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Relevant bibliographies by topics / 빨강

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Journal articles

Academic literature on the topic '빨강'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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Journal articles on the topic "빨강"

1

Kim, Jongguk. "Color Red in Sympathy for Lady Vengeance - The Return of the Repressed and Liberation -." Journal of Korean Culture 44 (February 28, 2019): 403–25. http://dx.doi.org/10.35821/jkc.2019.02.44.403.

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2

Choi, Nanoak. "The Way of Love of Russian and Vietnamese Women in Red Wings." Journal of East-West Comparative Literature 57 (September 30, 2021): 301–20. http://dx.doi.org/10.29324/jewcl.2021.9.57.301.

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3

Im, Ji Yeon. "“Dark Becoming-With” Narrative and Bio-Political Placeness of Disaster Novels in the 2000s : Focusing on “Nature Culture” in Pyun Hye-Young’s Ashes and Red." Journal of the Humanities for Unification 89 (March 31, 2022): 453–79. http://dx.doi.org/10.21185/jhu.2022.03.89.453.

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4

Jeon, Seo Young, та Eun Ryung Hyun. "A Study on a Change in Recognition of ‘Red(紅)’ Color in Chinese Female Consumers - Focusing on a Comparison between the 20s and the 40s in Chinese Women As of 2017". JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 24, № 2 (2018): 621–31. http://dx.doi.org/10.18208/ksdc.2018.24.2.621.

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5

Yang, Ah-lam, and Haeng-seon Lee. "The Reception of Baroness Orczy and the Translation of 『The Scarlet Pimpernel』 : French Revolution, Fear, Hatred." Journal of Asiatic Studies 61, no. 2 (2018): 7–41. http://dx.doi.org/10.31930/jas.2018.06.61.2.7.

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6

Kim, Minkyung. "Heritage Language and Identity in the Narratives of Second-Generation Indian Immigrant Children : Focusing on 『Red, White, and Whole』 and 『The Namesake』." Jounal of Cultural Exchange 14, no. 3 (2025): 227–45. https://doi.org/10.30974/kaice.2025.14.3.10.

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7

Adrian, Kohn. "How a Red Painting by Kim Guiline 김기린 Actually Looks — Come to that, How Red Itself Does, Kim Guiline, Selected Works: 1967–2008 (New York: Lehmann Maupin, 2017), pp. 6–11." 9 червня 2017. https://doi.org/10.5281/zenodo.804554.

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Abstract:

All I’m saying is that for me, knowing little or frankly closer to zilch about their artworld context, their maker’s life, their maker’s political and literary and philosophical interests . . . (usually you’ll hear at length on each when writers turn paint into text), the thing about Kim Guiline’s works is how, for once, I can truly have a look at them.

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