• Journal of Distribution Science
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• v.15 no.1
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• pp.21-30
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• 2017

Purpose - These days, Korean society with more than 2 million foreigners has made multi-cultural society quickly. Multi-cultural society has become popular and anti multi-cultural phenomenon has grown up gradually against Korea's traditional habits. Research design, data, and methodology - European countries that were said to be multi-cultural society had suffered from terror, riot and other social conflicts. The study examined Koreans' racism and anti multi-cultural emotion to investigate the conditions and causes of anti multi-cultural emotion. Further, this study investigates a prevention of the worst case such as Norway terror and the countermeasures compared to each country's social customs. Results - Koreans are not generous to the foreigners. Foreign countries' cases after failures in multi-cultural society might give future implications on multi-cultural society in Korea. Conclusions - Korean society have not produced new one by introducing another races, nationality and culture not cognizing failure experiences of multi-culturalism like Europe. Nonetheless, Korean society shall not give up multi-culturalism. Korean society shall prepare for multi-culturalism society to lessen social conflict as much as possible and not to neglect anti culturalism emotion producing social conflict, and shall investigate the related causes to lessen anti multi-culturalism emotion and to integrate Korean style of multi-culturalism society for Korea as a tool of nation management.

• Journal of Contemporary Eastern Asia
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• v.19 no.2
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• pp.148-168
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• 2020

In April, 2020, amid widespread fear of a second wave of infections of the novel coronavirus in China, local authorities in Guangzhou cracked down on the city's black population, resulting in mass evictions of Africans. The incident raises several questions about racism in China. How should we interpret this heavy-handed treatment of black people? Was this an isolated incident? What motivated such operations? In this article, I explain social control of Guangzhou's African communities as a problem of municipal politics. What underlies the government's heavy handed approach, I argue, are those communities' ties to rurality, which constitute a roadblock in the city's urban upgrade. Using Dengfeng Village, one of the best known African communities in China, as a case study, I show that efforts to upgrade the area by the local state and the real estate industry were frustrated by the community's status as an urban village. Africans, whom Chinese have historically associated with rurality, are seen as contributing to a space that has long been stigmatized as a spatial manifestation of rural people's lack of self-discipline. To better reveal the interconnection between social control and urban politics, I place official action in context of the history of the community's formation and the lived experience. This analysis of Dengfeng applies to various extents to other major African communities in Guangzhou.

• English & American cultural studies
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• v.10 no.2
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• pp.127-147
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• 2010

In Faulkner's many works, most Mulattoes are represented as tragic characters who feel confused with their racial identity and are sacrificed by the Southern racism in the end. However, in Go Down, Moses Lucas Beauchamp is an exceptional mulatto in that he survives the Southern racism and achieves some dignity as a human. It is because he maintains the relationship with his family and environment as a skilled farmer. Although Southerners idealized their lives in plantations as nature-friendly and ecological way of life, plantation owners had little direct relationship with land as plantations were cultivated by black slaves' labor. Therefore, white landowners had little knowledge about cultivation and ecological awareness. Although Lucas Beauchamp is criticized as he has the strong will to power and patriarchal attitude, it is partly caused from endeavor to overcome the suppression as a black male whose masculinity is denied in the Southern society. In spite of his limitation, he shows the possibility to escape from the curse prevailing in the South, which abuses land and other races through the relationship with others and land. He has positive aspects in that he has genuine relationship with land and others and takes his responsibility for others, searching the most suitable way to survive as a black.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1339-1360
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• 2010

An analogical reading of socio-historical context of Harold Pinter's The Caretaker employs some postcolonial discursive analyses of postimperial British capitalistic interests in their post war reconstruction. It is also concerned with causes of so-called broken society. The Caretaker dramatizes minimal actions: a tramp is invited by the elder brother; a job as caretaker is offered; he is reluctant to accept the first offer by the elder brother, but is willing to the second by the younger; eventually, he is excluded because he makes noises while dreaming. These trivial actions produce serious and critical speech acts with their socio-historical implications. The tramp Davies is socially and thereby existentially excluded from the centre of the cold, banished to even colder peripheries. The audience face to the question. Why is Davies excluded? This study tries to answer the question, uncovering deep-rooted capitalistic racism, and reading its symptoms. Even after 50 years The Caretaker was staged, post-imperial broken society tries to operate the betrayals of disparity between the cause and effect of what has gone wrong. Pinter confirms that the action of the play takes place in a house in west London. With the city of London as its capitalistic centre, British imperialism lavished much of its wealth which has only served sectional interests dividing people against themselves. Pinter dramatizes the root of broken society. On the one hand, Pinter foregrounds the very general conflicts between individuals and forms of power; on the other hand, he underlies the very specific strategies of socio-historical exploitation, domination and exclusion.

