• The Journal of the Korea Contents Association
• /
• v.21 no.11
• /
• pp.268-280
• /
• 2021

This study analysed the narrative strategies in TV drama utilized in order to support the recent feminism movements. The analysis revealed that this TV drama breaks away from the clichéd patriarchal drama series. It portrays the main characters are not the sons but the two daughters-in-law, and represents the women challenging the order of the patriarchy, and resolving the issues. In this drama, men's power was removed and female agents were held up to ridicule. In addition, it eradicates the traditional female conflict structures and creates a strong bond between the females. With this storyline, TV series concludes with two achievements. One, the stepmother and the mother co-parent the child instead of the father, suggests that a non-blood related matriarchal family is possible. Two, the heir to the chaebol family, which is traditionally a patrilineal structure, is not the oldest son or the immoral son, but the lesbian daughter-in-law, overturning the idea of heteronormativity that is dominant in the patriarchal system.

• Proceedings of the KSPS conference
• /
• 1996.10a
• /
• pp.43-52
• /
• 1996

This paper deals with the nature and function of intensification in Korean in a wider scope of intensification which was not paid proper attention including intensification in the initial position as well as middle position. Unobserved new areas of intensification in the initial position are paid more attention like sound split of polysemy e.g. (s'eda), (kyongk'i) by means of intensification and north Korean application of intensification on (wonsu) and intensification of borrowed English. The recent phenomenon of ‘gwua’ intensification is experimented on two groups of people, young students and old people beyond 65 years old by means of sociolinguistic analysis. The result shows that its intensification is a form of student violent power and a mark of extreme solidarity among activist students. Thirty three university students(male 16, female 17) are asked to explained to write the meanings(feelings or when to use, etc.) of the words which have normal form and intensified forms. The results show intensification attaches the meaning of ‘emphasis,’ to bring the extremely polarized emotion: samll to the smallest, exact to the perfect exactness, bad to the worst feeling. Four words are being split to express different meaning with the word intensified. In conclusion, the nature of so called saisiot(t) e.g. intensification is voiceless tensed pause and its functions are the polarization of the original meaning of the word, sound split of polysemy and attachment of social values by intensification.

• Journal of the Korean housing association
• /
• v.20 no.2
• /
• pp.11-18
• /
• 2009

After 2004, as the community mixed-support facility in Japan was admitted as a private business of public facilities based on the Special Law for Urban Regeneration, the community mixed-support facilities in Japan are developed into various types with the view of the urban regeneration and urban renewal, more different point of view, and a tendency of establishment of the community facility has been considerably changed for the past twenty years. The reasons of the change are the social demand for the reformation of facility and the modification of subsidy constitution according to the establishment of equal facility. Some examples of that are the construction of lifelong education community and the change into a equivalent society between male and female and the adjusting to the aging and the welfare society and the social situation of more consumption recently, and in order to emerge from former building system, new facilities related to the contents are being expanded. The complex of the community mixed-support facility has an advantage in that it supplies the services for the complex of the community mixed-support facility, constitutes the communal character and the sense of solidarity among residents and can lead the development of region through the exchange of regional information. Through the Japanese community mixed-support facility which has many cases of it, this study would recognize the suggestion, the feature of it and examine the complex types.

• Journal of Korean Philosophical Society
• /
• no.122
• /
• pp.85-134
• /
• 2018

In this article, I will provide a philosophical discourse on digital sexual violence that is a technological version of male violence. First, critical analysis of the mechanism of the spatiality and the temporality of the hidden and illicit camera is developed to focus on the immeasurable damage of this violence. I elaborate a notional division between digital sexual violence and cyber sexual violence. Secondly, the ease of taking images of women's bodies and the rapid transmission of these images through the advancement of digital communication technology and hyperconnectivity, lead to use these images as a new digital monet for men. They consolidate their male solidarity by reaffirming female inferiority and humiliating women. Thirdly, the invention of the structure of the new affect to resist to digital sexual violence is crucial. For that, it would be necessary to pass from the sexual shame to the sexual displeasure and to the socio-political indignation. These would create another opportunity to resist to digital sexual violence.

