• Journal of Communication Design
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• v.66
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• pp.190-200
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• 2019

Through the golden age of the 1950s and 80s, Chinese animation formed a national style that inherited the traditional culture of China and adhered to various production methods, innovative styles and ethnic spirit. Today, however, Chinese animation is facing various challenges as it competes with animations from around the world. In this situation, Chinese animation is at a time when it is necessary to consider how to establish the identity of Chinese culture and how to combine China's unique ethnicity with modern personality. This study aims to analyze the symbolism and aesthetic characteristics of Chinese traditional color tubes in Chinese animated works, to analyze how symbolism and aesthetic features were used, Through this study, we will examine whether traditional Chinese colors can act as creative factors in presenting the future direction and value of modern Chinese animation today.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.103-133
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• 2010

The purpose of this paper is to make a critique of racial aspects of Caribbean literature more ethical through a constant concern with history and political philosophy. The first step I take for this purpose is a comparative reading of C. L. R. James's view of Toussaint L'Ouverture's position and Frantz Fanon's view of race and class in the historical context of the Caribbean power-relations. In so doing, I examine how Toussaint's and Fanon's wills to negotiation were thwarted in the New World history. To elaborate upon this ethico-political approach, I have recourse to the so-called later Derrida, focusing on his books, such as The Politics of Friendship, Of Hospitality, On Cosmopolitanism and Forgiveness, etc. Taking an up-close look at Derrida's thought, I argue that his political contemplation of ethics is as effective as his deconstruction of "otherness" in dealing with the nature of ethnic clashes in both the real world and minority literature. In the second half of my paper, I reexamine the issues of race, gender, and class in the three novels of Jamaica Kincaid - Annie John, Lucy, and The Autobiography of My Mother. It is conceivable that from the feminist perspective Kincaid's fiction has been read as a postcolonial Bildungsroman. In my supplementary attempts to this criticism, I reveal that the teenage narrator's precocious awareness is still under the colonial influence in the Annie John section. My analysis of Lucy contends that the reasons why the white woman fails to make friends with the young black woman should be sought in the long history of the U.S. racial politics. In the section of The Autobiography of My Mother, I discuss how difficult it is for a minority woman to liberate from the spell of history insofar as she is engaged in the issue of identity. In closing, I pose a need of consolation that literature may grant us by becoming able to produce a different interpretation on all the bleaker reality.

• Journal of the Korean association of regional geographers
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• v.20 no.2
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• pp.163-175
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• 2014

This study is to explain social capital characteristics of Filipino immigrant women at the level of neighborhood. This research targeted Filipino immigrant women in the metropolis, small town and rural area in Korea to find out the relevance of individual property and characteristics of the community and social capital of neighboring communities- school community, cathedral community, etc- through measurement of the participants' recognition. This study reveals that differences exist in the relationship between length of residence and social capital in the school community and the catholic church community. There is a significant positive relationship between length of residence and political factors in the catholic church community, thereby having a better relationship with longer period of stay, while length of residence and confidence show a negative trend in the school community, leading to less confidence. The catholic church community holds a dominant position in homogeneity, cohesion, and the amount of social capital. According to the findings, social capital 'relation' is more closely related to homogeneity of the community, 'norms' to cohesion. 'Relation and norms' and 'confidence and politics' factors are recognized similarly in both communities, thus resulting in the recognition that decision making within the community, the share of value, and observance of social norms approximate a friendly relationship among members, and satisfaction level, emotional support, and confidence among members approach politics that members can talk about their personal matters. It is noted in the research process that the symbolism of the cathedral community as a transnational circuit behavior occurs where collective culture and personal desires of Filipino immigrant women were combined with production of social capital. Filipino immigrant women's awareness of community and social capital appearing in the cathedral community show that not only residence, along with the cultural identity of Filipino immigrant women, but also collective social and cultural characteristics, such as 'family reunion' can not be overlooked. In particular, at this time when discussion and debate on the interculturalism over multiculturalism is heating up, communal spirit and social capital based on the ethnic identity are important in that they can be a crucial path to the cross-cultural interaction with our society, therefore, a study on the social capital of the ethnic community needs to be encouraged and extended to more diverse communities, to the space of the multilayered scale.

• Korean journal of communication and information
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• v.67
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• pp.177-208
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• 2014

