• Journal of Convergence for Information Technology
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• v.9 no.11
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• pp.180-188
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• 2019

The purpose of this study is to rethink the common theme that penetrates Faulkner's authorship. That is to say, does his authorship come from "being white"? To answer this question, I try to look into "otherness"/violence against others through re-reading Light in August. By borrowing the idea of "panopticon' mechanism in Michel Foucault's Surveiller et Punir, I will examine the process of justifying the violence against others, especially blacks. Through this process, I try to research the one side of Faulkner's Southern myth which was riddled with the history of pillage and violation of black people's rights. In Light in August, I will compare Jefferson society which encircles Joe Christmas to panopticon mechanism derived from Michel Foucault's Surveiller et Punir. Jefferson society as a designer of surveillance system and an executor as well ceaselessly surveils Joe Christmas's otherness/difference or blackness and tries to punish him whenever they can. With this mechanism, I try to explain that writer's repetitive narration of collective amoral behavior such as lynch comes from his anxiety and conscience about his dark side Southern history.

• Journal of English Language & Literature
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• v.57 no.5
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• pp.813-838
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• 2011

Toni Morrison's ninth novel A Mercy delves into the colonial American history of the seventeenth century when Europeans began to migrate to the New World and when the first slaves were brought to Virginia. Morrison presents a diverse group of people such as white Europeans, an American Indian, a free black man, indentured servants, and slaves from Africa in order to explore the subjects of ownership, freedom and racism. She emphasizes the fact that most of the Europeans who came to America in the early seventeenth century were the people who were thrown out from the society such as felons, prostitutes, servants and children. By portraying how these castaways tried to settle in a new environment surrounded by unknown dangers and challenges, Morrison demystifies and reconstructs the myth of the birth of America as a nation state. In continuation of Morrison's writings about love and the betrayal of love, her novel A Mercy explores the subjects of trauma, memory and subjectivity by choosing the topic of motherly love and its betrayal which she dealt with poignantly in Beloved. The female protagonist, Florens, is given away by her mother in partial payment of debt incurred by the owner of Florens's mother. The traumatic memory of Florens's separation from her mother shapes Florence's character. She has to revisit the site of the original traumatic experiences of being given up by her mother in order to reconstruct her fragmented memory and past. The recurring dream of the traumatic incident that takes hold of Florens can be explained by the trauma theory of Freud, Cathy Caruth, Suzette Henke, and Judith Herman. The paper explores the self journey of Florens in which she faces the traumatic past and comprehends its meaning which enables her to construct her subjectivity by understanding the true meaning of being free and of owning oneself. In particular, it demonstrates how the process of writing a confession, a story about one's history, enables one to reclaim the traumatic experience and to locate it in the narrative memory.

• English & American cultural studies
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• v.10 no.2
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• pp.29-48
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• 2010

This paper is a kind of interdisciplinary studies which connect a Western film criticism with a criticism of minority literature in America. My purpose in this paper is to put on the table such a sensitive issue as racial representation and representativeness in Clint Eastwood's revisionist Western, Unforgiven. We admit generally that Western films have contributed to the white American myth-making of how the West was won. Yet, since the mid-1960s, a growing number of revisionist Westerns were produced so as to raise a question about the conventional way of looking at what happened in the American West. In order to analyze the problem inherent in the way of seeing, I pay attention to how the director Eastwood (re)presents a character named W. W. Beauchamp in the film. Presumably, what the character Beauchamp misses in the West can be overlapped with what ordinary film viewers miss in the genre of Westerns. Given this, interrogating both what Beauchamp sees and what he misses within the movie, I attempt to disclose how much of the West has been unseen from his biased viewpoint. By doing so, I argue why it is important to focus on some passing scenes that touch on the irony of a Native American train passenger, the gaze of the mute Native American housewife, the abrupt disappearance of Asian American men, the lynching of African-American ex-cowboy, and the self-determination of the saloon prostitutes. Then I hope that, conservative and mainstream though the director is, his way of revising the Western is not quite far from my minority-conscious critical position.

• Weed & Turfgrass Science
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• v.7 no.2
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• pp.98-110
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• 2018

The fragrance has a great influence on consumers' cognition, emotional response, attitude, memory, and behavior since the human sense of fragrance is physically and neurologically closer to the hippocampus of the brain. The fragrance materials are exposed to humans ranging from skin interaction to inhalation. We have lots of stories and literature on the usage of fragrance in everyday life in Korea from the Dangun myth to present K-beauty cosmetics. In Korean history, such archives as Dong-Eui-Bo-Gam and Gyu-Gak-Chong-Seo at Joseon Dynasty clearly recorded the application of many weeds for the manufacture of various fragrance products. In recent times, fragrances in weeds have been being applied to touch the consumer's feelings. The present mini-review is an attempt to introduce and discuss fragrant weeds in the archives and in science journals, effects of fragrant weeds on the human electroencephalographic activity, and effects of fragrance on the behavior of consumers. This review could be useful for the development of natural cosmetic and perfumery products from fragrant weeds.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.328-331
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• 2010

The ratio of roles, involving characters created by 2D or 3D Graphic Technology, has risen within games, recent animations, movies and the educational sector. However, the "monster character" appears mainly in "Shanghai Ching" and Greek and Roman mythology. To receive worldwide accolade, it is time that we should use our games, movies and animations to present the history and spirit of Korea. I researched Korean myths so as to understand the characteristics a "Korean monster" would need to portray. This also allowed me to visualise the monster and realize the necessary manufacturing processes involved.

