The aim of this study is to investigate morphological characteristics of Hanbok images in children’s books and propose a direction for the modernization and globalization of traditional culture. This study examines 43 children’s books by contemporary foreign illustrators that contain Hanbok illustrations and analyzes them from postcolonial perspective. The results include the following three attributes: first, the transformation of clothing structure and donning method that confuse fundamentals of Korean costume; second, the Westernization of silhouette drawing with tailored garments analogous to Western dress; and third, extension to East Asian dress that represents Hanbok mixed with Chinese or Japanese costume and use what is considered to be the East Asian patterns instead of Korean traditional ones. These attributes are based on Eurocentrism, which expresses and interprets the East from the Western view point with continuously distorted image of the East. Korean illustrators also painted Hanbok incorrectly, which could influence foreign illustrators. Nevertheless, traditional dress illustrated in various ways has artistic value and has a popular global impression. Further, it enables children to experience either own or other cultures through dress illustrations. Thus, the outsider requires an in-depth understanding of other cultures, while the insider needs a critical perception of their own culture as described by others while revisiting the original resources. Furthermore, we suggest follow-up research on Hanbok for subsequent generations; publishing translated books on various topics, producing and disseminating a primer for diverse readers, and essentially receiving counsel from experts.

이 논문은 단색화가 부상한 1970년대와 재부상한 2010년대의 두 시기를 세계화 관점에서 각각 고찰하면서 각 시기에 대두된 담론의 변화를 추적한다. 1970년대 서구미술 수용 과정에서 나타났던 모노크롬 추상화는 1975년 일본에서 열린 《한국 5인의 다섯 가지의 흰색》전을 계기로 단색화로 수렴되는데, 이 과정에는 일본을 국제무대 진출의 창구로 바라보는 세계화 인식이 작동 하였다. 그러므로 일제강점기 조선 미술의 특질로 ‘비애의 미’를 언급한 ‘백색 미학’이 이 시기에 단색화 담론으로 부활한 것은 일본을 통해 세계로 나가려는 욕망과 무관하지 않다. 2010년대 들 어 한국미술이 세계무대로 직행하게 되자 단색화 담론에는 서구의 타자로서 동양을 의식하는 동양주의가 나타난다. 제국주의를 넘어선 제국의 시대에도 서구의 근대적 시선의 권력이 단색화 담론을 관통하고 있음을 알 수 있다.

This paper is an attempt to read Yeats's poetry in terms of postcolonialism. Drawing on the recent studies of Yeats and Irish literature, performed by such critics and scholars as Edward Said, David Lloyd, Declan Kiberd, and Jahan Ramazani, the paper examines the various aspects of Yeats as a postcolonial poet. The fist part of the paper deals with the problems that we might encounter when we try to define the postcoloniality of Ireland, which is, in Luke Gibbons's words, "a First World country, but with a Third World memory." There also might be some difficulty in deciding when the postcolonial literature in English began in Ireland. Considering these problems and difficulties, the present writer understands the term "postcolonial" as "anticolonial" rather than "postindependence" or "since colonization," and discusses Yeats's poems which reveal the poet's anticolonial attitude toward England. The next main part of the paper begins by proposing "hybridity" as a feature of postcolonial literature in general. It is assumed that the concept of hybridity can provide the most appropriate and efficient way of understanding the true nature of Yeats's postcoloniality. In this respect, the poet's familial background as an Anglo-Irish Protestant, his complex relationships with the English poets, especially Spenser and Shakespeare, and his use of the English language are discussed. Lastly, in order to see postcolonial hybridity in the specific poetic forms of Yeats's poetry, this paper discusses the use of place names and mythologies, both Irish and non-Irish, in his poems, as an anticolonial and hybridizing gesture. The paper also discusses some aspects of Yeats's poetic style, such as the lyrical form, poetic diction, and images and symbols, and shows how he hybridizes the poetic style which he inherited from the English poetic tradition.