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Korean Modern Art History began to be produced in the 1970s, when Western Modernist Art History, based on Formalism, was introduced as a matrix to map the 'evolution' of 20th century Korean Art. Korean modern art history is based in the same paradigm as the West, beginning with Impressionism and 'ending' with Abstract Expressionism. First introduced to the country from the West immediately after the Korean War, Korean Abstract Expressionism is now deemed as South Korea's ultimate 'progressive' and 'modern' art form, a 'Korean' painting style combining the Western art form with traditional artistic concepts of 'Scholarly Painting' (muninhwa). Japanese-influenced painting styles originating in the colonial period (1910-45) are rejected as 'non-authentic.' The problem is that Scholarly Painting was a gender and class specific art born from the rigid Confucian culture of pre-modern Korea, and thus its revival as an 'ultimate modern' and 'Korean' form has the consequence of locating traditionally-gendered notions of art and artist at the core of the South's modern art. This essay uses a Semiotic approach to deconstruct this gendered modernist rhetoric by tracing the emergence of the sign 'Koreaness' in South Korean modern art, showing how it is defined within Korean Abstract Painting as an 'ultimate Korean sign' and how its use of anti-Japanese rhetoric covers up the traumatic history of the Korean War. [ABSTRACT FROM AUTHOR]

Although life for Japan's zainichi Korean population has been influenced by many factors, the development of discourse and debate internal to the zainichi population from the early 1970s onwards reflects enormous change in perspectives of the location of zainichi identity. In this paper I trace the internal discourse produced by zainichi intellectuals and public commentators from the early 1970s until the early 2000s and argue that the genesis of this discourse can be represented by a temporal and spatial shift in power and politics from older to younger generations. This shift in power allowed for the creation of a hybrid identity away from the hegemonic control of zainichi political organisations and anti-Japanese nationalism. In particular, I focus on Kim Iong Myung's articulation of the third way and its progressive, but at the same time excusatory, characteristics and how this and subsequent debate have been concerned primarily with the location of zainichi identity . [ABSTRACT FROM AUTHOR]