes to Virginia," the speaker, deploring the moral corruption of Virginia, denounces any attempt to return slaves to slave states. With a moonrise as a socio-political symbol, "Arisen at Last" celebrates the passage of law to protect fugitive slaves. Written after the Civil War, "The Peace Autumn" celebrates the peaceful situation in which Emancipation was declared. His efforts contributed to the abolitionist literature.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.3 s.39
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• pp.239-250
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• 1991

The purpose of this study was primarily aimed at the revealing changes in the aspects of women's clothing derivationed with the women's self-consciousness, liberation movement, women's suffrage and social participation from the mid-l9th century to the mid-20th century. According to the study, the main change of western women's costumes were eradication of corset, emergence of troussers and tailored suit, and transformation of sportwear. So that, women's liberation movement has an deep effect on leading up to a change tendency the functionalization and masculinization of women's costume.

• Journal of architectural history
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• v.2 no.1 s.3
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• pp.91-112
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• 1993

This study aims to clarify a history and its external conditions of collegiate education of architecture in Korea from 1945 to 1961. To reveal the process of formation of architectural education of this period, my analysis is chiefly concerned with the organization and of its curriculum in terms of policies of Ministery of Education, especially focused in case of Dept. of Architecture in Seoul National University, I attempted to describe the complex interactions between the structural conditions and results within and without the education system and the more general social, economic, and political contexts that pertained during those years, 8.15 Emancipation, Korean War, and Post-war Rehabilitation period. We may summarize them in part by saying the reception in Korea of the American influence was done through educational ideas, policies, systems, and various aid programs. The social raison d'etre of architectural education in Korea has been to produce technologically skilled man in the sense of engineer.

• Journal of Korean Society of Forest Science
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• v.3 no.1
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• pp.32-35
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• 1963

There are 3 kinds of forest managements: One of them is forest utilization management which collects abundant forest resources by felling the trees: the second of them is scientific forest management which cultivates forest resources; and the last one is emergency aid forest management, needed by the forest resources davastation, for the surposes of soil conservation and preventing the indirect damages. During the 36 years of Japanese occupation, they pillaged 600 to 800 million cubic meters of the forest resources, in the condition of the colonial system. After the emancipation from the Japanese occupation, the national soil conservation work has been practiced for 18 years without correcting the Japanese forest management (which means felling system); therefore the essential in the forest, conservation works is to get rid of imitating the Japanese pillage management so as to turn the direction of the forestry policy to the emergency aid management which means forest investment.