• Cross-Cultural Studies
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• v.39
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• pp.7-32
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• 2015

In 1950, Anne $H{\acute{e}}bert$ published Le Torrent, a collection of seven short stories. These stories containing many shocking themes and expressions have placed her one of the pioneers of modern novels in Quebec. This paper tries to analyze several phases of alienation described in the novels and the reactions of alienated caracters in their situation. Some examples of alienated and mentally or physically deformed characters in Le Torrent are Fran?ois, $St{\acute{e}}phanie$, Stella, etc. Although the author wanted readers to interpret these characters on ther individual level, this paper interprets them differently. The result of this study is as following. Alienation doesn't come from one's interior but his exterior. Society and history are major agents of alienation. The injustice of life imposed on the caracters results from political and religious underdevelopment, cultural lowness, absence of social security system and of universal education at that time. The conquest of Quebec by England left a deep and historical wound on the French Canadians. This fact is, in my opinion, one of the essential themes of Anne $H{\acute{e}}bert^{\prime}s$ novels. In spite of all these alienating situations, the reactions showed by the caracters of the novels are limited to escapist illusion, self-destruction, mistaken revenge, eternal submission, etc. In conclusion, Le Torrent by Anne $H{\acute{e}}bert$ which deeply approached themes of violence and alienation could be called authentic landscape of the inner world of Quebecois before 'la Revolution tranquille.'

• The Korean Journal of Archival Studies
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• no.1
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• pp.107-135
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• 2000

Based on the "Archives and Records Management of Public Agencies Act" enacted from the year 2000, the Korean local districts, in a near future, will establish local archives. According to this law, the archives of provincial states and municipal cities are to be conserved permanently, whereas the archives of local districts are to be conserved temporally. Subsequently, the important archives that are categorized as the permanent documents will be transferred to the provincial archives. However the Korean local districts, which are well known for long history of self-administration, are better to preserve permanent documents in their own archives. Moreover, it is necessary for the local archives to collect and compile public and private documents as well. Also it is advisable for the local archives to associate with local citizens by holding lectures and exhibitions which would endow the archives a status as the cultural centre for local districts. By doing so, the local archives could be more important to the population for their cultural and practical necessities than the remotely municipal archives. Furthermore, according to the rule of field preservation, it is better to conserve documents in the local archives. If the government will decide to transfer permanent documents to the municipal archives, the local archives are recommended to keep micro-film copy by themselves.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.4-35
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• 2000

The paddling technique is a Kind of secondary treatments in the process of ceramic forming, which appeared in the Chinese Neolithic Age pottery making. In the case of Korean prehistoric pottery making, it was first introduced together with the kiln firing method from Tongpei region(東北地方) of China in Yan(燕) dynasty occupation period. Korean archaeologists have recognized the adoption of the new technologies as a drastic innovation of ceramic production. And most of them have thought that the diffusion of new techniques, accompanied by the migration of the northern ethnic groups, had been immediately followed by the innovative changes in pottery procdution. However, rejecting the arguments from the simple diffusionist viewpoint, I have first tried to describe the innovation processes in the ceramic production systems as a spatio-temporal process. The paddling technique by the cord-wound paddle, which was first introduced among the various paddles, was associated with the new sort of pottery, round pots fired in low temperature of reducing atmosphere condition. The cord-marked round pots first tried by the indigenous potters in the southern part of Korean were characterized by the relatively low leveled techniques in forming and firing, compared to those of north-east China. The techniques of the round pots were hardly improved in the domestic production system until the appearance of the fully-specialized one. The specialized production system of the round pot, which appeared first in the mid-western region of Korea, showed the diversified paddling techniques and made the noticeable improvements in forming and firing processes.

