• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.87-100
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• 2009

This study examines black images as 'the other' in history and aims to analyze images of black female fashion models which have been changed in modern society, particularly in $21^{st}$ century post-modern world. Black images, established historically as illustrated on the paintings in $19^{th}$ century, were disseminated in $20^{th}$ century throughout the world especially by way of TV and movies as several typical images such as 'Coon' the clown as the object of entertainment, 'Buck' wild and resistant black rascal, and 'Mammy' obedient and fat black woman servant. The result of image analysis of black female fashion models, can be summarized as following five images. The first is the image of 'powerful'. Black female models frequently represent healthy image which reflects black people's excellence in sports and also the traditional Image of black skin color as strength. The second is the image of 'sexy'. They are adored as having perfect ideal body shape. They show off their sex appeal with their body. The third image is 'multicultural'. Black models represent cultures besides the western. The fourth is the image of 'fantastic'. In contrast to the real, resonable things, black female models represent wild, fancy, ghost things. The fifth is the image of 'racial discrimination' By arranging them in contrast to whites, a metaphoric image of racial discrimination can be displayed. The result shows that tome of racial images still remain on the other way.

• Journal of the Korean Home Economics Association
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• v.41 no.11
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• pp.35-48
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• 2003

The purpose of this study is to investigate ideal body image and clothing style through the analysis of models portrayed in fragrance advertisement that is the representative goods showing the fashion brand image. For this study, 120 perfume advertisements appeared in GQ and Vogue magazines issued in 2002 were selected. The models' characteristics portrayed in advertisement are categorized with role relationship, race, body exposure and clothing styles. The results are as follows. 1. Fragrance advertisements most commonly depict a single model portraying narcissism, and later then most common are advertisements both male and female model in a sexual relationship. 2. The analysis of models' race shows racism toward Asian models and Afro- American models. White models are main characters in fragrance advertisements more often than other races, and in mixed-ethnic ads, whites typically outnumbered minorities. This shows currently aesthetic stereotypes, that is, white ideology still exists. 3. The results of models' body exposure are showing nudism with partially clad or nude. This shows the eroticism of male and female. 4. The highest portion of clothing style appeared in fragrance advertisement were casual wear for male model and dressy formal wear for female models, which respects current fashion trends.

• Journal of Christian Education in Korea
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• v.61
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• pp.109-129
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• 2020

This study reflects the regional context of Northeast Asian countries embodied in US-North Korean nuclear tension. The researcher uses the methodological inquiry of practical theology to analyze the political affairs and intertwine with religious education. The ecology of religious education to dismantle the threat of ethnic and racial discrimination such as white supremacy supports a shared pedagogy between students and their teachers in the narrative of Jesus to challenge all forms of oppression as the democratic presence of God.

• Science of Emotion and Sensibility
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• v.18 no.2
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• pp.31-36
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• 2015

This study employed the first-person shooter task(FPST: Correll, Park, Judd, & Wittenbrink, 2002) paradigm to examine racial bias toward Blacks in a population unrelated to the Black-White racial context. We tested whether having Korean participants play the role of a White police officer portrayed as nonracist (vs. racist) would attenuate the bias to shoot Black suspects. Participants were told that they would perform a police simulation task as a White police officer, who was described as racist or nonracist, or was presented without a description. They then performed the FPST. Although nonracist description lowered shooter bias, racist description weakened it even more, contrary to our prediction. The latter result is interpreted as due to activation of an egalitarian goal after reading about racism-related description, especially as the description was about someone who was to be incorporated to the self. Supporting this interpretation, a mediation analysis involving Racist and Control conditions revealed that the racist description was associated with stronger perception of the officer's racial bias, which in turn was correlated with weaker shooter bias.

• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.2 s.24
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• pp.69-89
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• 1987

The objective of this paper was to identify the general concept of subculture; to assess the symbolism of youth subculture style, such as Teds in the 40's, Mods in the 50's, Skinheads and Hippies in the 60's, and Punks in the 80's, giving an inspiration to many high fashion designers. The data were collected from eye-wittness reports, interviews, magazines such as Vogue, The Face, and The Sunday Times, postcards, and photos taken by authors. Youth subcultures were symbolized as 1) a social protest and disaffection against social class and racism, 2) an expression of shock value for nihilism, anarchism, and vandalism, 3) a meaningful sexual fetishism concerning gender confusion, and 4) an emotion of rage, fear, and alienation among working class youth. One cultural form in a subculture is its 'style.' Costumes, appearances, and accessories such as hair style, make-up, and jewellery were playing an important role in forming a subcultural style. The symbolism of youth subculture was well depicted on their clothing styles, which had influences on Zandra Rhodes's, Body Maps', and Hyper and Hyper's fashion design.

