• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.823-835
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• 2018

The body is an important object of costume expression, and the reflection of the aesthetics of the body according to age, culture, individual or group determines the form of the costume. In particular, British artist Leigh Bowery provided many designers and celebrities with original design ideas. Leigh Bowery's costumes are related to the carnival concept. Thus, this study analyzed Leigh Bowery's life and works, and examined Michael Bakhtin's grotesque carnivalesque theory. Based on Bakhtin's carnival theory around 100 works by Leigh Bowery, in the form of YouTube videos and DVD clips were analyzed in this study. The results of the analysis Leigh Bowery's body and costume research are as follows. First, this study can define fetishism as a characteristic of costumes such as body suits, harnesses, high-heeled boots, and stockings, that stress the body. Second, the character of the body is not expressed as that of an idealized body, but the fat and ugly aspect are revealed. Third, Leigh Bowery's costumes are characterized by ambiguity. The costumes blur the boundaries between women and men. Fourth, common sense, combined with normal and bizarre, brings out a strong sense of carnival humor with ridiculousness arising from the gap between reality and reality. His performance has had a significant impact on victims of discrimination or unequal treatment in sexual, racial, and age-related situations. This study should inspire many designers through the study of Leigh Bowery's body expression and dress, but it also introduces fashion icons that are not well known in Korea.

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.162-173
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• 2019

The candlelight vigil is a nonviolent collective action by Koreans to communicate with the government. Although they have political goals, candlelight vigils are represented as cultural events. However, despite its importance in Korean society, it is unclear how Koreans perceive the cultural meaning of the candlelight vigil. This study, therefore, investigates the cultural meaning of the candlelight vigil, ultimately aiming to extending the framework for understanding active publics. To this end, this study conducted 47 in-depth interviews with participants of 2008 and 2016 candlelight vigils. The findings showed that the candlelight vigil has cultural meanings of festivity, humor, and self-expression. Theoretical implications of the findings and future research directions are discussed.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1087-1101
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• 2009

The ongoing attempt to classify and categorize Jonathan Swift's literary work, A Tale of a Tub, as either satire or parody has not only opened issues concerning authorial intent and a present voice but also surfaced questions as to whether Swift identifies with what he is criticizing, thereby becoming the subject he schemes to destroy in his own literary work. In addressing these critical problems, my paper questions the boundaries of genre and analyzes the Tale, not within the conventional terms of literary genre, but by applying Bakhtin's theory of the carnivalistic impulse to Swift's Tale. Rather than focus on finding the author or identifying a voice within the text, Bakhtin's literary vision of carnivalization allows a means of subverting all rules yet holding the work together to present a shocking experience for the reader. Within the Tale, carnivalistic participation includes the reader who at one point is given the detached position of subjective spectator yet eventually decrowns the reader as both a carnivalistic participant and object of the same ridicule and derision once used to judge others. In conclusion, the Tale is revealed as a mocking commentary on the efforts of human beings/participants/writers to ignore the carnival aspects of existence and attempt to elevate themselves to the privileged role of spectator/reader.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.573-587
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• 2016

This study is the one of the first full-scale subsequent research of a TV drama writer who has been out of scholarly pursuits. Along with the 5 advanced research, this study is to analyze Su-Hyeon Kim's difference and her underlying consciousness by applying the Bahktin's dialogism to the author's creating lines instead of existing speech research. Bahktin's dialogism, its core of polyphony, presents a definite purpose to a artistic creation of language. That is to require the author to have 'outsideness' 'boundary carried over' and 'excess of seeing' in a author relation with characters as it leads the characters to 'the whole'. It means an equal relations of mutual independency between the author and the characters. Also this relations accompany by 'unfinalizability of dialogue'. This study ascertains whether the dialogism actually being realized or not in her lines of of her early stage, of melodrama, and of home-drama. The result of this study shows that the she creates 'polyphony', diverse voices of characters, with her mutual independent relations with characters, that is the voices of between characters, between characters' inside. This research also shows that she realizes 'unfinalizability of dialogue' in her drama work itself of open-end as well as in her lines. She has her own consistent distinction of creating lines to be a her drama work itself, that also means to explore language of human beings's existence, and language of perception, instead of using it as a simple tool of making a drama. This study is to explore a subsequent research of the author's lines with another Bahktin's carnivalesque as the lines's importance and the theory's vastness.