• Food Science and Industry
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• v.49 no.4
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• pp.70-81
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• 2016

Kimchi has been one of the main menu on our dining table at all seasons as the best matching side dish with boiled rice. Kimchi was privately made in every household, and it has been commercially made for military feeding since Korean Civil War in 1950. Commercialized kimchi in can was also made for soldiers sent to Vietnam in late 1960s and for workers sent to Middle East in 1970s. As industry was growing, the number of people dining out increased, and with export to Japan in 1980s. Kimchi industry had greatly expanded until 1990s. However. the growth of industry has slowed down as individual consumption decreased and import from China radically increased. Since 2000, kimchi industry has been growing again focusing on quality improvement, which is possible due to up-to-date system and high standard sanitation control in manufacturing. Kimchi becomes the most important cultural product at the core of our food culture as all Korean people realize that it contains not just a wide variety of ingredients but unique flavors of each local areas and sincere heart of local people. Commercialization of kimchi will increase even though its consumption decreases as people's dietary life changes.

• Cross-Cultural Studies
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• v.25
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• pp.185-212
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• 2011

The faith in St. Mary of Guadalupe is supposed to be concerned not as reminiscence of historical events or legends, but organic product of having nowness. It's an organism that can not be stay in a fixed type. From the perspectives of syncretism the coexistence of heterogeneous elements (Symbiosis) between Catholicism and Aztec's religion has been changed constantly depending on the necessity and function of the subjects who have dreamed the social integration. It's fundamentally clear that the faith in St. Mary of Guadalupe is still valid phenomenon in the modern Mexican society and that the faith is an aspect of popular catholicism which includes the remaining elements of the religion of the Aztecs. This is to understand the meanings of the perception of the contemporary mexicans on the phenomenon for the faith in St. Mary of Guadalupe. Through in-depth interviews, it is revealed that a high rate of sharing of the information does not mean the proportional acceptance of the history. It's a interesting point to see that the mexicans consider the faith in St. Mary of Guadalupe catholic belief, having a feeling of strong tie between themselves and the Aztec's religion. In spite of the historical conflicts over the veracity of St. Mary of Gaudalupe, the majority of the contemporary mexicans consider the faith positive element to consolidate the nationality and socio-cultural identity of $M{\acute{e}}xico$ against the socio-political and ethnic conflicts in the Mexican Society.

• English & American cultural studies
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• v.10 no.2
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• pp.99-125
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• 2010

This paper explores the political significance of a literary work, the hidden side beneath the ideology of founding America in Lydia Maria Child's Hobomok which reconstructs the history of the colonial period. The ideological strategy of founding America on racial discrimination is given a repeated representation in 19th-century American novels. Most works shed a negative light on Native Americans, whereas Hobomok stands out by presenting a positive picture of a miscegenation between a Native American man and a white woman, the acculturation of a half Indian into the white society. Furthermore, Child undoes distorted stereotypes about native Americans, exposing the Puritans' intolerant and exclusive attitudes and criticizing men who forced women to be obedient for the cause of nation and religion. However, Child also shows that she could not be free from the ideology of founding America which insisted on the superiority of the white's racial identity and excluded the Native Americans as beings who were destined to vanish gradually but eventually. Although Hobomok revises stereotypical representation of Native Americans as the other, it also serves for a political purpose, showing a politically inseparable relationship between literary works and the ideology of founding America.

• English & American cultural studies
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• v.9 no.1
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• pp.141-162
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• 2009

"Brokeback Mountain" deals with the love story between two homosexuals named Ennis and Jack. They never do use the word 'homosexual' but instead 'love.' They hide their love into the closet. And they conform to socially constructed gender roles. It is because they recognize that social order has punished the homosexuals severely through history. Especially, Ennis fears the homophobic heterosexual gaze. Through his paranoia, this article examines the conventional contradictory social order causing by the tragic story that is the homosexual "closet phenomenon." Such a phenomenon has resulted from the traditional patriarchal family system that is the central unit of society. Conventionally, patriarchy consists of a dominant male and non-dominant female system, based on force. Sexuality has been constructed, experienced, and understood in culturally and historically specific ways. Homosexuality has been imaged conventionally as a female disguised as a man. As such, homosexuality would violate and break such a constructed system that keeps the sexual hierarchy through male dominant construction. As homosexual, ironically with macho gender personas, Ennis and Jack are social outsiders. Through this story, Proulx suggests the conventional fixed social order is contradictory and, therefore forces the readers to re-consider the world and ponder about the future.

