• 복식문화연구
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• 제13권5호
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• pp.790-803
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• 2005

This study purposes to examine the background of the sexual concept and femininity, masculinity and gender role in the fields of social psychology and cultural anthropology and investigate the traditional gender role and the fashion's changes according to its role and the examples of the masculinity and femininity expressed in the contemporary fashion and finally analyze the gender identity expressed in fashion. The image changes which appeared in the modern fashion can be considered to be Masculine Look, Garconne Look, Feminine Look, Unisex Look, Androgynous Look and Genderless Look. The Garconne Look caused lots of changes to masculinity in the 1920's along with the changes of femininity. With the effect of feminism, many females wore clothing which had been thought as male's clothing by the appearance of Masculine Look. The major formation reason of Unisex Look can be regarded as the attitude change of the society toward to females and a meaning which doesn't want the differences of the distinction of gender to appear any longer as a characteristic external factor is implied. Androgynous Look which appeared in the 1980's means the integration of femininity and masculinity which is the same meaning with 'androgyny' in itself, Not denying its gender characteristics individually, the Androgynous Look means that women aim at the masculine image in men's clothing or men do at the feminine image in women's clothing. Genderless Look can be considered to a look with a notion to wear clothing freely even in fashion transcending the border of masculinity and femininity differentiated socially and culturally.

• 복식문화연구
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• 제31권1호
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• pp.91-106
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• 2023

This study examines how the concept of gender fluidity-viewing gender identity as a fluid and wide spectrum-is represented in modern knit fashion collections. The period spring/summer 2017-fall/winter 2021, when gender-related fashion keywords started attracting attention, was limited to the last five years, and the results of a case analysis focused on a total of 357 knit fashion photos are as follows. First, the androgynous compromise through the mixing of heterogeneous elements appears as a mix-and-match style due to the patchwork of heterogeneous materials and forms that borrow or share masculinity and femininity. Second, it was confirmed that the dismantling exaggeration caused by the destruction of the size and form of clothes was an avant-garde image that exaggerated the size or length of clothes or destroyed ideas and forms. Third, the exposed sensuality caused by the deformation of the fluid knitting technique was shown in the form of proudly expressing sexuality by exposing the body either using the cut-out technique or through the loose texture of the knit. Knit fashion can highlight decorative effects using handcrafted techniques and express a detailed or coarse sense of organization depending on the density. In addition, since it is possible to create a complex image by juxtaposing and mixing various knit structures, it was confirmed that it is a suitable material for expressing gender fluidity flowing between men and women in fashion.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2019년도 춘계종합학술대회
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• pp.59-60
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• 2019

2016년 개봉한 <말레피센트>는 디즈니 애니메이션 영화 <잠자는 숲속의 공주>를 원작으로 한 판타지 영화이다. 원작 <잠자는 숲속의 공주> 이야기를 바탕으로, 기존의 전통적인 공주와 왕자의 사랑이야기를 벗어나지 않으면서, 마녀가 진정한 사랑을 깨닫는 이야기로 각본되었다. 이러한 각본의 특징은 최근 반복적인 이야기 구조에서 벗어나 시청자와 공감대를 형성하려는 스토리로써 크게 성공하고 있다. 때문에 디즈니 애니메이션의 캐릭터 변화에 대한 연구를 통해 최근 여성 가치관의 변화에 관한 연구가 필요하다. 이를 위해 본 연구에서 디즈니 애니메이션의 대표작품을 선정하고 주요 여성 캐릭터를 대상으로 외모측면, 권력 및 계급 측면, 젠더 측면 등의 캐릭터의 대비를 진행하였다. 연구결과 전통적인 여성 캐릭터 이미지와 의미는 능동적이고 주체적으로 변화되고 있는 것으로 확인되었고, 현 시대가 공감하는 여성의 가치를 중심으로 스토리를 더욱 현실감 있게 표현하여 영화를 성공으로 이끌 수 있었음을 알 수 있었다.