• Journal of the Korean Society of Costume
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• v.40
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• pp.5-23
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• 1998

The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

• Journal of the Korean Society of Costume
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• v.39
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• pp.59-77
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• 1998

This paper is focused on the traditional sash weaving handicraft of‘She’ethnic group, which is located in Fujian, Zhejiang, Jiangxi, Guangdong province of China. This research is main-ly based on the field work, analyzed and inter-preted the traditional sash in systematic and reasoned way. The summary of this study are as follows : 1. On its technological aspect, weaving structure of the traditional sash is made of warp rod backed weaving. The used tool is primitive one but the weaving process includes scientific method. 2. From the social-cultural point of view, the sash ha been the symbol of love towards her lover. Every woman of this group had taken training for this sash weaving from a child. 3. On its ethnological aspect, it has been long history and has interchanged with other ethnic group like Miao, Han and also Okinawa country of Japan. The pattern inside this sash are almost looks like characters, but they are not Chinese characters whereas are the inde-pendent code of‘She’ group and have been inherent from ancestors and which will be tran-smitted to their posterity. These independent code of‘She’group are the traditional message to their later generation implicating their natural circumstances, human relationship, ethnic myth, spirit etc. 4. I recognize that the pattern inside the sash is defined as the communicative code and in comparison to language, it is more repetition and less apparent as close code. Nowadays China has been developed es-pecially in the economical fields rapidly. Under the circumstances traditional weaving culture of ethnic groups has been facing a crisis of disappearance, which will be a great loss for the country as well as the human beings. For this reason, I emphasize that it is very immediate to make co-researches into the material culture of Chinese ethnic groups.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.127-170
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• 2012

The primary concerns of this thesis simply stems from the curiosity of how the playwright Kim Jihoon lookouts a peculiar change of our spiritual, physical world. His lately work, , deals with a tribe of mixed blood who are either not shared by, or excluded from a national system, putting the writer's emphasis on some hints that informs us his outlook on the world. And these hints summon the following doubts. What is the significance of constituting a national community in this age, particularly in the time when the end of national people is frequently being referred? In strengthening national compositions, can the national identity be a pivotal element and central mechanism? Can the identity be able to exercise the hegemonic functions containing the political rights of decisions? Does the identity still dominate the various collective bodies such as genders, races, regions, professions, generations and classes etc? Finally, as the manifests, can the national identity be a desirable alternative that may cease both confusions and disorders evoked by the collision of heterogeneity? To find the answer, the study starts from a search for the origin of the complexities immanent in the mixed blood. The terror syndrome and the ambiguous identity, both residing outside the border of normality, will characterise the origin. Then I will focus both on the tribe's desperation itself and their present hope, in order. A myth of creating a country, making history and nationalism, all these are converged in their resistant ideology. This thesis ends with no clear conclusion, and yet suggesting the three presumptions the text insinuates: nomadism, a new barbarism, and the heterogeneity that awaits for our re-reading, and hoping that the three will lead the 'being-to-come' of the tribe, as an alternative of their future.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.151-166
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• 2013

In order to create a national myth and be able to control international society, America with her short national history, used popular culture to accomplish these goals. The medium fit this purpose the best was the use of superhero characters based on comics. Born and developed from the 1930s through the 1960s, which could be seen as America's national crisis era, superhero characters were thorough advocates of American justice and was perfect for the role of spreading the legitimacy of American ideology. From the 1970s, superhero characters became part of movies and became even more influential through the Hollywood's massive film industry and the box office success. American ideology in superhero characters symbolically appeared in movie costumes. Starting with Superman and Batman, the very first and typical superhero characters' costumes work as metaphors for realization of American justice. After the 1980s, superheroes were newly developed through a genre called graphic novel and the most representative piece of this genre is Alan Moore's Watchmen. In the Watchmen, which was also turn into a movie in 2009, six changed superhero characters appear ranging from a non-human superhero, villain superhero, superhero with mental disorder and superhero with sexual impotency, the characters were never-seen-before superheroes with different aspects that connote introspection and philosophical ideology. The changed type of heroes and ideology became another form of heroes, and this brought changes to character costumes that were never considered before. The superhero costumes that used to symbolize America now express different types of superhero by borrowing exotic mythical elements, undressing, pastiche and daily life clothes. The superhero characters and their changes in costumes from Watchmen imply American popular culture's introspective tendency. Amongst these changes, we need to raise our critical vision towards popular culture.