• Korean journal of communication and information
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• v.62
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• pp.5-29
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• 2013

This study criticizes the neoliberal dominance in social web popular culture from a feminist perspective. A key question is to identify the nature of the social web popular culture-is it the repercussion or recapturing of feminism in relation to the social context of the prevalence of popular cultural practices of neoliberalism and how to challenge against neoliberal ideology with the critical positioning of feminism? In dealing with these questions, four celebrities' twitter discourses are analysed. The emphasis of smartness in digital mediascape, neoliberal imperative to be competitive, autonomous, positive and affirmative, and desire and fantasy brought by postfeminist lifestyle industries are embedded in the present popular culture. The critical account of neoliberal postfeminism suggests the necessity of an critical feminism which brings about alternative values to the current neoliberal demand for the active subject and consumer freedom of choice as the standard of ideal women.

• Journal of Engineering Education Research
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• v.14 no.2
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• pp.40-50
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• 2011

This study is to investigate an effective instruction for female students in an engineering classroom through gender -sensitive teaching strategies by analysing recorded classroom instruction, reflective journals of professor, and mentoring instructions of A professor teaching "non-steel materials and design" in an engineering classroom. This study which used a qualitative approach for data collection and analysis showed changes of A professor in his way of teaching. The changes are: making rough lesson plan ${\rightarrow}$ making detailed lesson plan being satisfied with his teaching skills ${\rightarrow}$ trying to improve his teaching skills, using negative feedback ${\rightarrow}$ using positive feedback, pointing weaknesses as pre-engineers ${\rightarrow}$ providing detailed information needed to be engineers. This paper deals with the theory comparison between a conventional engineering education and new engineering education, in which conventional models may fail to give satisfactory results. Finally, we provide real application examples to evaluate the feasibility and generality of the proposed method in this paper.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.129-147
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• 2008

Since the beginning of her dramatic career, Suzan-Lori Parks has considered digging up and restoring African-American history buried under the dominant white Anglo-Saxon history as her mission as a playwright. In Red Letter Plays, she attempts what Deborah Geis called "canon-critique" by taking canonical work by Nathaniel Hawthorne and casting an African-American character as the main character and describing her oppression as an African-American female. This paper argues that Suzan-Lori Parks accuses the oppressive social system by restoring and representing the history of sexual, economic, and racial exploitation that African-American females had to suffer through the dominant image of body and blood. Parks had to rewrite the history of black female characters on their bodies and in the blood because their bodies have been the ultimate object of revulsion and attraction in the perspective of white male. While abhorring and despising Hester La Negrita's abject body, male characters in In the Blood nonetheless not only exploit her sexually and economically but also impregnate her. Hester resorts to her only means of revolting against this oppressive system; she kills her most beloved son and writes "A" on the floor with his blood. Likewise, Hester Smith in Fucking A, who wears "A" on her bosom like Hester Prynne, which in this case means "abortionist," "saves" her son from the hunters by slitting his throat. Abundant graphic and sensational images written on black female body and in the blood are Parks's dramatic strategy to rewrite the forgotten and hidden history of black women's history.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.112-120
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• 2022

In order to examine the cultural vicious cycle of gender representation in online educational content, this paper reviewed the top five popular webtoons of inamootoon (EBStoon), Korea's first children's webtoon platform. The patterns of appearance representation that distinguish character's gender, the desire and psychology of characters according to gender, and their functions in the work were critically analyzed from a feminist perspective. In most of the works, the appearance of characters often follows gender stereotypes. It appears that women have long hair and wear dresses while men have short hair. On the other hand, the gender characteristics in terms of psychology and function show the aspect of breaking gender's cliche. The gender proportion of the protagonists is almost the same. Regardless of gender, they function as solvers or rescuers, bravely and wisely overcoming the problem situation. By the way, it is interesting that in representing the main character's gender, the weaker the gender stereotypes, the more popular the work among the readers. This fact suggests that the critical acceptance and choice of young readers can break the cultural vicious cycle of gender representation.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.103-133
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• 2010

The purpose of this paper is to make a critique of racial aspects of Caribbean literature more ethical through a constant concern with history and political philosophy. The first step I take for this purpose is a comparative reading of C. L. R. James's view of Toussaint L'Ouverture's position and Frantz Fanon's view of race and class in the historical context of the Caribbean power-relations. In so doing, I examine how Toussaint's and Fanon's wills to negotiation were thwarted in the New World history. To elaborate upon this ethico-political approach, I have recourse to the so-called later Derrida, focusing on his books, such as The Politics of Friendship, Of Hospitality, On Cosmopolitanism and Forgiveness, etc. Taking an up-close look at Derrida's thought, I argue that his political contemplation of ethics is as effective as his deconstruction of "otherness" in dealing with the nature of ethnic clashes in both the real world and minority literature. In the second half of my paper, I reexamine the issues of race, gender, and class in the three novels of Jamaica Kincaid - Annie John, Lucy, and The Autobiography of My Mother. It is conceivable that from the feminist perspective Kincaid's fiction has been read as a postcolonial Bildungsroman. In my supplementary attempts to this criticism, I reveal that the teenage narrator's precocious awareness is still under the colonial influence in the Annie John section. My analysis of Lucy contends that the reasons why the white woman fails to make friends with the young black woman should be sought in the long history of the U.S. racial politics. In the section of The Autobiography of My Mother, I discuss how difficult it is for a minority woman to liberate from the spell of history insofar as she is engaged in the issue of identity. In closing, I pose a need of consolation that literature may grant us by becoming able to produce a different interpretation on all the bleaker reality.