This study inquires how human interest news on society section of newspapers had been modulated as multi-layered political narratives that would consistently have Koreans consider, realize and question on colonial situation as well as ethnic identity. Under totalitarian censorship of the colonial government, newspapers could not publish reports on political issues and current affairs, so society page of human interest such as crime, accident, conflict, disaster, and many kinds of sufferings of peoples to death would take great public attention and consequently be considered as a substitute of political section. Society page had enjoyed its influence on formation of public opinion of the colonized ethnic society and had maintained cultural-nationalist position ever since the founding of newspaper in mother-tongue in 1920. In colonial context, there is nothing non-political to the lives of the colonized, social facts would be necessary and happen to be modulated into a narrative that could trigger nationalist sentiment. For this end, news reporting of society section usually concentrated on aspects of 'Les Mis${\acute{e}}$rqbles', dramatic quality, and psychological factors in detail. Narrative style of news reporting got used to modulate factual informations with a proper taste of exaggeration, emotional expression, and commercial touch of exciting words. Even in a case of death by drug abuse, news was written to indicate what made him/her drive to miserable death on street, that is, what is de facto reason of all of social problems like as migration, hunger, leaving home, crime, suicide, violence, gambling, love affairs to death, adultery, and even opium habit. Those social problems and personal sufferings appeared up on newspaper 3rd page at daily base. Readers could acknowledge and identify what the real matter that should be resolved and then blame colonialism, capitalism, and militarism for those social problems. Journalists put values on inciting the colonized to realize the national and ethnic situation and feel sympathy for their people tied up by a common destiny. In this terms, news on society section of newspaper under Colonial Occupation were encoded as narratives of politically layered text and then decoded as intriguing sentiments against colonial dominance. I argue that society page of newspaper of colonial period engaged in a sort of cultural politics of sentiment and emotion which is a private area outside of imperial sight.

• Cartoon and Animation Studies
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• s.50
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• pp.349-382
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• 2018

China is a great civilization which is a combination of various ethnic groups with long history change. As one of these important components of traditional culture, the lucky shape has been going through the ideological upheaval of the history change of China. Up to now, it has become the important parts which can stimulate the emotion of Chinese nation. The lucky shape becomes the basis of the rich traditional culture by long history of the Chinese nation. Even say it is the centre of this traditional culture resource. The lucky shape is a way of expressing the Chinese history and national emotions. It is the important part of people's living habits, emotion, as well as the cultural background. What's more, it has the value of beliefs of Surname totem. Meanwhile, it also has the function of passing on information. The symbol of information finally was created by the being of lucky shape to indicate its conceptual content. There are various kinds of lucky shapes. It will have its limitations when researching all kinds of them professionally. So, here the lucky shape of FISH will be researched. The shape of fish is the first good shape created by the Chinese nation. It is about 6000 years. Its special shape and lucky meaning embody the peculiar inherent culture and intension of the Chinese nation. It's the important component of the Chinese traditional culture. The traditional shape of fish was focused on the continuation of history and the patterns recognition, etc. It seldom indicated the meaning of the shape into the using of the modern design. So by searching the lucky meaning & the way of fish shape, the purpose of the search is to explore the real analysis of value of the fish shape in the modern enterprise identity design. The way of search is through the development of the history, the evolvement and the meaning of lucky of the traditional fish shape to analyse the symbolic meaning and the cultural meaning from all levels in nation, culture, art and life, etc. And by using the huge living example of the enterprise identity design of the traditional shape of the fish to analyse that how it works in positive way by those enterprise which is based on the trust with good image. In the modern Chinese enterprise identity design, the lucky image will be reinterpreted in the modern way. It will be proofed by the national perceptual knowledge of the consumer and the way of enlarge the goodwill of corporate image. It will be the conclusion. The traditional fish shape is the important core of modern design.So this search is taken through the instance of the design of enterprise image of the traditional fish shape to analysis the idea of the majority Chinese people of the traditional luck and the influence of corporation which based on trust and credibility. In modern image design of Chinese corporation, the auspicious sign reappear. The question survey is taken by people through the perceptual knowledge of the consumer and the cognition the enterprise image. According the result, people can speculate the improvement of consumer's recognition and the possibility of development of traditional concept.

• Journal of Korean Historical Folklife
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• no.27
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• pp.267-361
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• 2008

This article traces how the modern Chinese "nation" was constructed as an "imagined community" around Huang-ti (the Yellow Emperor) in late Qing. Huang-ti was a legendary figure in ancient China and the imperial courts monopolized the worship of him. Many late Qing intellectuals appropriated this symbolic figure and, through a set of discursive strategies of "framing, voice and narrative structure," transformed him into a privileged symbol for modern Chinese national identity. What Huang-ti could offer was, however, no more than a "public face" for the imagined new national community, or in other words, a formal structure without substantial contents. No consensus appeared on whom the Chinese nation should include and where the Chinese nation should draw its boundaries. The anti-Manchu revolutionaries emphasized the primordial attachment of blood and considered modern China an exclusive community of Huang-ti's descent. The constitutional reformers sought to stretch the boundaries to include the ethnic groups other than the Han. Some minority intellectuals, particularly the Manchu ones, re-constructed the historic memory of their ethnic origin around Huang-ti. The quarrels among intellectuals of different political persuasion testify how Huang-ti as the most powerful cultural symbol became a site for contests and negotiations in the late Qing process of national construction.