• Korean Journal of Social Welfare
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• v.69 no.3
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• pp.267-287
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• 2017

The purpose of this study is to clarify stages and definite contents of integration of immigrants in local community's level. Author approached this study with case study. Data were collected by conducting depth interviews with twenty five persons. According to results of this study, the integration of immigrants was revealed as follows; The $1^{st}$ stage is mutual-otherization, the $2^{nd}$ stage is tolerance as mean, and the $3^{rd}$ stage is resistance and mutual tension. Next, the $4^{th}$ stage is compromise, and final stage is mutual coexistence. Therefore, the author suggested the empowerment to immigrants and abolition of xenophobia and racism on the basis of this case study.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.579-597
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• 2008

This article discusses David Henry Hwang's M. Butterfly as a suggestive text for examining Western masculinity in crisis in the post-imperialist age, in which territorial imperialism is no longer valid. Previous scholarship on M. Butterfly has centered around the interlocking dynamics of imperialism, racism and sexism. Such critical attentions focus on how Hwang deconstructs racialized significations of the East and the West. In these discussions, the issue of gender is often addressed merely as a trope to represent the power relations between the East and the West. As such, gender as well as sexuality is highlighted as the very source of subversion of the power relations. My discussion departs from a critique of the gendered trope of the East and the West, highlighting a postmodern agent, the allegedly feminized character Song Lining: a Chinese actor who passes for a woman for political purposes in postcolonial China. Remaining an "inappropriate/d other" in the gendered imperialist discourse, Song becomes an emergent subject, who is capable of playing gender ambiguity for reclaiming a devalued identity, that of homosexual Asian man. Discussing how the central character Rene Gallimard's masculine identity is constructed in a cross-cultural space and how it evolves, I also argue that Gallimard's melancholic death signifies a historical unsustainability of imperialist masculinity in the postmodern/postcolonial age since World War II.

• Cross-Cultural Studies
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• v.24
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• pp.5-18
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• 2011

This article offers a reflection on Frantz Fanon's diagnosis and analysis of French colonialism in Algeria. We will attempt to demonstrate that there is a concrete and clear connection between Fanon as the psychiatrist diagnosing the devastating effects of the French colonial system, and his subsequent political involvement in the Algerian revolution. This is not to say that each part does not contain valuable insights in their own rights, but rather to stress that without being read together, as a whole, one would miss a significant element in the understanding of the importance Fanon's thought subsequently came to play in the emancipation struggles of the colonized worldwide. Furthermore, we argue that it is crucial to understand the intimate connection between Fanon's psychiatric work, his diagnosis of colonial mental disorders, as well as diagnosis of the colonial system as such, and then his political engagement, in order to understand the particular context in which he favourably discusses the use of violence in the name of fighting against the oppressive system of colonialism. Above all, we argue that Fanon's critique of colonialism continues to spark controversy because it still represents the most powerful and incisive analysis of, as well as answer to, the troubled relationship between the blessed and the wretched of the earth.

• Journal of the Daesoon Academy of Sciences
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• v.19
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• pp.1-20
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• 2005

In spite of the ethics of sangsaeng is based on Daesoon thoughts, we can regard it as a moral theory independent on religion. Like other reasonable moral theories, It has three levels, moral standard, moral rules and moral acts or judgements. Sangsaeng is moral standard in the ethics of sangsaeng. moral rules are derived from it and could justify many particular moral judgements and acts. The ethics of sangsaeng belongs to metaphysical ethics and holistic ethics because it is derived holistic, sangsaeng's world view of Daesoon thoughts. The ethics of sangsaeng, first of all, extends the realm of moral community to all beings of world. Therefore it might works well on as a solution for environmental problem recently issued. Secondly, because beings are fundamentally all equal in holistic world, the principle of equality is basic principle in the ethics of sangsaeng. Finally, in relation to the principle of equality, the ethics of sangsaeng needs 'Haewon' as the first moral rule because it is a practical method for solution to various social inequality - racism, sexism, regionalism and so on.

• Journal of Fashion Business
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• v.5 no.5
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• pp.49-64
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• 2001

Fur is conceived as a material signifier, not only with its commodity value as luxury goods but also as its symbolic value as objects invested by one's libidinal desire. In this study, complex meanings of fur as multi-layered signs of political and sexual power focusing on fetishism shall be explored, especially on the spectacle fetishism acted by mass media during the anti-fur movement in the 1980s. In conjuction herewith, a highlight shall also be made to the symbolic value in fashion design since 1990s. In this study, first, as a theoretical investigation, fetishism, that has been traditionally considered only as sexual fetishism in fashion discourse will be explored in socio-economic level. Second, in historical context, how the meanings and values of fur have become realized in various cultural spaces, such as literature, art, film and finally, fashion will be viewed. In fashion, fur is a product of desire and power influenced by commodity fetishism as well as sexual fetishism. During the anti-fur movement, mass media has developed the concept of spectacle fetishism. Fur is a sign of animal-victim, and fur-clad women is viewed with images full of imperialsm, sexism and racism, thus act as derisive spectacles of consumerism. Since 1990s as a reflection on anti-fur movement, fetishistic characteristics, which challenge traditional operation method, are expressed by disguise, parody, and returning to the nature. First, fur as disguise is intended to hide sexually perverse, decadent characteristics and expensiveness of fur by texturing or patterning techniques. Second, fur as parody uses fake fur or dyed fur in order to satirize erotically and ethnographically fetishized meanings of fur. Third, aboriginal design of fur is adapted to use symbolic values outside the West, which can potentially mobilize antagonistic oppositions out of their fetishistic regimes. In conclusion, fur as sign of female sexuality and its libidinal profits of exchange, has significant symbolic values expressed in fashion.