• The Research Journal of the Costume Culture
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• v.30 no.6
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• pp.898-918
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• 2022

Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers' collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun's collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.2
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• pp.123-139
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• 2023

Quân sư phụ (君師父) is a concept of respectfulness derived from the Chinese Confucian concepts of sān gāng wǔ cháng (三綱五常, the Three Principles and Five Constant Virtues) and sān cóng sì dé (三從四德, the Four Virtues Applied to the Three Male Figures) that is applied to Vietnamese Confucianism in regards to not only kings but also Chinese Emperors, as well as Chinese culture generally. In his famous literary work Vàng lửa (Golden Fire), Nguyễn Huy Thiệp revealed the Vietnamese attitude to Chinese civilization: "Our country could be characterized as nhược tiểu (弱小, small and weak). Vietnam was like a maiden forcibly deflowered by Chinese civilization. 'She' enjoyed it, but also came to hate it and feel disgraced by it" (Nguyễn 1988). This is a special sentiment or psychological complex of the Vietnamese in relation to Chinese civilization. The research findings are that the Nguyễn Huy Thiệp complex is the rationale behind which the symbol of the ancestral King Lạc Long Quân (貉龍君) was altered via SinoVietnamese motifs in order to develop Vietnamese Confucian thought.

• Journal of English Language & Literature
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• v.58 no.4
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• pp.783-807
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• 2012

This study compares and contrasts Freud's "work of mourning" which mostly appears in his memorable essay "Mourning and Melancholia" and Derrida's theory of mourning which appears in various works such as MEMOIRES for Paul de Man, The Work of Mourning, and others. Freud maintains that the mourner begins to sever emotional ties to the lost object through a labor of memory and eventually completes the work of mourning. It is a "testing of reality" that motivates the mourner to begin to relinquish emotional attachment to the lost object. Derrida, however, challenges Freudian work of mourning by saying that true mourning lies in "respecting the Otherness of the Other." Derrida suggests that Freud's "normal work of mourning" is "unjust betrayal" of the lost object because it "kills" and "devours" the other and thereby makes it part of the self. So he proposes that work of mourning has "to fail in order to succeed": "success fails" and "failure succeeds." There is an enormous, even epistemological, chasm between Freud who states that mourning, "however painful it may be, comes to a spontaneous end" and Derrida who states that "mourning is interminable. Inconsolable. Irreconcilable." and "I mourn Therefore I am." The former is the voice of "testing of reality" and common sense whereas the latter is that of utopian ethical vision. Yet neither seems to get the upper hand and they are kind of forced to maintain an ongoing dialogue with each other, for true mourning seems to lie somewhere in between.

• Lettere Italiane
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• no.32
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• pp.23-48
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• 2011

Se siamo d'accordo la definizione di Deleuze e Guattari che la letteratura minore è la letteratura che costruisce una minoranza dentro la lingua maggiore, le scritture italofoniche sono la traduzione in pratica di un concetto della letteratura minore che fornisce modelli sostitutivi di espressione. Questa minoranza di bilingue, o più precisamente, multilingue autori e pratiche, acquisisce uno spazio dentro della cultura e la lingua italiana, che di conseguenza sono entrambi deterritorializzati. Lo stanziamento di italiano come lingua in cui sono scritti i testi italofonici richiede una pratica influenza linguistica e culturale. Questa ibridazione linguistica e letteraria riverbera la pluralità sociale presente nella moderna Italia, dove oltre un milione di immigrati provenienti da tutto il mondo vivono oggi. Questo collegamento tra il letterario e il sociale si diffonde il senso di deterritorializzazione linguistica per definire personificazioni di 'otherness', sia per i corpi degli immigrati stessi sia per la politica. I testi italofonici rapresentano contemporaneamente l'individuo e il collettivo, cioè, l'esperienza individuale e la vita delle comunità di immigrati.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.53-60
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• 2017

In contemporary philosophy, the thinking subject became the dis-constructed subject and there was not left any one center in thinking. On the contrary of this trend, the philosopher Levinas stresses 'an ethics of Otherness' that requires the subject to be responsible for the Other. For Levinas, the Other is not knowable and cannot be made into an object of the self. For Levinas, the irreducible relation, the epiphany, of the face-to-face, the encounter with another, is a privileged phenomenon in which the other person's proximity and distance are both strongly felt. The face of the Other comes toward me with its infinite moral demands while emerging out of the trace. In the movie , when Sachie encounters them, she greets them. She provides them with food and shelter to protect from the dangers of elements. With the help of Sachia, the restaurant becomes a peaceful communal place for her and the Other.

• Journal of the Korean Geographical Society
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• v.36 no.4
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• pp.483-494
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• 2001

The purpose of this study is to analyze the relation between regional identity and national identity in a regional textbook in Korea. In geography education, regional textbooks are curriculum materials which represent regional identity based on territorial difference from other regions. In local curriculum level, the harmony between national unity and regional identity is to be pursued as educational objective. However, this harmony appears to be distorted in the school textbook in Je-Ju Province, a case region. For example, Confucian cultural landscapes are represented as otherness in regional discourses, but togetherness in the regional textbook. Also, the regional textbook implies that the boundary of external territorialization is mainly not regions but nations, and it seems to intend that leasers get a sense of place towards their region as periphery of nation. Therefore, we argue that regional identity, which must be stressed in a regional textbook, is marginalized in a case region.

