• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.121-128
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• 2015

This study analyzes the space in A Brighter Summer Day, covering the meaning of space from inside to outside of the film extended. A violent spaces in the inside causes Xiao Si'r's homicide, including society, house, and school. In the external space, the film's form presents director's attitude and will resisting against dominant system of society with an audience's space. The audience join the space being the director's intention, actively interpreting this film, doing self-reflection and taking an opportunity for social participation.

• Korean Journal of Acupuncture
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• v.34 no.2
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• pp.71-81
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• 2017

Objectives : The purpose of this paper is to clarify the social characteristics of the authors of Huangdi Neijing such as status, class, and political ideology. Methods : We analyze the Neijing text and the social order and historical situations in the Han dynasty. Results : Some authors of the Neijing were the local medical officers whose salary was 100~400shi. Their positions were medical craftsmen(yigong) or chief medical craftsmen(yigongchang). They would have published the Neijing after the administrative reforms(146-145 BCE) that began after the suppression of the Rebellion of the Seven Kingdoms. The bureaucrat yigong(chang) would have expected to participate in the public health policy of the empire or kingdom as an acupuncture expert. They would have also expected to contribute to the welfare and health of the privileged intellectual group and the public, hoping to ascend in status and class. Conclusions : By investigating the social characteristics of the authors who composed the Neijing, its various aspects would be newly understood.

• Journal of Fashion Business
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• v.1 no.3
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• pp.45-59
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• 1997

This study, on the military fashion which has been inspired by the men's military uniform, is composed of an examination of the following; the aspect on the women's hi-fashion and the street fashion and the analysis of it's intention. On hi-fashion, from the 1960s to the early half of the 1970s, by the influence of the minimalism, maintained it's couture style, which is the formal image as well as moderating the line and simplifying the details, From the latter part of the 1970s to the 1980s, mannish image was sensed greatly by the wide shoulders with pads and large silhouette. The 1990's theme was the retro. Many different expression techniques appeared, but the trend was the retro. However, on the streets, young generation and hippies wore unisex army mode because of the influence of anti-war movement. Also, Hell's Angels, punks used black leather jacket with Nazi symbol, badge and eyelet expressed to show their aggressiveness as an avantgarde fashion. The intentions of military fashion can be analyzed as women's amazon need, the feeling of movement, and the spirit of rebellion.

• Fashion & Textile Research Journal
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• v.8 no.1
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• pp.34-40
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• 2006

Fascism is a term that began to be used from the late 1930s, means an idea and a system that the strong power of the state intervenes or control people's life based on the argument that the existential value of individuals is found only in the total. Fascist looks, which resulted from World War I and II, had brought a new pattern in women's fashion inspired by men's military uniforms. Thus, the purpose of this study was to identify fascist fashion trends in the first half of the twentieth century and to infer various aesthetic values of fascism expressed in fascist fashion looks. The results of this study indicated that expressions of fascism reflected the current ideology of rebellion and appealed to the original national sentiment of the masses. Fascism occurred in response to the contradiction of capitalism and its general crisis had emerged as an ideology with the highest popularity symbolizing power and government during the first half of the twentieth century. It was expressed in military looks as self-centered nationalism and yearning for minorities. Second, fascist fashion looks were not only for political and sexual temptation with the image of power but also for the display of women's status and roles through the bold expression of sexual attractiveness. Finally, fascist fashion looks expressed medieval images praising the feudal age in imagination that contained heroism and at the same time achieved integration under strict social hierarchical order.

• Journal of Fashion Business
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• v.23 no.6
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• pp.76-85
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• 2019

is based on a true story of the first transgender individual. It portrays psychological changes visually during the protagonist's confusion with self-identity based on gender. This study analyzes gender identity in contemporary fashion intensively based on gender images and costumes appearing in the film . In the society lacking a fixed gender image, this study provides a timely insight into gender identities by analyzing the fashions depicted in the movie. The movie is a true story of the first transgender person working hard to determine his or her own gender identity. As a research method, the theoretical basis of genderless approach was established via literature review. The characteristics of genderless identity were determined by dividing the movie into established and ambiguous gender periods to analyze the comprehensive changes in costumes for comparison. Einer Wagner representing male identity portrays men's fashion whereas Lily Elbe representing female identity depicts women's fashion. While the two different genders find their places in a single body, the confusion creates genderless fashion. By dividing these phases into femininity, masculinity and genderless categories, each costume was analyzed comprehensively, and the images of relatively changing fashion were studied by altering the gender identity. Four characteristics including androgyne, rebellion, pleasure and balance were derived from the gender identity based on Fashion in .

• English & American cultural studies
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• v.18 no.4
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• pp.65-102
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• 2018

This paper focuses on "The Story of $Bras-Coup{\acute{e}}$" in George Washington Cable's The Grandissimes (1880), a story to and around which Cable claimed the larger work was built. It tells of an African candio sold into slavery who, to the dismay of his white purchasers, refuses to work, strikes his master, and runs away to lead a life of a fugitive in the swamps. He is finally captured, whipped, and maimed, but not before he casts a powerful voodoo curse at his master and his plantation. He dies a heroic death, with the last words that he goes "To--Africa." Cable once said that he "meant The Grandissimes as truly a political work as it ever has been called." It is a political work in that $Bras-Coup{\acute{e}}^{\prime}s$ personal rebellion is associated with much-feared slave revolts, especially the black revolution in San Domingue/Haiti. There is also $Honor{\acute{e}}$ f.m.c. (free man of color), one of the narrators of "The Story of $Bras-Coup{\acute{e}}$" and a stand-in for the Freedmen in the postbellum United States, who nurses his own insurrectionary flame. Through these figures Cable makes a "terrible suggestion" that a black revolution is on the horizon unless whites would not mend their ways soon.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1123-1137
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• 2009