• Journal of International Area Studies (JIAS)
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• v.15 no.1
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• pp.155-180
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• 2011

This paper aims at comparing the metanarrative and East Timor's local narrative in Indonesia during the Suharto's regime. Although these history writings have different political goals, the patterns of writings are ironically similar. Both of the history writings show strong nationalistic history writing patterns. Yet, in the writings, these histories place different interpretations on the historical events. In the metanarrative, local dynamics are seen through the diagrams of the nation and nationhood. This narrative finds the roots of the "ethnie" from some kingdoms in Java and Sumatra. These kingdoms, which throve based on the Hindu-Buddhist culture, achieved a territorial unity to a degree, covering some parts of Java and Sumatra. The glorious past disappeared with the advent of the colonial rule. The metanarrative then emphasizes the unity of the ethnic groups in the archipelago, which fiercely resisted against the colonial exploitation and oppression. By this, these ethnic groups were defined as "the masses," the collective identity, which had a same goal to achieve the national independence. In addition, some local histories, which took positive attitudes toward the European forces, were simply left out from the metanarrative. All the separatist movements taking place in the republic were also described as the anti-unifying forces. On the other hand, the goal of the history-writing in East Timor was to enhance the sense of nationalism and create the perception of the "East Timorese." The fundamental aim was the separation from Indonesia. In the narrative, the nationalist politicians overcame the problem of the non-existence of any memories of the glorious past with the awakening of the idea of "the imagined gloriousness of the past if there was no colonial rule." In addition, the narrative overemphasizes the memory of the colonial rule for 450 years under the Portuguese rule in order to stress the fact that it was the colony of Portugal, not of the Netherlands. Finally, the narrative shows how the East Timorese collectively fell to the status of slaves. By this, the political leaders of East Timor evoked the notion that it was recolonized by Indonesia, under which the East Timorese were demoted to the status of slaves. This notion of "slave-master" relationship then became the motives for the independence struggles in East Timor.

• Lingua Humanitatis
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• v.8
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• pp.151-173
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• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.

• KOMUNHWA
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• no.68
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• pp.7-24
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• 2006

This article is the critical review of the methods and assumptions with which the Korean archaeologists have tried to approach to the Bronze age society. It was not until the 1980s' that there had been any attempt to define the relevant units for the study of past societies. Before the archaeological records of megalithic builders in the Bronze age began to be analyzed to find out the general traits of chiefdom society, Korean archaeologists had described the variations in the cultural, rather than the social, entities. From the 1990s' , some scholars have attempted to reconstruct the scale and organization of the social groups and explain the growth of polities in evolutionary view, analyzing the hierarchical distributions of settlement data. In the concluding remarks of the review, I would like to indicate the some problems in the conceptualization of the material culture patterning in the regional and/or inter-regional level. First, the conceptual problem which appeared when the Bronze archaeologists define the distribution of artifact assemblages, composed of the specific artifact traits , beyond the instrumental categories that are efficient for the establishments of regional chronologies. It is evidently erroneous conceptualization that we define the artifact assemblages as the socio-cultual entities which came into being in specific time and place, geographically expanded, and finally disappeared based on the view of essentialism. Second, the interpretative problems about wide distributions of certain bronze artifacts must be indicated. I would like to suggest that the wide distributions of the specific bronze dagger or mirror types should be explained not by the cultural area concept related to the ethnicity assumptions, but by the world system or the inter-regional interaction models.

• The Southeast Asian review
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• v.21 no.1
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• pp.137-184
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• 2011

This article is aimed at understanding the political narratives represented in the National Museum of Indonesia. Starting initially as a colonial museum, the National Museum of Indonesia functioned as a useful tool for the Dutch colonial force to fuel its imaginations of the colonial territory and the people within it. The Dutch used the cultural display to advertize its benevolent colonial rule. All the while, the museum also inevitably reflected orientalism on the people and the culture of the colony. The republic of Indonesia inherited the colonial museum's practices and its display patterns. The business surrounding the museum also played a key role in the newly-born nation-state laying out a future for its redefined territory and people. Thus, what the colonial force imagined for the colonial territory through the study of museum displays was rather directly transferred to the republic without serious consideration of the decolonization process. Four main characteristics have been seen in the museum displays. The first is an emphasis on the glorious Hindu-Buddha history, from which numerous temples, statues, and jewelry have been found. Secondly, the Islamic period, which spanned between the Hindu-Buddha times to the colonial era, has almost completely been eliminated from the display. Third, the colonial era has been depicted as the time of Europe's exportation of scientific tools and adaption of sophisticated living patterns. Fourth, the images of ethnic groups were represented as being stagnant without reflecting any challenges and responses that these groups had faced throughout history. Looking at these display patterns, it can be concluded that all the dynamic internal developments and anti-colonial resistance that took place during the Islamic and Colonial Era have simply not been represented in the museum display. These display patterns do not reflect the real history or culture of the archipelago. Two considerations are thought to have influenced the neglecting of social realities in the display. The first of which is the Dutch's and Republic's apprehension over the possible political upheaval by the Islamic forces. Yet, more fundamentally, cultural displays themselves are distinct from historical education in that the former pays more attention to business ideas with an aim to attract tourists rather than to project objective historical knowledge. Thus, in cultural displays, objects which work to stimulate fantasies and spur curiosity on archipelagic culture tend to be selected and emphasized. In this process, historical objectivity is sometimes considered less vital. Cultural displays are set up to create more appealing narratives for viewers. Therefore, if a narrative loses its luster, it will be replaced by another flashy and newly-resurrected memory. This fact reveals that museums, as transmitters of historical knowledge, have a certain degree of limitation in playing their role.