• The Plant Pathology Journal
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• v.32 no.6
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• pp.508-518
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• 2016

Early blight of tomato caused by Alternaria solani, is responsible for severe yield losses in tomato. The conidia survive on soil surface and old dry lower leaves of the plant and spread when suitable climatic conditions are available. Macroclimatic study reveals that highest inoculum concentration of Alternaria spores appeared in May 2012 to 2013 and lowest concentration during January 2012 to 2013. High night temperature positively correlated and significantly (P < 0.01) involved in conidial spore dispersal and low relative humidity (RH) displayed significant (P < 0.05) but negative correlation with conidial dispersal. The objective of the study was to modify microclimatic conditions of tomato crop canopy which may hamper conidial dispersal and reduce disease severity. We evaluated effect of marigold intercropping and plastic mulching singly and in consortia on A. solani conidial density, tomato leaf damage and microclimatic parameters as compar to tomato alone (T). Tomato-marigold intercropping-plastic mulching treatment (T + M + P) showed 35-39% reduction in disease intensity as compared to tomato alone. When intercropped with tomato, marigold served as barrier to conidial movement and plastic mulching prevented evapotranspiration and reduced the canopy RH that resulted in less germination of A. solani spores. Marigold intercropping and plastic mulching served successfully as physical barrier against conidial dissemination to diminish significantly the tomato foliar damage produced by A. solani.

• Journal of the Regional Association of Architectural Institute of Korea
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• v.20 no.6
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• pp.9-16
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• 2018

The purpose of this research was influenced by the historical background of Japanese modern architecture by the circulation of Kuma Kengo's architectural works and he wanted to look at the values and directions he was pursuing and how they were expressed in his works. The results of the review are summarized as follows. First, metabolism was developed as a reaction of modernism in modern architecture, focusing on growth through infinite reproduction by looking at architecture and cities as organisms and by using unit space as cells. Kuma Kengo, on the other hand, argues that focusing on the possibility of decimation of unit members by sequencing the elements that make up the space smaller than the unit space is closer to an ecological architecture. Second, what Kuma Kengo says is "erase the architecture" that is naturally related to the environment and disappears when its use is exhausted. His argument is expressed in individual architectural works through 'visual erase', 'particle painting of materials' and 'independence through dependency.' Through this, Kuma Kengo's ecological architectural languages were influenced by the ecological causes of metabolism, but they differed from the perspective of seeing architectural circulation as an organism. If metabolism was intended to realize circulation with growth potential based on the module of unit space, Kuma Kengo sought to implement circulation with the extinction of the unit members of space.

• Cross-Cultural Studies
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• v.27
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• pp.105-122
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• 2012

This article aims that Chinese characters represented in Korean films have been explored for historical consideration of Korean's viewpoint on Chinese from early modern to the present day. During Japanese colonial period, Chinese had been hateful and feared by most of Korean because Korean had been acted high-handedly by chinese in early modern time and had covertly regarded chinese as threatening competitors in economical part of the colony, refered to the chinese characters represented in the films, For the Lover(1928) and Secret of Chinese Street(1928). Chinese had been called as enemy forces in Korean movies, such as Marines are Gone(1963), Dragon competed with tiger(1974) made with Korean battle field setting and Manchuria setting developed a Korean independence movement, after Korean War in the 1960-70s maintained the cold war system in the World. According to analyzing chinese characters depicted in Failan(2001), A Good Rain Knows(2010), Korean public have a friendly attitude with contemporary Chinese as China has been the great trade partner of Korea with interdependent relationship after 1992, the year of Korea have established diplomatic ties with China.

• The Southeast Asian review
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• v.24 no.1
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• pp.45-87
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• 2014

This study traces the possibility of political change in the Malaysian electoral history, especially by focusing on the 13th general election held in May 2013. The results of the 13th general election was another turning point in the history of Malaysia's electoral politics. Following after the 12th general election held in 2008, opposition coalition(PR) achieves a remarkable electoral result by obtaining over 50% of the total votes. Opposition parties also successfully collapsed the ruling coalition(BN)'s two-third majority in parliamentary. It was de-facto defeat of the ruling coalition and victory of the opposition coalition. More precisely, the 2013 election results show that the reformasi movement, which was active in 1998-99 period, are still alive and its impact on Malaysian electoral politics get stronger. Malaysia has long been considered as a typical electoral authoritarian regime since its independence in 1957. It is because that there has been negative relations between electoral politics and political change through out its electoral history. As shown in the most recent two general elections held in 2008 and 2013, however, Malaysia's hegemonic political system can be possibly changed through electoral politics. This article examines the detailed results of the series of post-reformarsi general elections(1999, 2004, 2008, 2013) and its political implications towards the nexus of electoral politics and political change under the electoral authoritarian regime in Malaysia.