Revisiting the horror of slave mutiny in nineteenth century America via Julia Kristeva's concept of abject, this essay examines abject fear in Amasa Delano and Babo's subversive act to deceive Delano in Herman Melville's "Benito Cereno." Babo, the slave, exercises subversive power, thereby reversing racial hierarchy aboard the slave ship-the San Dominick. Babo's ability to mimic and control racial stereotypes exposes how nineteenth-century racial hierarchy was only a social fiction, which becomes the very source of Delano's fear. Delano's dread belies upon the possible disruption of social order triggered by Babo'sblack rebellion. In order to repress his fear, Delano consciously and unconsciously attempts to re-inscribe white dominion and reaffirm black inferiority and stereotypes by means of rationalizing the disturbing signs he witnesses on the San Dominick. When Delano discovers the realsituation of the ship, he must relinquish the abject resonance that disturbs the previous racial order. Employing a legal document, Delano re-inscribes the official position of the blacks as slaves, defining them as violent savages, and thereby silences Babo. However, Melville's text is not a testament to white power. "Benito Cereno" actually endorses abject instability to challenge racial hierarchies through the poignant image of Babo's dead gaze in the last scene of the novella. Thus, "Benito Cereno" exemplifies the recurring power of abject as a threat to social hierarchy and as a constant reminder of the falsity and insecurity of a social order.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1103-1117
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• 2012

This paper focuses on eighteenth-century English pastor, poet, and hymnist, Isaac Watts (1674-1748), a significant yet neglected nonconformist dissenter, who defines a public religion and transforms poetry as a new literary political genre. During England's post-Revolutionary religio-political turmoil, Watts's poem, "The Hurry of the Spirits, in a Fever and Nervous Disorders" (1734), deliberately engages in a methodical refusal to settle upon a single system of images or terms for describing or referring to the speaker's identity or situation. Watts's, literal and metaphoric, refusal to identify with one religio-political approach to nonconformist dissent has been the very point of criticism that not only undermines the poet's monumental work on hymns but also the lasting impact that the poet had upon England's national consciousness. This study, therefore, questions why the poet refuses to choose one ideal path in his pursuit for religious freedom and, further, analyzes how the hymn writer defends his demotic aesthetics. This paper investigates Watts's comprehensive and detailed formulation of what a secularized "social religion" should entail and, further, explores its beneficial role in the pursuit for society's peace. In contrast to Milton's apocalyptic vengeance, Watts's nonconformist goal seeks to balance and locate authority in the individual with the ancient ideal of a "sacred order" that is represented in "The Hurry of the Spirits" through the means of poetic imagination.

• SUVANNABHUMI
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• v.8 no.2
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• pp.15-49
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• 2016

It is widely known that the Bugis people, originally from South Sulawesi, have been migrating to many places, including both the Indonesian and Malaysian sides of the borders today. The translocal and transnational movements of the Bugis people, especially to North Kalimantan of Indonesia and Sabah and Johor of Malaysia, have occurred in several waves, particularly during the 17th century, around 1965 and from 1980 to the present. The fall of the kingdom of Somba Opu in South Sulawesi and the rise Dutch colonial power have been the triggers for the early movement of the Bugis to both the Indonesian and Malaysian borders. This was followed by the second push of the Islamic rebellion in South Sulawesi, around 1965, creating another big wave of Bugis movement. The most recent one has been mainly due to economic reasons. These different phases of the movements, as well as the dynamic interplay of various aspects, such as citizenship, ethnic, and sub-ethnic groupings, practicing of cultural traditions and keeping the language, to mention a few, have contributed to the process of the construction of the multiple identities of the Bugis. Indeed, the Bugis people are no longer identified or identify themselves as a single group, but rather have fluid and contesting identities. This paper will discuss three main issues: the history of the translocal and transnational movements of the Bugis to North Kalimantan, Sabah and Johor; the process of adaptation to these new places; and the construction of Bugis identities.

• Korean Security Journal
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• no.4
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• pp.65-82
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• 2001

Department of the imperial guard is of the soldiers organization which is formed in the royal power or the absolute near by a king. Thus, department of the imperial guard absolutely is showed it is a soldiers organization for guard a king. We summary the character and the function as followed when we subdivide. 1. The main mission was the guard of the royal palace. As we know from several historical materials, the defense of the royal palace was an fundamental mission. Therefore, department of the imperial guard would take charge of the defense of the royal palace. 2. They would carry out throne of king and the royal family or a battle. As unification, they would carry out guarding for political stability and a suppress probation of internal war in regard to the security and the frequent rebellion in central and locality. 3. They carried out guarding an honored going of a king or the royal family. We know the fact that there was an honored going of the royal family or many attendants on record. When a king or the royal family go, guarding of department of the imperial guard had not only protect them but also show off the authority of the royal family. As a result, when we analysis the substance from studying the guard system of Shilla, though our guard system is imitated the foreign guard system like U.S.A, transcending space-time, the guard system can be found a lot of something common at the guard principle and a rule. Today, in looking about a political system of any countries on the world, a king and a ruler of the country represent their country international, have responsibility of protect their nation and a people internal. Therefore, the guard for a ruler absolutely must carry out at a safety situation. Moreover the guard organ, at the same time is connected directly to a welfare of the nation, so we will have to devote a constant effort.