• Journal of English Language & Literature
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• v.57 no.3
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• pp.495-513
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• 2011

Murdoch's novel, The Black Prince, is not, as most critics have suggested, an autobiographical novel. It is about the inner life or rather trauma of Bradley Pearson, an artist who repeatedly dreams about a shabby paper shop which used to be run by his "unsuccessful" parents. In this respect, Freudian concept of trauma is helpful since it can explain Bradley's present repetition of his past traumatic experience, while allowing us to understand the nature of his trauma which reveals itself not only through his repeated nightmares but also through the women who are represented as diverse versions of his mother, the origin of Bradley's trauma. Caruth's concept of traumatic awakening and traumatic survival is also instrumental in understanding the nature of the traumatic experience which Bradley undergoes in this novel. Induced by Loxias's address, Bradley makes a confession of "the sins," which makes possible his traumatic survival as well as traumatic awakening, which is transmitted not only to Loxias but also to us the readers. In this sense, the significance of Bradley's awakening is not confined to his past only, but becomes a matter of a social dimension. The meaning of Bradley's writing lies in this fact.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.937-954
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• 2008

The Gollyongpo was worn by the King and the Crown Prince in Joseon dynasty as an ordinary wear. The research on the Gollyongpo is focused on the historic record of Joseon dynasty, Joseonwangjosillok. This study will analyze literature, paintings and relics. First, I have researched Ming's(China) representative document daminghuidian, and excavated relics from the tomb dingling. I examined the usage and characteristic, through various remaining literature data, artifacts and paintings. The Gollyongpo was worn for the various ceremonies as well as an ordinary wear. According to the periode, the style and color had changed. The King wore the red Gollyongpo with 5 clawed dragon pattern, the Crown Prince wore black one with 4 clawed pattern, and the eldest son of the Crown Prince wore black one with 3 clawed dragon emblem. After the Daehan Empire, the Emperor wore gold outfit and the Crown Prince wore red outfit. Sonyongpo recorded in the Gungjungbalgi is concerned as Gollyongpo with narrow straight sleeve, one of the Sejong University Museum's Collection. There is some Possibility that the Gollyongpo painted in Bongsado is woven with dragon design, I would leave this matter for next research task.

• Journal of the Korean Society of Food Culture
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• v.6 no.3
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• pp.275-280
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• 1991

To analyze tablewares and table flowers in wedding ceremonies of king and royal prince (1866, 1906) of Chosun dynasty, the author studied the historic book-Gare Dogam Euigwae, in which wedding feast dishes for king and prince in Chosun Dynasty were described. The results obtained from the study were as follows. 1. Tablewares used for wedding ceremony in the year of 1866, 1096 were same as that of from the year 1744 till 1819. 2. For wedding feast dishes for the prince, black lacquered table was used, for the crown prince's wedding feast red lacquered table and for the Emperor's wedding feast yellow lacquered table were used. 3. Table flowers used for wedding ceremony in the year of 1866, 1906 were same as that of from the year 1744 till 1819.

• Journal of the Korean Society of Costume
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• v.35
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• pp.265-279
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• 1997

Through eight folding screens for Chac Rae and ban Cha Do we have learned the costumes of people who participate in Chac Rae ceremonty being accompanied by social positions. Firstly the costumes of crown prince can be classified in two parts. One is costumes of Chac Rae befor Kwan Rae the other is costumes of Chac Rae after Kwan Rae Also we know the costumes of Chac Rae before kwan Rae is consisted of SSangdonggae Gong-jungchak Chilchangbok Mean-while the crown prince wore Myunbok at chac rae after Kwan rae. Second Chakbongdo tell us various types of Youngbok by blue-black and red colored chulik Third we can see Uijangsu who wore Sangbok on Chakbongdo and know their brilliant costume colors on ban Cha Do through Hongmo on Chunguei Chungmo on honguei Hongmo on Honguei violet-Lip on honguei mean-while Kyokun wears Hongmo on Honguei and hoimo on Hoiuei. Forth regarding the costume of Byulgam Chakbongdo appears Chogun on Hongpo belting blue belt wearing blackboots Meantime ban Cha Do shows Chogun on Hongpo wearing shoes. As reviewed above we know various color and types of costumes through Chakbongdo & Ban Cha Do on Crown prince Chacraedogam and would lide to deepen Chac Rae of crown prince including the costumes of Chac Rae of the crown princess the eldest son of the crown price the eldest brother of the king.

• Journal of the Korean Society of Food Culture
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• v.6 no.1
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• pp.21-29
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• 1991

To analyze tableware in wedding ceremonies of royal prince(1744, 1819) of Chosun Dynasty, the author studied the historic book-Gare Dogam Euigwae, in which wedding feast dishes for King and prince in Chosun Dynasty were described. The results obtained from the study were as follows, 1. For wedding feast dishes for prince, black lacquered table was used, and for King's wedding feast red lacquered table was used. 2. In wedding ceremony red silk table cloth was used. 3. Tables arranged in wedding ceremony had high legs. 4. Tablewares used in wedding ceremony were footed dishes. 5. Wedding ceremony arrangement was made up of four kinds of main table, a small boiled beef table, a large boiled beef table, four small round tables, a dining table, a candle stick, a incense holder, a vase with vaseholder and a liquor bottle with a holder.