• Cross-Cultural Studies
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• v.44
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• pp.7-28
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• 2016

This study examines the sociocultural background of negritude by delving into Caseríos, Reggaeton, and $Trigue{\tilde{n}}os$, which are interrelated with the racism deeply embedded in Puerto Rican society. These terms have also been discussed in relation to the ideological discourse of racial democracy, which has caused Puerto Rican people to be blind to silenced inequality and hegemonic racial policies. Caseríos, housing projects for the poor urban class, are targeted by the state - sponsored project 'Mano Dura'. Due to the policing, control and surveillance of this anticrime project, Caseríos became perceived even more as residential communities of violence, poverty, and insecurity generally connected to the stigmatization of blackness. Reggaeton emerged as a mega hit genre of transnational Puerto Rican music in the 2000s, which in turn, drew attention to both the afrodiaspora in New York and the urban musical power in the Island. This musical genre serves to highlight the meaningfulness of black heritage in the national cultural identity of Puerto Rico. $Trigue{\tilde{n}}idad$ has recently become a common racial cultural term that embraces a broader racial paradigm of mestizaje. This term can function as an alternative concept of blackness, but it has not yet been transformed into enough cultural politics to resist ongoing racial democracy. The three terms intrinsically address both the uprooted racism and potential methods of challenging it. This paper argues the necessity of stronger and more responsive cultural politics to defy the pervasiveness and invisibility of racial discrimination in Puerto Rico.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• 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.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.773-796
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• 2010

This essay examines, first, the possibility and limitation of Asian America as a category of identity and its political and cultural implications through various theoretical perspectives. Here, by closely reading David Mura's poem "The Colors of Desire," I will argue that "Asian America" as a category of identity is now on the verge of falling apart and its politics of identity is no longer an effective way of fighting back against racism in the US. It is because Asian America is indeed what might be called a historical block, a product of ad-hoc coalition between different ethnic groups historically situated and constructed. In this sense, it is a kind of phantasmal object that is marked by practical absence. This fabricatedness inherent in Asian America as an identity category signifies that it has no essence that is meant to define the group in a transcendental way. The internal totality and coherence of that identity can thus be achieved only by suppressing differences between various ethnic groups and positing a single 'authentic' Asian American identity and culture. More dangerously, according to Viet Nguyen, such idealization of a single subject position can reinforces ideological rigidity that might threaten the ability of Asian America to represent itself in a unified fashion. Then, he predicts, Asian America will lose its cohesive force and fall apart. Eventually, every group within Asian America will be ethnicized. The only way of escaping from this bleak situation, as Vincent Cheng argues, is to foregroud the fabricatedness and ad-hocness of Asian America and to perform "inauthenticity," because Asian America is nothing but a functional category that is marked by absence of essence or authenticity. If Asian Americans admit that they have no essence and that they are essentially inauthentic, the practice of performing inauthenticity can become what we might call an alternative Asian American culture and identity.

• Cross-Cultural Studies
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• v.34
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• pp.147-172
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• 2014

The Guatemalan government and guerrilla forces(the Unidad Revolucionaria Nacional Guatemalteco, URNG) signed peace accord in 1996, and ended civil conflict(1960-1996). The bloodiest governments of the 36-year-lond armed conflict were those of Lucas Garc?a, R?os Montt and Mej?a V?ctores, between 1978 and 1983. The war that Guatemala underwent resulted in more than 200,000 casualties, more than 83% of them Mayan, according to the report of the CEH(Comision para de Esclarecimiento Historico). 'Victoria 82' and 'Opreation Sof?a' were the strategy of military dictatorship to destory indigenous Mayan communities. This paper is to demonstrates that the Guatemalan state perpetrated a genocide against the indigenous population using racism to strengthening modern nation-state and this was because, historically and structurally, it possessed, in its intrinsic naturem the repressive, ideological and legal apparatus. To distinguish Maya from ladino is often linked to cultural and social discrimination and a system of racial ranking. Militaty dictatorship used the system of racial ranking to exterminate indigenous populations.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.295-314
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• 2014

Flannery O'Connor's stories have garnered critical attention for her religious views. Thus, the interpretation of violence in her fiction has been mainly associated with salvation in her characters. Nonetheless, O'Connor was aware of the historical facts surrounding white supremacist activities in the American South. In its revenge narrative, O'Connor's story "The Displaced Person" (1955) unveils subtle layers of politics from the Ku Klux Klan as well as her white characters' views of race and immigrants. O'Connor used a voice of reserve due to her minority position as woman and Catholic. Although she was a white female, she lived within repressive Southern religiosity. Racism prevailed beneath Southern chauvinism and patriotism. The conflicts in the South display the violent aspects of the "Invisible White Supreme Empire." After the World Wars, devalued whiteness elicited atrocities against socially upward mobile African Americans, foreigners and Catholics. This article explores the convoluted issues of racial hierarchy, miscegenation, and xenophobic reactions in the South.