• Cartoon and Animation Studies
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• s.45
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• pp.345-366
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• 2016

In Charlotte's Web, each character motivates the other and strives for the new generation based upon motherhood. The intersection between life and death is directly and symbolically addressed as a component of the natural life cycle. Borrowing Kristeva's theory of the semiotic, the symbolic and the chora, this study investigates the dialectical oscillation between the semiotic and the symbolic and the social circumstances of subjects in signification as well as highlights the features of character growth. From a feminist perspective, herein, motherhood is translated not only as a robust foundation for relations among characters but also as an impetus for developing into a good and influential individual who embraces all organisms with care and consideration. Charlotte's Web clearly shows how the semiotic and symbolic elements of each being, united by motherhood, interact and lead to positive change. Though the world appears to consist of incompatible ingredients, they are combined. Charlotte's Web awakens the fact that their harmony makes a commitment to building a more wonderful place. It can be suggested that Charlotte's Web, where animal characters contain two tendencies of the human mind, exhibits human development proceedings.

• Journal of Engineering Education Research
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• v.13 no.3
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• pp.34-52
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• 2010

This study analyzed class condition using gender-sensitive teaching strategies in technical college and investigated the effects of instruction using gender-sensitive teaching strategies on the students' satisfaction and self-direction. The results of the analysis of classroom condition using gender-sensitive teaching strategies are as follows. In the almost questions, average of experimental group is higher than that of control group. The results of the effects of instruction using gender-sensitive teaching strategies are as follows. Instruction using gender-sensitive teaching strategies didn't affected students' satisfaction in the experimental group, but affected students' satisfaction in B1 experimental group. Meanwhile, instruction using gender-sensitive teaching strategies affected the learning strategic component, subcomponent of self-direction, all students and the self-direction total score of male students in the experimental group. Especially, the instruction affected the self-direction of all students and male students in the B1 experimental group.

• Korean Journal of Social Welfare
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• v.35
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• pp.453-474
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• 1998

This paper attempts to analyse the patriarchal characteristics of welfare states. Increasingly, debates on welfare states are explicitly focusing on the relationships between state, market and family. How these relationships are structured forms the core parts of the particular welfare states, that is they give shape to different welfare state regimes. Although welfare states have developed incresingly, there are some problems that sustain these states asymmetrical, unequal, even sexist. In this paper, I want to make these problems visible by the terms of gender division of labour, the model of male work and the changing characteristics of patriarchy. Firstly, from the feminist perspective, we can point the fact that the welfare states are structured by gender. Welfare states take it for granted that our socities are based on the assumption of gender division of labour, what is called male breadwinner/ female dependent. And the state takes this gendered family as the stereotype in our societies. Secondly, it is not sufficient condition for men and women to perform satisfactory life of work and family that welfare states provide childcare center on an extensive scale. This is because that our societies are runned by "the model of male work". Thirdly, we can find that the characteristics of patriarchy of welfare state are changing. These changes can be explained from the 'private patriarchy' to the 'public patriarchy', in other words, from the women's dependence to individual man to the dependence to the state/ public sectors. And also under these changes, we can find the potent possibilities for women to take economic activities and independent self-supports.

• Cross-Cultural Studies
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• v.41
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• pp.321-349
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• 2015

This paper is to make a comparative study between George Sand and Na Hye-sok through their lives and works. The research found that George Sand and Na Hye-sok had similar views about the institution and social system of their age. Both women were aware of importance and necessity of education and the arts but showed a clear distinction between their beliefs in education and the arts. George Sand found that education was an indispensable part of women's lives but found that educationforwomentotheageofSandwasuseless. For this reason she continued to assert a substantial reform concerning women's education. In addition, she argued that everyone should have been given the same opportunities regardless of gender or class. Na Hye-sok, meanwhile, looked at women's education in a more realistic perspective, that is to say to make money. The two women showed remarkable differences in the view of art. This is evident from the presence of a responsibility and a sense of purpose as an artist. George Sand was imbued with a sense of purpose and clarified her own belief at the beginning of her activities as a writer. She wanted to inform the suffering of the weak through her writing and to contribute to build a Utopia where everyone could be happy to live beyond the boundaries of gender. However, Na Hye-sok did not reveal her own clear sense of purpose to her art activities. Art is not just a job - it's a vocation. Na Hye-sok was enthusiastic but didn't have a sense of purpose. She should have had a vocation and a sense of purpose. Na Hye-sok was lacking of responsibilities and obligations as a pioneer of Western painting. If there were a distinct vocation and a sense of purpose to Na Hye-sok as an artist, she would have left a trail as valuable as that of George Sand.

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