• English & American cultural studies
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• v.10 no.2
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• pp.29-48
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• 2010

This paper is a kind of interdisciplinary studies which connect a Western film criticism with a criticism of minority literature in America. My purpose in this paper is to put on the table such a sensitive issue as racial representation and representativeness in Clint Eastwood's revisionist Western, Unforgiven. We admit generally that Western films have contributed to the white American myth-making of how the West was won. Yet, since the mid-1960s, a growing number of revisionist Westerns were produced so as to raise a question about the conventional way of looking at what happened in the American West. In order to analyze the problem inherent in the way of seeing, I pay attention to how the director Eastwood (re)presents a character named W. W. Beauchamp in the film. Presumably, what the character Beauchamp misses in the West can be overlapped with what ordinary film viewers miss in the genre of Westerns. Given this, interrogating both what Beauchamp sees and what he misses within the movie, I attempt to disclose how much of the West has been unseen from his biased viewpoint. By doing so, I argue why it is important to focus on some passing scenes that touch on the irony of a Native American train passenger, the gaze of the mute Native American housewife, the abrupt disappearance of Asian American men, the lynching of African-American ex-cowboy, and the self-determination of the saloon prostitutes. Then I hope that, conservative and mainstream though the director is, his way of revising the Western is not quite far from my minority-conscious critical position.

• Parasites, Hosts and Diseases
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• v.59 no.4
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• pp.393-397
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• 2021

Although research conducted in East Asia has uncovered parasite eggs from ancient toilets or cesspits, data accumulated to date needs to be supplemented by more archaeoparasitological studies. We examined a total of 21 soil samples from a toilet-like structure at the Hwajisan site, a Baekje-period royal villa, in present-day Korea. At least 4 species of helminth eggs, i.e., Trichuris trichiura, Ascaris lumbricoides, Clonorchis sinensis, and Trichuris sp. (or Trichuris vulpis) were detected in 3 sediment samples of the structure that was likely a toilet used by Baekje nobles. The eggs of T. trichiura were found in all 3 samples (no. 1, 4, and 5); and A. lumbricoides eggs were detected in 2 samples (no. 4 and 5). C. sinensis and T. vulpis-like eggs were found in no. 5 sample. From the findings of this study, we can suppose that the soil-transmitted helminths were prevalent in ancient Korean people, including the nobles of Baekje Kingdom during the 5th to 7th century.

• Acta Via Serica
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• v.6 no.2
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• pp.61-90
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• 2021

Recent excavations in Qinghai Province, China, have disclosed textiles and artworks from Tuyuhun-Tubo (Tibetan) tombs, dated to the 7^th-9^th centuries, that suggest artistic and cultural exchanges along an external southern branch of the main Silk Road, between Gansu and Sichuan Provinces, across the Qinghai-Tibetan plateau toward the Himalayas. Many similar textiles, possibly from this area, have appeared lately on the art market and ended in private collections. Although these textiles, dated to the early Tibetan period, follow a popular prototype established in Central Asia in the 6^th century, the technical features, colors, and other indigenous elements suggest that they were woven in workshops different from those established between Sogdiana and Gansu. The exhibition "Cultural Exchange Along the Silk Road - Masterpieces of the Tubo Period," organized by the Dunhuang Research Academy and the Pritzker Collaborative Art between July and October 2019 in Dunhuang, Gansu, was a groundbreaking event that gathered scholarly attention on early Tibetan material culture, but a relevant publication is still forthcoming. In my previous work, I briefly discussed a group of silk textiles, possibly from Qinghai or Sichuan, that I analyzed in 2014 in the China National Silk Museum in Hangzhou, Zhejiang. In light of the recent material excavated, published online, or displayed in Dunhuang, in this article, I reevaluate the data previously collected, and discuss in detail the technical and iconographic features of one of the fragments held in Hangzhou. Eventually, the piece was recognized as the ending part of a large panel, which is now in the Abegg Stiftung in Riggisberg, Switzerland.