• 한국융합학회논문지
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• 제11권1호
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• pp.109-117
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• 2020

본 연구의 목적은 최근 패션에서 사용하는 타이포그래피 표현을 개념 미술의 관점에서 분석하고 의미를 밝히는 것이다. 이를 위해 연구의 주요 개념인 타이포그래피와 개념 미술을 이론적으로 고찰하고 개념 미술의 표현 특징인 레디메이드(ready-made), 자료 형식(documentation), 개입(intervention), 언어를 분석의 틀로 패션 타이포그래피에 적용하였다. 결과 레디메이드는 타 브랜드의 시각적 정체성을 차용하거나 변형하는 방식으로 나타나며 자료 형식은 제품에 동어 반복적 혹은 모순적 텍스트를 병치하는 방식으로 활용된다. 개입은 맥락적으로 무관한 브랜드의 시각 아이덴티티를 차용할 때 더욱 복잡한 층위의 의미를 발생시키며 나타난다. 언어는 환경, 윤리적 소비, 젠더 문제 등 동시대의 사회적 이슈에 대한 발언의 도구로 사용된다. 본 연구를 통해 패션 디자인에서 타이포그래피는 효과적인 마케팅 수단이자 사회적 발언의 매체가 될 수 있으며 흥미로운 시각 표현 방식이자 새로운 의미를 발생시킬 수 있는 가능성으로 확대될 수 있음을 확인할 수 있었다.

• 문화기술의 융합
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• 제6권1호
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• pp.381-388
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• 2020

본 논문의 목적은 주로 사회언어학과 화용론 분야에서 연구되어 온 영어 '헤지(Hedges)' 혹은 헤지표현을 형태통사적 관점과 화용적 관점을 연관지어 논의하는 것이다. 일반적으로, '헤지표현이 없는 자연언어는 없다'는 추론이 가능한데, 그것은 어떤 자연언어에나 공손성, 혹은 화자가 청자보다 낮은 자세로 말하고자 하는 문법기제가 있음이 널리 인정되고 있기 때문이다. 헤지에 대한 기존의 이론적 연구는 주로 화용적 관점에서 헤지의 유형 분류와 화용적 기능, 그리고 출현빈도 비교 등의 수준에 그치고 있다. 즉, 헤지표현을 형태통사적 개념인 자질로 나타내려는 시도는 거의 발견되지 않는다. 언어현상으로서의 헤지는 유무에 따라, 화용부와 통사부의 접합면에서 [+hedged]와 [-hedged]로 이분지화 가능하며, 이 화용자질은 형태통사부와 상호작용 하므로 협의의 통사부에서 분리될 수 없다. 본 논문에서, 헤지는 공손성이 표현되는 화용자질로서, 그 자질이 표시되는 접합면 영역이 구조적으로 있음을 지적하였다. 즉, CP+층위가 화용자질인 헤지자질이 인코딩되는 영역임을 제안하였다. 최근에는 범언어적 관점에서 혹은 영어교육의 학술적 EFL/ESL 글쓰기, 또는 담화분석 등에 헤지 표현의 식별 여부나 용례를 연구하는 경향이 있다. 본 논문은 그동안 간과되어온 동등접속문, 병렬종속문, 부분사 구문 등을 헤지에 포함시키고, 보다 구조적이고 이분지적(±)인 방식을 제안함으로서, 제2언어습득의 이해, 글로벌 커뮤니케이션 혹은 인공지능 자연언어 알고리즘에 화용 자질을 도입할 수 있는 구조적이고 이론적인 기반을 제공하는데 그 목적이 있다.

