• 패션비즈니스
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• 제4권2호
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• pp.69-83
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• 2000

The purpose of this study is considering about drag queen's costume in the point of view of anthropology and psychoanalysis. The contents are the meaning of drag queen by theoretical research and the characteristics of drag queen's costume. The results of characteristics of drag queen's costume are summerized as following. 1. Sexual originality is related with homosexuality. Costume express character of gay not as a transsexual or cross-dresser. 2. Imitation is related with identification of drag queen and famous star like actress, pop singer and historical heroine. 3. Amusement is related with drag queen's life style. There are two kinds of character in amusement. One is humour. Another is an exaggeration. 4. Commercialism is related with mass-media culture. Drag queen's costume have an influence with movie, advertisement and modern fashion.

• 복식
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• 제54권7호
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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.

• 대한기계학회:학술대회논문집
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• 대한기계학회 2004년도 춘계학술대회
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• pp.1589-1594
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• 2004

A numerical analysis has been performed to give an understanding of the physics of a compressible base flow with mass bleed in a Mach 2.47 freestream. Axisymmetric, compressible mass-averaged Navier-Stokes equations are computed using a two-equation turbulence model, standard ${\kappa}-{\omega}$, and a fully implicit finite volume scheme. The mass bleed is characterized by the change in the mass flow rate of the bleed jet non-dimensionalized by the product of the base area and freestream mass flux. The result showing that there is an optimum bleed condition with maximum base pressure, leading to a minimum base drag, is clearly predicted and the validation with experimental data shows reasonable agreement.

• Wind and Structures
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• 제11권4호
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• pp.303-321
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• 2008

When first commissioned, the 1.6 km span 275kV Severn Crossing Conductor experienced large amplitude vibrations in certain wind conditions, but without ice or rain, leading to flashover between the conductor phases. Wind tunnel tests undertaken at the time identified a major factor was the lift generated in the critical Reynolds number range in skew winds. Despite this insight, and although a practical solution was found by wrapping the cable to change the aerodynamic profile, there remained some uncertainty as to the detailed excitation mechanism. Recent work to address the problem of dry inclined cable galloping on cable-stayed bridges has led to a generalised quasi-steady galloping formulation, including effects of the 3D geometry and changes in the static force coefficients in the critical Reynolds number range. This generalised formulation has been applied to the case of the Severn Crossing Conductor, using data of the static drag and lift coefficients on a section of the stranded cable, from the original wind tunnel tests. Time history analysis has then been used to calculate the amplitudes of steady state vibrations for comparison with the full scale observations. Good agreement has been obtained between the analysis and the site observations, giving increased confidence in the applicability of the generalised galloping formulation and providing insight into the mechanism of galloping of yawed and stranded cables. Application to other cable geometries is also discussed.

• 한국의류학회지
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• 제42권4호
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• pp.626-638
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• 2018

Recent perspectives on masculinity have changed and are expressed as a genderless style in fashion. Male models wearing womenswear are frequently presented in menswear collections. This study analyzes the genderless men's styles from the Heterotopia concept viewpoint. Heterotopia, coined by the post-modern philosopher Michel Foucault, is a space that deviates from normality and a space of alternative. The research methodology is combined with a literature study and case study. Contemporary men's genderless styles examined through the Heterotopia concept are categorized as transition, deviation, contradiction, crisis, and coexistence. Genderless phenomenon are also accelerated by the development of the media as well as the younger generation who express personality and social messages through a genderless style.

• 대한기계학회:학술대회논문집
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• 대한기계학회 2003년도 추계학술대회
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• pp.556-561
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• 2003

Flight bodies are subject to highly unstable and severe flow conditions during taking-off and landing periods. In this situation, the flight bodies essentially experience accelerating or decelerating flows, and the aerodynamic characteristics can be completely different from those of steady flows. In the present study, unsteady aerodynamic characteristics of an aerofoil accelerating at subsonic speeds are investigated using a computational method. Two-dimensional, unsteady, compressible Navier-Stokes simulations are conducted with a one-equation turbulence model, Spalart-Allmaras, and a fully implicit finite volume scheme. An acceleration factor is defined to specify the unsteady aerodynamics of the aerofoil. The results show that the acceleration of the subsonic aerofoil generally leads to a variation in aerodynamic characteristics and it is more significant at angles of attack.

• 한국패션뷰티학회지
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• 제2권3호
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• pp.96-101
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• 2004

This study suggests the basic resources for men's cosmetic which shows in history. Because not only ancient chief but also modern French noble men made up in the area where succeeded the traditional national cosmetic, when it was seen through historic or world, the men's cosmetic was generated and was more luxurious and presence than women. But since the French revolution, men was limited the collection of fashion, also the luxurious cloth and cosmetic disappeared. It was 1960s that men's cosmetic based rock musicians reappeared. And then, rock musicians made up luxuriously. The early cosmetic of rock musicians began from the protest's meaning for old fashioned value and fixed society. But gradually, it was changed the style that valued appearance's beauty. In the past, movie star's hair style and cloth were the basic fashion, but now the sportsmen are recognized heroes and their cosmetic is prevailing. Today, the basic meaning of men's presence fashion is that men and women's each role and self expression is allowed and appearance's decoration showed from sex roles disappeared. Men is limited body's beautiful expression and collective range but they fluently express each self imagination through work, special hobby, female attire and drag queen. From various men's beautiful expression, we will know that human beings want a society which is recognizing different self expressions.

