• Korean Journal of Social Welfare
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• v.57 no.3
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• pp.31-50
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• 2005

The perspectives on the gender equality are various. Therefore the relationship between social policy and gender equality must be thought in the sense of the following question: What kind of gender equality pursue social policy? In spite of the mentioned question the mainstreaming discussion about the relationship between social policy and gender equality focuses on how a social policy leads to gender inequality. The debate about the perspective with which social policy pursues to conglomerate or abolish gender inequality is not popular. In this study the Korean National Pension System is analysed according to the gender neutral approach, the gender recognition approach, the gender reconstruction approach and the gender reinforcement approach. As a result, the Korean National Pension System has a character as a gender neutral approach. Therefore the critics on the National Pension System should focus on this perspective. In the future, when the pension credit system, the guarantee of right to pension in the case of divorce and the basic pension guarantee would be introduced, the Korean National Pension System could be featured as a field of social policy that has a gender recognition approach.

• 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.

• Journal of the Korean association of regional geographers
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• v.22 no.3
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• pp.714-729
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• 2016

National citizenship has been empathized by nation-state since modern times. But with recent wave of globalization, the force of national citizenship is gradually reducing. Globalization requires citizens of global citizenship needed in the global village on the one hand, and of cultural citizenship suited in multicultural society on the other hand. The trend shows that the geographical focus of citizenship is shifted or expanded from the political domain to the social and cultural domain. Moreover, with concerns of personal everyday life citizenship is extended from standard personality by Western view to inclusion and exclusion in micro everyday space, non-Western view based on social difference of gender, class, ethnicity etc. New spaces of citizenship, cultural citizenship and everyday citizenship which empathizes personal right and difference is emerging instead of national citizenship based on personal allegiance and duty of the state. This means that the state has not only a task of establishment of common national citizenship, but also a challenge to recognize of diversity of citizens.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.381-388
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• 2020

This paper discusses English Hedges or Hedging Expressions on the basis of their morphosyntactic-pragramatic properties within the perspective of sociolinguistics. The term, 'Hedges' for the past decades since Lakoff(1973), has received little attention from the English grammar circles such as morphosyntax and the generative grammar theories. This paper presents a more comprehensive approach to the identification, distributions, functions, and the morphosyntactic properties of English Hedges. The earlier research on English Hedges in the 70's show that hedges are metalinguistic or mitadiscourse expressions which constitute a means for executing Politeness strategy in pragmatics. Nonetheless, research from the interface of syntactic-pragmatics has been scarce. This article suggests a more complex body of English hedges that have not been extensively discussed in the literature. Additionally, their configurational domain is to be proposed as part of the PolP with [±hedged] above CP⁺ (or CP beyond). The ramifications of the current study are suggested in terms of comparative linguistics, EFL/ESL studies of English for global communication, and pragmatics-sensitive machine translation studies in the forseeable future.

• Women's Studies Review
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• v.27 no.1
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• pp.73-109
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• 2010

The cultural pluralism on which more and more emphasis is put in the globalized cultural environment, takes local identity as a crucial index for the cultural exchange on the global level, but at the same time it results in transforming individual regions/places into a homogeneous space, as it forces the local identity itself to fit into the standardized global perspective. In this context I focus on two art projects that are related to 'Dongducheon', a town that houses the U. S. Second Infantry Division. These projects attract specific attention due to the fact that Dongducheon is a significant place with very 'thick' cultural identity: it reveals that modernization in Korea took place in intersection of nationalism, patriarchy and gender/sexuality postcolonial (military) culture. With these two Dongducheon related art projects (Donglyung Kim) and (Eunyoung Jeong) as excellent examples of site-specific art practice, this paper asks what it means to keep the historicity of disappearing local space/place in the global era. And how is it possible to 'represent' an extremely gendered/sexualized place like Dongducheon. This should be examined from a postcolonial feminist perspective. Since emancipation from Japanese occupation Dongducheon has been an island or an outside space in the nation-state Korea. This becomes more complicated, as now mostly women from the Philippines or former Soviet countries are working in the nightclubs in Doungducheon. and are feminist activist experiments to make the place with its residents to be seen and heard in proper a way of mourning, recognition and communication. shows the 'new' kijich'on women as those who are daring to be on an 'Odyssey' for a better life as they run everyday life in Dongducheon, working in clubs, doing laundry, bearing children, going to mass; tries to help them to be heard and felt, while it gathers sounds on the street or at mass and shows the doors or narrow alleys which lead to the their rooms. It aims to mourn the dead kijich'on women and to represent the precarious life of the present migrant kijich'on women, as it shows no faces.