• Analyses & Alternatives
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• v.4 no.2
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• pp.163-202
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• 2020

This paper examines how Japanese society produced and reproduced a distinctively gendered history and memories of the experience of WWII and colonialism in the postwar era. We argue that these gendered narratives, which were embedded in postwar debates about the Peace Constitution and comfort women, have engendered contradictions and made the historical conflicts with neighboring countries challenging to resolve. On the one hand, this deepens conflict, but on the other, it also generates stability in East Asia. After Japan's defeat in WWII, the American Occupation government created the Peace Constitution, which permanently "renounces war as a sovereign right of the nation and the threat or use of force as means of settling international disputes." The removal of the state's monopoly on violence - the symbol of masculinity - resulted in Japan's feminization. This feminization led to collective forgetting of prewar imperialism and militarism in postwar Japan. While collectively forgetting the wartime history of comfort women within these feminized narratives, the conservative movement to revise the Peace Constitution attempted to recover Japan's masculinity for a new, autonomous role in international politics, as uncertainty in East Asia increased. Ironically, however, this effort strengthened Japan's femininity because it involved forgetting Japan's masculine role in the past. This forgetting has undermined efforts to achieve masculine independence, thus reinforcing dependence on the United States. Recurrent debates about the Peace Constitution and comfort women have influenced how Japanese political elites and intellectual society have constructed distinctive social institutions, imagined foreign relations, and framed contemporary problems, as indicated in their gendered restructuring of history.

• Journal of the Korean Association of African Studies
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• v.43
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• pp.3-48
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• 2014

ABAKO(Alliance des Bakongo) of Democratic Republic of Congo is an organization founded by an ethnic group who sought to preserve its language, culture and tradition. It later developed into a political organization and led an independence movement from Belgium. In 1950, Edmond Nzeza-Nlandu founded the ABAKO in Leopoldville (currently known as Kinshasa), the capital of Belgian Congo. ABAKO changed into a political organization, however, when Nzeza-Nlandu stepped down from his position and Joseph Kasa-Vubu was elected instead as the chief of ABAKO in March 21, 1954. The Bakongo nationalism, as a link between the Kongo Kingdom of the past and the Bakongo people of the present, had influence on their cultural identity, attitude towards authority, political orientation, a common ground for geographical boundaries, and provided foundation for group mobilization. Moreover, the Kimbangu Church, founded by Simon Kimbangu had close ties with ABAKO. They struggled to obtain independece from the Belgian colonial rule. In conclusion, the leaders and members of ABAKO regarded the 'ethnic, linguistic and historical' affinities as the identity of their Bakongo nationalist group.

• Journal of the Korean Society of Costume
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• v.14
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• pp.99-117
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• 1990

The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.

• Korean journal of communication and information
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• v.57
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• pp.69-83
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• 2012

This paper attempts to explore the development of the media labor movement and its tasks. Due to the unique characteristics of information delivered by media, the media labor movement under the authoritarian regime was oppressed and regulated by the government. As democratization has proceeded, the state's oppression and regulation of media has been weakened. However, media workers should wage the struggle for union recognition and independence of editorship simultaneously. Because media unions as labor market organizations also seek for job security and wage increase, we need to understand both political dimension and economic dimension of union activities in media industry. While state's control over media has been diminished in the late 1900s, competition in media industry has been intensified. As small number of media corporations monopolizes the media market, the ecology of media has been completely transformed. Unions in media industry should respond to the change of the media ecology and should build solidarity among media workers at the same time. The achievement of the public nature of media as a part of democratization and building union federation of media industry as a response to the marketization of media still remain as an epochal task for media unions. Like the case of "Hope Bus" in the strike in Hanjin Heavy Industrial Corporation, solidarity between citizens and striking workers should be strengthened.

• Cross-Cultural Studies
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• v.43
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• pp.7-50
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• 2016

In the capitalized Joseon Dynasty under the Japanese colonial rule, most Gisaengs (female entertainers) were waiting for men who would save them from financial distress, but others chose to seize the opportunity imposed by the modern times and capitalization to transform their lives. Socialist Jung Chil-sung was one of those who utilized such opportunity to transform themselves through political awakening. The political awakening of Chung Chil-sung was the result of two factors-the historical occasion of the March $1^{st}$ movement and her personal labor experience as Gisaeng. The March $1^{st}$ movement was not only a colossal political incident externally manifested in nationalism and but also an occasion which educed the microscopic anger of a woman named Chung Chil-sung. In the early capitalist society, women with jobs were forced to play not only vocational tasks but also to subject themselves to emotional roles of being obedient and generous. In other words, those early career women suffered feelings such as anger, shame and humiliation, when they were defenselessly exposed to gender hierarchy and gender power in the public sphere. As shown in the case of Chung Chil-sung, these emotions led to a certain political awakening. The political awakening through the labor experience and emotional problems was the fact that helped Chung Chil-sung have a concrete and realistic understanding about the issue of women's economic dependence unlike other female socialists. But, although socialism was relatively the most appropriate language to explain Chung Chil-sung's experience, what she experienced contained several elements that cannot be explained by the elite socialist language. Therefore, her life paradoxically proved the need of lower-class women's lives to be divided and registered as a new emotion and to be politically visualized.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.