• English & American cultural studies
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• v.17 no.1
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• pp.27-54
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• 2017

Brian Ascalon Roley's American Son, one of the outstanding Filipino American novels after the LA riots, critically deals with a racial issue of his community which has been intermingled with the myth of model minority. Gabe and Thomas, considered as obedient Filipino younger immigrants, are asked to achieve the American dream as a way to place themselves at the center of the mainstream white society. However, they recognize that they cannot be accepted as a suitable subject for the invincible racism deeply rooted in the society. While Tomas refuses to become a model minority by identifying himself with the Mexican, Gabe is expected to become an idealistic subject of model minority by his mother since he complies with the rules of the mainstream society. However, he accepts his brother's violent way of life in that violence is necessary to protect his family from the racial discrimination in America. Though he is his mother's hope for model minority, he recognizes the only condition to achieve her expectation is the American society where there is no racism at all. However, by taking the case of Gabe and Thomas, Roley suggests that the younger generation of Filipino American immigrants have no choice but to accept violence to survive in the American society because racism always threatens their life.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.97-105
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• 2015

In the history of photograph, after the development of color photographs, those with multiple colors and high definition has gradually become the mainstream works in the field of photography. In the modern society of China that has been through reform and opening up, people's minds were increasingly liberated to widely accept color photos in terms of photography. Furthermore, the broad penetration of digital photography has brought together a new trend in the field of black-and-white photography. In line with this trend, more black-and-white photographs have appeared which are different from existing ones in the film-based period. In this recognition, the study seeks to compare the black-and-white documentary photograph works of Chinese photographers and analyze the modern Chinese black-and-white photographs.

• Applied Chemistry for Engineering
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• v.26 no.3
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• pp.247-250
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• 2015

Organic light-emitting diode (OLED) research field has received great attention from academic and industrial circles. Recently, The technical feature of OLEDs is more and more attractive in the lighting market, including area emission characteristics different from other existing light sources. Features are environmentally friendly and efficient use of energy, large area, ultra-light weight, and ultrathin shape, etc. Furthermore, OLED light became the mainstream of next-generation lighting to replace the light emitting diode (LED) fluorescent light. This article summarizes phosphorescent emitting materials that have been applied to white OLEDs. In particular, the chemical structures and device performances of the important yellow, orange, and red phosphorescent emitting materials is discussed. Systematic classification and understanding of the phosphorescent materials can aid the development of new light-emitting materials.

• Cross-Cultural Studies
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• v.23
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• pp.243-264
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• 2011

The results of 2000 Population Census explains the context of a series of incidents happening in the Latino television broadcasting market recently. That is, the rapid growth of Latino population so fast as overtaking the Black population has needed media as a means of Latino's own social interests and communication. In this context, the television broadcasting market as a marketing means of capitals targeting for the Latinos has experienced more rapid changes. In other words, there has been some changes in the Latino television broadcasting market which divided by two major networks, Univision and Telemundo. It was 1970s when Latino media started to be considered as an important framework to understand the problems of the Latinos in American society. Experiencing the human rights movement of the 1960s, the Latino communities' sense of identity realized the importance of media as an expression of themselves from the interest on the factors which directly determine the quality of their life such as the immigration, education, health, and employment. The anglo media plays a role in introducing the Latinos and forming the images of the Latinos to the non-Latinos. It can be possible to criticize that the anglo media propagates the unilateral image of the Latinos by the mainstream white society, the stereotyped images of the Latinos. The spanish media targeting for the Latinos has grown continuously, combining the inside needs of forming the identity of the Latinos and communication and outside needs of commercialism. On the other hand, the needs for the programs based on the American Latinos has been increased, along with the increase of the Latino media based on the dual languages or English. This paper reviewed the history of the Latino media briefly, and then examined the relationship between the Latinos and the media through the television broadcasting which influence the Latino's everyday life enormously.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.147-160
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• 2013

Korean fashion designs became important items in Korea in the middle of the 1980s, and it has advanced into the world market in the early part of the 1990s. To achieve success in global fashion world, it is necessary to analyze Korean fashion design thoroughly and prepare strategies to develop designs with mainstream acceptance in the global fashion world. The purpose of this study is to analyze the aesthetic characteristics and Korean beauties of Korean fashion designs. Fashion photos of Korean fashion designs from 2006 S/S to 2012 F/W were analyzed. 357 designs from 608 designs of 4 representative Korean designers were examined and design characteristics, expression styles were studied. The major conclusions of the study are as follows : 1. H Line, slim, fitted silhouette and loose look were applied. 2. 5 major traditional colors, red, blue, yellow, white and black colors were used. Brown color, neutral color, golden color and beige color of the textile material's original color were used. Traditional textile materials like ramie fabric, satin and cotton, wool and metallic fabric were used. 3. Patterns of flower, traditional pattern and Korean letters were applied. Embroidery, patchwork and mother-of-pearl were decorated. 4. The three types of beauty were natural beauty, moderate beauty and decorative beauty. The types that were analyzed were realistic expression type, moderate expression type, image expression type and mixed expression type. To be accepted in global fashion world, Korean traditional design elements should be modified, broken down and reorganized so that Korean fashion design can be recreated.

• Journal of the Korean Society of Costume
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• v.30
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• pp.85-99
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• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.