• Journal of Popular Narrative
• /
• v.27 no.3
• /
• pp.53-94
• /
• 2021

This article pays attention to the gender representation of an abominable male abject that reveal class polarization in the movie Parasite. I seeks to read a new aspect of emotional politics in which a precariat man becomes a male patriarch while representing himself with an abhorrent position. Parasite shows a reversal of daughter and son responsible for parents, contrary to the existing family narrative. They teaches the parents' generation how to survive neoliberal that their place is created only when they take away others' place. However, after losing this prospect, Ki-woo confesses to his father that he is sorry first. Ki-taek also attempted to identify Dong-ik with the patriarch, but this male solidarity collapsed by class and committed murder in sudden anger. As a result, Gi-taek goes down to the hateful status of a stinking underground life, and Ki-woo receives a message of ethical reflection from his isolated father. The film gives the father and son the noble status of ethical fighter who fought against the structure of class polarization, especially the ending epilogue and narration emphasizing the ethical responsibility and mutual solidarity between father and son. In this process, the voices of female characters are gradually omitted, blurring gender screening for male characters. Parasite reveals the political reenactment strategy of precariat men in the age of neoliberalism, which is ethical subject by claiming to be a class abject himself. And representing the hate with gender-selecting, it is beautifying the responsible ethics of the patriarch.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.3
• /
• pp.399-404
• /
• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• Journal of Families and Better Life
• /
• v.24 no.5 s.83
• /
• pp.69-87
• /
• 2006

This article attempts to explore how the women retirees under study were able to continue work until retirement. This study used life histories, especially focusing on daily working lives, and uncovered a number of key issues through in-depth interviews. The main results are as follows: Firstly, the women retirees examined here had been raised as highly educated people, and their strong educational background was a base component for them to have relatively secure careers. Their parents had also supported practically the women retirees during their working lives. In addition, the women retirees had to can out the roles of 'provider' for their original families, procreation families or in-law families, even though they were not given the recognized roles of provider. Secondly, the women retirees had a private infra system to support them with housework and child care. In addition, because they were financially able to employ housemaids, the women retirees did not experience conflicts with their husbands, who took on a neo-traditional sex role. Finally, thanks to relatively good working conditions such as having vacations and being able to come to and leave the office on time, the women retirees were able to continue work until retirement no mean feat in a society which openly practiced gender discrimination.

• The Journal of the Korea Contents Association
• /
• v.12 no.4
• /
• pp.108-118
• /
• 2012

In Korean society entered into an aging society, seeing aging women's lives, the lives of older women through women's eyes means, in a sense, calling the older female audience as the subject. On International Women's Film Festival in Seoul (2006), and now in South Korea opened with the title (2002) through the respective movies understanding 'aging' and the way represented older women will be discussed. shows grandma Marta's a pleasant commotion drew with the villagers, family and friends until openig Lingerie Shop brought in her own sewing skills. challenges social prejudices regarding dementia and the brutality, and reflect the meaning of the 'the provision of care for the elderly' in a circle around bond of the mother-in-law and daughter-in-law There is difference of the producig region of made in Switzerland and made in Japan. Nevertheless, women's solidarity and alone 'late blooming flowers, cut back, even if the theme of encapsulate life through a person as a new subject to buy back more than once on the community have to be made is significant hope.

• Journal of English Language & Literature
• /
• v.55 no.5
• /
• pp.793-820
• /
• 2009

The studies of correspondence between novel and nation-state, among which The Rise of the Novel by Ian Watt is supposed to be the first book, have flourished for more than twenty years, encouraged by Benedict Anderson's and Cathy Davidson's works. According to them, the novel should come simultaneously with, or after the foundation of the nation-state, and testify to its production or the emergence of its subject/citizen. This paper questions about these prepositions, trying to introduce a new paradigmatical approach, "between global and transnational historical approach," to first novels in transatlantic areas including England and atlantic coastal areas. In its complex relation to a variety of colonial, post-colonial, and transnational geopolitics, various cultural practices such as history, traveler's tales and epistolary novels can be included in the genre of the novel. The idea of the sexual contract by Carole Pateman is very useful because it helps more clearly understand the nature of relation between men and women in the capitalist reproduction, while the social contract tells about the relation between men as citizens. Unlike Freud in Totem and Taboo, Zilboorg argues that there were primordial and violent scenes such as rape before the first sexual contract. This paper will illuminate that "the rise of the novel" corresponded with the emergence of the sexual contract. In the so-called first novel Pamela, the heroine Pamela was threatened to be violated by Mr. B., and was really even confined in his cottage. Mary Rowlandson's The Captive Narrative shows that her body was confined as an English female captive, and troubled with imaginary rape by Indians which resulted in the unequal sexual contract between her and her puritan community in America. However, Leonora Sansay's Secret History in an alternative communality, which was not a nation-state, was different from both novels mentioned above, in that it shows the possibility of emancipation from their unequal marriage, the sexual contract. Therefore, it can be argued that "between global and transnational historical approach" has a possibility to provide a new vision of global sisterhood and solidarity to recognize globalized women's violence, and free themselves from the unequal sexual contract.

• Journal of English Language & Literature
• /
• v.55 no.4
• /
• pp.567-596
• /
• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.