• 영어어문교육
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• 제13권1호
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• pp.211-233
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• 2007

Caryl Churchill achieved spacial politics to resist dominant ideology in Cloud Nine. It is suggested that heterotopia is a counter-site to the places which are controlled by colonialism and sexuality. Churchill juxtaposes African colony of Victorian period in the first act and modern London in the second act. It implies that individuals are similarly oppressed by dominant ideology until now though several conditions for individuals are drastically improved. White heterosexual men in the play try to build their utopia to keep their privileges. If they find anything abnormal to their standard, they systematically classify people and organize them into the different ranks and levels to seclude them from their utopia. Actually, the ideal people in the ideal place are oppressed by patriarchal ideology, compulsory heterosexuality, and colonialism which are covertly associated with gender. Therefore, Churchill uses the cross-casting to challenge the artificiality of gender, sexuality, generation and race in the play. People realize that they need to find their own desires free from gender, compulsory heterosexuality, ethnic, and race and their subjectivity flowing in and out of space. It is the site that all the binary oppositions are deconstructed and creates new multiple nodes to expand the boundary of their communities to heterotopia in real places.

• 한국의류산업학회지
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• 제5권4호
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• 복식
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• 제63권4호
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• 복식문화연구
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• 제19권2호
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• pp.430-448
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• 2011

This study analyzes the stereotyped femininity with a focus on body codes, which has been continuously expressed in fashion illustrations from the late $19^{th}$ century to the year 2010, and examines the changes in its meaning. Stereotyped femininity was reorganized by the changes in female sex role effected by social changes, as well as by the body discourse and feminism in the late $20^{th}$ century, These socio-cultural backgrounds led to the change in the meaning of stereotyped women expressed in fashion illustrations. The stereotyped women in fashion illustrations are characterized by gender-oriented body, and the typical image of women was reproduced with the marks of poses and looks that feature passiveness and subordination. Then, the gender-oriented body since 1990's shifted to active meaning that positively revealed sexual desire. The space positioned by women is also the symbol of gender. In line with changes over time, the backgrounds in fashion illustrations have changed from private space such as home and nature to public space such as city, which reflects diversification and expansion of space for women. This study has identified the changes in meaning, based on the analysis of the characteristics of stereotyped women expressed in fashion illustrations. Above all, women who were objectified as a subject by dominant discourse have established the concept of active body as an entity. In addition, the symbol of typical femininity is "slim" and "beauty", which reflects the change from the emphasis on childbirth-related femininity to self-control and conquer. On the other hand, the typical features expressed through body have reproduced dichotomous structure, but the emergence of body and background deviated from gender has reorganized the symbolic order of gender.

• 한국콘텐츠학회논문지
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• 제17권12호
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• pp.417-425
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• 2017

본 연구는 영화 <아가씨>에서 변형된 시공간과 캐릭터를 통해 흥행 요인을 분석하고자 한다. 원작 소설이 있는 영화는 소설의 내러티브를 기초로 영화의 경험재적 특성을 감소시켜 관람 욕구를 유도한다. 본 영화는 소설의 배경인 빅토리아 시대와 다른 일제강점기를 선택하여 식민주의 남성성의 특징을 구현하는 캐릭터를 만들고, 남성에게 억압받는 여성들이 계급성을 초월하여 탈주하는 내용으로 변형하였다. 이를 통해 원작소설의 동성애 요소가 여성의 성장과 연대로 치환되어 부정적 요소를 감소시켰다. 또한 영화 개봉 시기 발생한 여성 대상 범죄의 젠더 담론은 캐릭터들의 공감 요소를 증대시키고 영화의 주제와 부합하였다. 그외 감독과 배우의 스타시스템과 영화 예고편의 효과적 공개 마케팅, 영화제 진출작 선정을 흥행 요인으로 볼 수 있다. 영화는 소설의 각색을 통해 다원적인 창작 역량을 증대하고 관객의 공감 요인을 확대한다. 흥행하는 각색 영화의 차별성은 변형된 내용이 창의적이면서도 시공간을 초월하는 보편적 인식과 상응할 수 있는 주제를 내포하고 매체적 특성을 효과적으로 표현하는 데 있다.