• Korean journal of communication and information
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• v.18
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• pp.7-36
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• 2002

This study is concerned with analysing complexity, flexibility and dynamism of social discoursive space. The developmental process of social discourse is analogous to that of a spatial structure of social discourse. Post-capitalist society has seen New-Liberalism and New-Conservatism have become dominant, resulting in the deterioration of the cultural politics of citizenship. It is argued that the position of otherness, in which those binary structures (inside/outside or centre/margin) collide and collapse, is where subversive discourse can emerge to dominant discursive power. Furthermore, it is necessary to democratize social discursive space, through which the Other becomes able to. participate in the social production, distribution and consumption of social discourse.

• English & American cultural studies
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• v.10 no.2
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• pp.231-266
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• 2010

This paper explores hybridity and hybridized relations that see mixings and crossings as the first moment of multicultural society. References to hybridity often assume that the definition and orientation of the term are located within biology; that is, hybridity constitutes a mixing of two formally discrete objects. In this regard, there seems to be a dialectical preoccupation with purity that goes hand in hand with discussions of hybridity. This dialectical reference to hybridity privileges whole, complete entities as the original instance before mixing, and in this way purity becomes reified. My analysis of hybridity foregrounds mixings that occur at the level of the social, not exclusively at the level of the biological. Hybridity contexts the myth of monoculturalism in the United States and foregrounds multiculturalism as the initial context around which difference has begun to be conceived. In destabilizing the myth of racial origins, this paper attempts to establish a retroactive construction of purity, which is historically, ideologically, and ethnically examined in Gloria Anzaldua's Borderlands/ La Frontera: The New Mestiza. Through this work composed of disparate narratives discourses, Anzaldua employs physical differences to ward off the colonial desire that has defined others as objects which are to be controlled. In this regard, this paper pursues the way that physical differences could be repositioned in terms of 'hybridity' that has been related to the cultural, historical, economical significations of borderlands. The space of borderlands is also a place marked psychologically; it will turn differences mobilized in the borderland into an acute consciousness that makes us recognize 'otherness' within ourselves. In sum, this paper attempts to elaborate the productive and creative interactions among disparate languages, classes, genders, and ideas, which will draw attention to their own interlocking nature.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.147-165
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• 2022

The purpose of this study is to examine various types and characteristics of masks and to consider what meanings they have in the recent fashion world. To this end, this study attempts to reflect on the internal meaning of masks exhibited in fashion designers' collections rather than functional meanings. It has an implication; in that it tries to help understand the expressive needs for variety and freshness pursued by modern fashion and use the unique design development to understand the internal meanings of masks. It, therefore, examines the existing domestic and foreign literature and data about masks from a theoretical perspective, and also attempts to draw findings from the data of fashion collections which have been held since the 2000s, as well as from literature research based on books about fashion and various other media. The meanings of masks in the field of fashion are as follows: First, they express identity, by criticizing the couture fashion, through the fashion. Second, they present a new concept of body, showing an illogical and ambiguous identity in which both feminine and masculine images coexist. Third, they are media externally communicating insights about human beings' inner world, through which various messages are transferred to modern people who are attached to external appearances, and the identities possessed by designers are revealed by the masks. Fourth, they ask about a boundary between gender and sexuality, as a means to make us concentrate on the important social issue, while expressing various and new identities, like the hybrid identity. In other words, they can be found to be used as effective media in communicating fashion massages intended by fashion experimental and creative designers.

• Journal of English Language & Literature
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• v.57 no.6
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• pp.1089-1109
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• 2011

In an attempt to demonstrate in context of Nietzsche's "overman" (ubermensch) and Heidegger's "Being-in-the-World" (Dasein) the collective human efforts to overcome humanism in crisis, I will provide the ground for the poetics of overcoming, the ground which are based upon the double movements of transhumanism and transnationalism. For this purpose, I will turn to the theories of two distinctive poets who reveal and disreveal their truths about the subjecthood or the subjectivity in terms of overcoming: Christopher Dewdney for posthuman transhumanity and Dionisio D. Martinez for transnational cultural contamination Transhumanism represented by Christopher Dewdney manifests an interfusion of outside and inside, thereby collapsing the boundary between the mind and the world, and provides a breakthrough from the limitedly defined mind to the transhuman perspective of overcoming by using terminalogy and techniques from science and technology. The emerging transhumanism reflects the growing interdependence between humans and bio technologies, and suggests a potential improvement of human beings. The main argument of transhumanism is that we humans can and should continue to develop in all possible directions, by overcoming our human limitations by shedding the body and having the disembodied consciousness which will liberate our mind. Kwame Anthony Appiah's "cultural contamination" is another form of overcoming as well as a way to otherness, a counter-ideal of cultural purity which sustains authentic culture, reversing the traditional binary opposition between enriching authenticity and threatening hybridization. Dionisio Martinez's poetry sublimates the negative side of Appiah's concept of contamination, by redeeming the value of the Appiah's list of the ideal of contamination such as hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, a bit of this and a bit of that is how newness enters the world. When a poetic subject is doubly exiled and doubly homeless away from his/her native homeland and home of native language, one has no more identification with the authentic culture of both home and away, but rather anticipates a new identity as a transnational subject to cross the bridge beyond cultural authenticity and to enter into the field of cultural contamination.