• Journal of the Korean Home Economics Association
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• v.42 no.5
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• pp.53-76
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• 2004

This study conducted a survey on sexuality for the purpose of substantial verification, focusing on literature reviews of premarital sexuality. The Literature reviews included relevant studies of our society and its cultures such as premarital sexuality and behaviors, expressions of love or intimacy, contraception, abortion, sex education and sexuality in family contexts. The survey was conducted to 355 university students and 200 working premarital adults in Seoul, Gyeonggi and Gangwon areas. It has 21 questions to measure sexuality by sexual altitude sentence completion Scale (composed of 4 categories and options of the other items)which has been widely used by professional counsel institutes. Male and female students complete the sentence of this scale, then similar contents were classified. Love type test was developed by Hendrick & Hendrick (1986) was used to measure love and intimacy. Results from the sentence completion for sexuality attitudes are generally as follows: First of all, there was clear difference in male md female responses about each categories. For example, With regard to the questions on premarital sex with opposite sex friends of long time relationship, more than half of male students said it is all right, whereas more than half of female students answered to the same questions that it can never be possible, with many answering 'I don't know', or leaving them unanswered. The survey result, masturbation answered that Female is needed however many Females actually don't it. But Male is almost necessary and conduct himself. On questions regarding, Homosexuality is both male and Female answered opposed. These results of the study show that premarital adults clearly open to issues on sexuality compared with the past, but they have not established their own sexual identity, which can be seen with big gap between male and female perspectives, due to experiencing confusion under the changing environment of the society.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.80-90
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• 2013

Despite the growing popularity of gay consumers as a fetching niche market, there has been little academic attention paid to the homosexual themes in print media, especially compared to research on gender, race, and sex imagery in ads. The present study aims to fill this void by examining advertisements with three different target audiences(homosexual, metrosexual, retrosexual consumer) through a comparative analysis of contemporary magazine advertisements. In this present study, we analyzed ads in three leading men's magazines (Out, GQ, and Maxim). Product (product category, price, and luxury brand) and human model (basic descriptions, sexuality, status, and masculinity) characteristics in ads were analyzed as the variables signifying the degrees of gay themes in ads across three magazines. The results showed that more expensive luxury brands were placed in GQ and Out than Maxim, and more male models were under-sexualized in Maxim than GQ and Out.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Korean Journal of Social Welfare
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• v.64 no.2
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• pp.85-109
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• 2012

This qualitative study explored a middle-aged lesbian's life and her identities by the oral life history approach in feminist epistemology, where the participant is not the object but the subject of knowledge. The participant kept her own perspective that her homosexuality was not intrinsic but constructed. In her life's history, she was a "docile body" accepting socially constructed historical meaning of homosexuality, as well as a "resistant body" protesting against social discrimination and oppression for homosexual population. She overcame an embedded negative recognition of her scaled injured body and her sexuality as "deficient". Finally, she showed an amazing resilience and an indomitable spirit for reconstructing the meaning of her body as "blessed." Beyond the deficient body, as an active agent not the pathologic sexual minority, she could cultivate compassion and empathy for others. From the results, it is important how to place gender and sexuality in the context of social work theory and practice. Sexuality, not sexual orientation, is 'our' collective agenda to address the social problems which were associated with social hierarchy, inequality, and injustice.

• The Critical Review of Religion and Culture
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• no.25
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• pp.77-122
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• 2014

A Japanese director Sion Sono(園子溫, born in 1961), who is not so familiar to us yet, has been depicting the world of violence and sexuality filled with poetic and philosophical messages through the shockingly impressive works such as Strange Circus(2005), Love Exposure(2008), Cold Fish(2010), Guilty of Romance(2011), and so forth after the great success of Suicide Circle(2001) and its second film Noriko's Dinner Table(2005). In addition to these, he has also presented a kind of realistic visions in much more direct ways by Himizu(2011) or Land of Hope(2013) after 3 11 disaster. The purpose of this paper is to try a psychoanalytic interpretation of Sion Sono's film, centering on his Guilty of Romance(愛のむきだし), in terms of the concepts of Jacques Lacan(1901-1981), for example, gaze, objet petit a, fantasy, desire, the imaginary-the symbolic-the real, jouissance, etc. In so doing, this paper will pay special attention to the discourse of love on one hand, exploring the way how to show any new perspective to the religious studies by reading film and religion in association with Lacan on the other hand.

• Korean Journal of Culture and Social Issue
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• v.13 no.4
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• pp.53-82
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• 2007

This study, driven by the question of 'what the experience of healing of female sexual abuse victims is like,' explores the process the victims undergo as they heal from the traumas. Using the methods suggested by Strauss and Corbin's Grounded theory, it analyzes nine interviews taken from victims who have received counseling. The study found that the central phenomena that take place in the process of their healing is 'mental pain due to the damage caused by sexual abuse,' the causal conditions are 'the recognition of the sexual abuse' and 'desperation,' and the contextual conditions are 'the reaction of the close ones of the victims,' 'the preconception about sexuality,' and 'the incarceration and punishment of the offenders.' The victims have been intervened in the healing process by 'being supported' and 're-interpreting the meaning of the damage caused by sexual abuse,' and are found to utilize the interactive strategy among 'facing their emotions,' 'learning new coping strategies,' and 'hoping for the future.' They are also found, as a result of the healing, to 'live unafraid as survivors' and 'have structured their lives in a new way.' This study is of significance in systematically elucidating the healing process and the related elements found through the voices of the survivors of sexual abuse in the context of the Korean society and culture. The limits of this study and suggestions about the studies that should follow this one are included as well.

• Cartoon and Animation Studies
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• s.38
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• pp.1-28
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• 2015

The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.281-313
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• 2019

This paper was written to investigate the narrative traits of Lee Ae-rim's Comic Books. Lee Ae-rim arrived on the scene with the boom of comic book magazines in the 1990s. Although she started her career as a Comic Book writer, she expanded her own area gradually and has been working actively as an animation director as well. The superficial characteristics of Lee Ae-rim's works can be summed up as sexuality, grotesqueness, and fantasy. In other words, Lee Ae-rim's comic books are mainly characterized by the visualization of sexual, grotesque, and fantastic shapes. Lee Ae-rim has faced challenges with her own overwhelming and compelling images like no one else. For that reason, it is true that people haven't paid careful attention to the hidden stories behind her pictures. This paper considers that looking back on the narratives that Lee Ae-rim has been interested in, from early days to recent days, that is to say, the contexts of stories, is a shortcut to reveal a point of contact between her past, present, and future. Especially, this paper focused on the properties of the circulated and repeated stories, the stories ruled by fate and coincidence, and the stories in which elements of fantasy encounter an attempt of violation. As a result, it was found that the narratives of Lee Ae-rim's comic books demand us to face suppressed desires in a new way, by wrapping up the most fundamental aspects of human being in universality and constancy with specificity and grotesqueness. The reason why Lee Ae-rim has continued the avant-garde and omnidirectional works thus far explains what our society suppresses, inversely. Moreover, the narratives of Lee Ae-rim are significant, by being devoted to the right function of art not only to disclose suppressed desires but to satisfy them. Making an in-depth investigation of the narratives of Lee Ae-rim's comic books in various contexts, this research is intended to establish a diversity of Korean comic books, by adding meaning to the creative values of individual writers.