• 한국의류산업학회지
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• 제22권6호
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• pp.727-738
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• 2020

This study focused on popular YouTube subculture content and male YouTuber characteristics. We conducted a case study on YouTube videos and viewer's comments of male YouTubers who interacted with subculture or fashion themes within YouTube. Based on Dick Hebdige's subculture theory, we categorized male subculture characteristics of style expression to show how YouTube plays a role in the formation of subculture. The representative types of male subculture were divided into metro sexual, adolescent boys, drag queen, and homosexual. YouTube simultaneously played a role in accumulating video viewing as well as indirect experiences in various communication activities and cultures among viewers. YouTube was used as a space for video producers as well as viewers and subscribers to discover and build identity. Subculture makes people aware of cultural diversity within society, and their doubles and lifestyles serve as important clues to track culture and fashion changes. This research is significant in the field of fashion media and subculture research due to its examination of male subculture phenomenon on YouTube based on an analysis of the video content of culture insiders and viewers' comments as well as immediate responses.

• 공연문화연구
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• 제32호
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• pp.489-524
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• 2016

본고는 일본 현대연극이 가타리모노 셋교부시를 수용하여 어떻게 현대화했는가에 주목하여 작품을 분석하였다. 아울러 이를 통하여 '셋교부시에 의한 미세모노(見せ物)오페라' 장르로 탄생하는 과정을 밝히고자 하였다. 이와 관련해서는 중세의 스토리텔링 셋교부시를 현대적 '미세모노 오페라'로 재탄생시켰다는 점에서, 데라야마가 언그라 1세대들과 확연히 다른 점에 대해 논했던 종래의 평가들과는 또 다른 시각을 제시하고자 한다. 60년대 일본 언그라운동 1세대 데라야마 슈지(寺山修司)의 <신토쿠마루(身毒丸)>(1978년)는 서사적 이야기에 가락을 붙여 음송하는 가타리모노(語り物) 셋교부시(說經節) <신토쿠마루(俊德丸)>를 소재로 한 작품으로서, 동아시아 스토리텔링의 현대적 유산이라고 할 수 있다. 셋교 <신토쿠마루>는 계모의 저주로 나병에 걸린 신토쿠마루가 텐노지(天王寺)에서 약혼자 오토히메(乙姬)라는 여성의 헌신적인 사랑과 관음(?音)의 영력(?力)에 의해 구원되는 이야기이다. 데라야마 슈지는 셋교부시의 서사적 형식에 J.A.시저(シ?ザ?본명 寺原孝明)의 주술적인 락(rock)음악을 결합시키고 부제를 '셋교부시에 의한 미세모노 오페라(說敎節による見世物オペラ)'라고 하였다. 근원소재인 모자신 신앙(母子神信仰)의 원리로 보이는 '모도리(もどり; 회귀)' 본능의 중세적 종교 세계를 데라야마 슈지는 모자상간의 세계로 변화시킨다. 그리고 셋교부시에서 나타나는 보편적인 복수장면은 신토쿠마루가 계모인 나데시코(撫子)의 복장과 가면을 쓴 드래그 퀸(drag queen: 여장)의 모습으로 이복동생 센사쿠(せんさく)를 근친상간하는 것으로 복수한다. 이 작품은 셋교부시의 전형적인 인과 구조를 따르고 있고, 작품 전반에 개입하여 전체적 서사를 진행시키는 이야기꾼(語り手, 카타리테)과 야나기타 구니오(柳田國男)박사의 등장은 서사 장치인 자기소개 기법과 코러스의 현대적 활용을 보여준다. 특히 코러스 가사에서 데라야마 슈지의 불행한 어린 시절의 기억, 즉 아버지의 부재, 아오모리현(?森?)의 대공습 경험이 자동기술법처럼 묘사되어 내용을 심층화하고 있다. 이후 니나가와 유키오(?川幸雄)의 연출 버전은 초연 때부터의 공동 극작가였던 기시다 리오(岸田理生)가 데라야마의 사후 17년을 경과해 다시 쓴 개정판으로 데라야마 슈지의 원작 <신토쿠마루>를 널리 알렸다. 그러나 그의 연출 버전에서는 데라야마가 이 작품에 붙인 부제의 요소가 전부 삭제됨으로써 극단 연극실험실 '덴조사지키(天井?敷)'가 시도한 다양한 실험연극의 줄기와 본질로부터 벗어나 있다. <신토쿠 마루>는 현대연극의 서사구조를 갖고 있지만 각 단락이 독립적인 이야기를 구성하면서도 서로 유기적인 결합이 가능하도록 한 구조를 갖고 있다.