• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.135-150
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• 2004

The purpose of this research was intended to investigate drag queens' and drag kings' gender identity not only as a comic and desexualized drag borrowing external characteristics of the opposite sex but also as the subject visualizing and performing' the third sex'. It also aimed to examine formative aesthetic characteristics and aesthetical value of drag queen's and drag king's fashion and to confirm the functions of drag queen's and drag kins's fashion to establish, visualize and Perform the discordant sex. For this process, research steps were as follows : 1. Understanding drag, drag queen and drag king in social, psychological context as well as in gender context. 2. Finding visualized forms which drag performance interchange with mass media 3. Analyzing similarities and differences between drag queen's fashion and drag king's fashion. 4. Examining the aesthetical characteristics and the value of drag queen's and drag king's fashion. The results of characteristics of drag queen's fashion could be categorized into stereotype, mimicry, kitch, inconsistency and commercialism. And the characteristics of drag king's fashion could be divided into reality, self-consciousness, mimicry, inconsistency, subversion and multiplicity. Drag queens create plausible impressions of feminity through the use of wigs, dresses, jewelry, makeup, hormones and through &role Playing&. Similarly drag kings produce a plausible masculinity taking gay male aesthetic using suits, crotch stuffers, facial hair, and greased hair. Male and female impersonation produce very different notions of gender performance for male and female embodiment. Drag kings' performance of masculinity demands authentic property of bodies so rather nonperformative, while drag queens' performance of femininity depends on more visible and theatrical fashion.

• Journal of the Korean Society of Manufacturing Process Engineers
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• v.9 no.2
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• pp.12-19
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• 2010

The characteristics of the torsional systems are generally examined with the nonlinearities such as the several staged clutch damper springs, gear backlashes and drag torques. Generally speaking, the system's characteristics can be found out by the eigensolutions which can show the system natural frequencies and the mode shapes. However, these factors can not give the complete solutions to avoid the noise and vibration problems related to the nonlinear effects. Therefore, several assumptions should be made for solving the real physical system problems under the linear analysis which can reflect the nonlinear effects in the torsional system. This means that the several modified linear factors such as the modified clutch damper spring constants can be used to examine and avoid the natural frequency zones related to the noise and vibration problems. Under the linear analysis with the assumed and modified values, the system can be investigated with the more reliable ways for the realistic phenomena.

• Journal of the Korean Home Economics Association
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• v.40 no.6
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• pp.21-37
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• 2002

The third sex implying a mismatch between sex and gender has been regarded as an extreme socio-cultural violation. In its earlier version, such a violation was expressed by cross-dressing; Women's cross-dressing was thought to invoke eroticism, while men's cross-dressing was considered comic or delinquent. However, as feminism developed more with the homosexual identity expressed openly, the third sex began to be visual. Thus, in 1990's, some homosexual monies began to develop to be pluralized enough to suggest the third sex and thereby, change the negative sex into a positive one. In this study, such a pluralization is discussed in terms of invisibility, dichotomy and androgyny. The cross-dressing movies show females in male attire or males in female attire to reflect the third sex. The cross-dressing may be divided into men's playful cross-dressing, women's political cross-dressing and homosexuals'cross-dressing or 'drag'. Gender identity is not an attribute fixed by some physical characteristics, but it tends to be changed or expanded by some social factors over time. In short, it may be a flexible, plural, individual and self-introspective attribute. Movies present diverse types of gender identities, and in particular, the movie costumes specify them. In other words, the costumes may be model means expressing the gender identities, and the gender identities shown in the movies tend to be imitated, re-created or assumed by the audience.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.13-19
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• 2021

This study examined the effects of stacking faults on the thermoelectric properties for n-type SiC semiconductors. Porous SiC semiconductors with 30~42 % porosity were fabricated by the heat treatment of pressed ��-SiC powder compacts at 1600~2100 ℃ for 20~120 min in an N2 atmosphere. XRD was performed to examine the stacking faults, lattice strain, and precise lattice parameters of the specimens. The porosity and surface area were analyzed, and SEM, TEM, and HRTEM were carried out to examine the microstructure. The electrical conductivity and the Seebeck coefficient were measured at 550~900 ℃ in an Ar atmosphere. The electrical conductivity increased with increasing heat treatment temperature and time, which might be due to an increase in carrier concentration and improvement in grain-to-grain connectivity. The Seebeck coefficients were negative due to nitrogen behaving as a donor, and their absolute values also increased with increasing heat treatment temperature and time. This might be due to a decrease in stacking fault density, i.e., a decrease in stacking fault density accompanied by grain growth and crystallite growth must have increased the phonon mean free path, enhancing the phonon-drag effect, leading to a larger Seebeck coefficient.