• Journal of Conservation Science
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• v.29 no.2
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• pp.149-159
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• 2013

The painted folding screen of Crown Prince Munhyo at Boyangcheong, Munhyo-seja Boyangcheonggyebyung, was made to record the court ceremony where Crown Prince Munhyo(1782-1786), the firstborn son of King Jeongjo, met his first teacher called Boyanggwan for the first time at Boyangcheong, a government agency specifically founded to provide education for a crown prince, in January 1784. Having never been treated before, this 8-fold screen is still in its original presentation of Joseon Dynasty screen paintings of court ceremonies in the 18th century. The mountings of folding screens in Joseon Dynasty has been researched through the study of the mounting of the Boyangcheong screen and the conservation treatment of the screen has been based on this research. The result of the pigment analysis shows the use of lead white, red lead, vermilion(cinnabar), azurite, malachite, litharge(massicot), carbon black(Chinese ink). The microscopic observation has proved that the painting was painted on verso in most areas and finished on recto to highlight the details or to produce subtle hues by applying light colors.

• Journal of the Korean Society of Food Culture
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• v.5 no.3
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• pp.287-299
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• 1990

To analyse the royal marriage of Yi-Dynasty, the authors studied 'Kuk Hon Geong Rea', which is a historical record, published in 1749(King Yong-Jo), on the usage of marriage articles in the royal family. The essential steps or articles described in the record were as follows, Royal marriage of King : Wedding presents, black and red silks from the bridegroom's to bride's, proclamation of Queen and wedding ceremony(納采) (納徵) (冊妃) (親迎 尊雁 同牢). Royal marriage of Crown Prince : Wedding presents, black and red silks from the bridegroom's to bride's. proclamation of Crown Princess, wedding ceremony, and bride's gifts to her parents-in-law(納采) (納徵) (冊嬪) (親迎 尊雁 同牢) (朝見體). Royal marriage of Crown Princess : Wedding presents, black and red silks from the bridegroom's to bride's, wedding ceremony, bride's gifts to her parents-in-law(納采) (納徵) (尊雁 同牢) (見舅姑禮). Necessary articles for weddings were different according to royal status of the member in the royal family.

• Food Science of Animal Resources
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• v.34 no.4
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• pp.403-407
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• 2014

Changes in Maillard reaction of pidan white were monitored with $A_{294}$, fluorescence intensity, and browning intensity during pickling in the absence and presence of Chinese black tea extract (Camellia sinensis) at levels of 2% and 5% together with 0.2% $ZnCl_2$ or 0.2% $CaCl_2$ up to 3 wk, followed by ageing for another 3 wk. Browning intensity and $A_{294}$ of pidan white increased with increasing pickling/ageing, while fluorescence intensity decreased during ageing (p<0.05), irrespective of treatments. At wk 6, pidan white treated with 0.2% $ZnCl_2$ and 0.2% $CaCl_2$ showed slightly higher browning intensity, fluorescence intensity and $A_{294}$ than those treated with divalents together with Chinese black tea (p<0.05). Free amino group and sugar contents showed continuous decrease during pickling and ageing irrespective of tea and cations used. However, pidan treated without Chinese black tea extract showed significantly lower free amino group and sugar during the ageing of 6 wk (p<0.05). Thus, Chinese black tea extract had an inhibitory effect on the Maillard reaction during ageing of pidan white.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.204-221
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• 2021

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.78-90
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• 2014

This paper examines the way that the principles of coloration for Hoecha(繪次) and Sucha(繡次) were applied for shoe making in ancient China and Korea. Hoecha is the principle of drawing, and Sucha is the principle of embroidery. Hoecha and Sucha is the application principle of the five colors(五方色) from the five elements(五行: metal, wood, water, fire, and earth). Hoecha matchs a color with the opposite side color, and Sucha matchs a color with the beside color. A shoe consists of Sinul(body of shoe) and ornaments attached to it. According to the ratings of shoes, Hoecha and Sucha were differently applied for coloration of Sinul and its ornaments. In general, shoes were classified into Seok and Gu. For Seok, which was the high-ranked shoes, Hoecha was applied, while Sucha was applied to Gu, the low ranked shoe. As Hoecha was originally a principle of coloration for patterns on tops(jacket. 上衣), it was applied to the high ranked shoes i.e., Seok. Also, as Sucha was a principle of coloration for patterns on bottoms(skirt. 下裳), it was applied to the low ranked shoes i.e., Gu. Thus, black was decorated on red Seok, blue on white Seok, red on black Seok, yellow on hyeon(玄: a kind of black color) Seok, and white on blue Seok, all of which were applications of the principle of Hoecha. As the application of the principle of Hoecha to Seok was also done for red Seok for males and females in late Joseon, and red Seok for the crown prince in the period of the Korean Empire, black decorations were used for red Sinul. However, for blue Seok, worn by females in the period of the Korean Empire where Ming's systems prevailed, black decorations were used, which was an application of Sucha. Though there had been no discrimination between genders in the application of Hoecha and Sucha originally, the low ranked principle of coloration was applied to Seok for females.