• Journal of Korea Society of Digital Industry and Information Management
• /
• v.9 no.4
• /
• pp.201-212
• /
• 2013

The purpose of this study are to show a new possibility of identity design to be used as tools of users identity expression, designing digital contents by studying on the methods to express users identities successfully in the digital contents design, and to present the possibility to expand the area of identity design. Digital contents are a communication media in it self, but this study tried to consider the digital contents as a tool of users communication or expression. The identity expression, which are not only makes communications efficient but also lets products and companies acknowledged by users, is one of the most indispensable factors in products competitive power in both the present and the future. However, no define methods of identity expression are settled as well as recognized by users properly and accurately yet, so that this study focuses on that point. Therefore, This study is advanced in the direction of establishing the concept of digital identity for an expansion of the media toward the identity expression in design as well as making researchers in successful identity expression ways by means of actual design, more than a graphic image making that simply decorates a digital contents. The point of this study is to show a new concept of identity design that expresses users identities so as to suggest another possibility of identity design.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.20 no.3
• /
• pp.63-78
• /
• 2018

This study analyzed gender-fluid images as expressions of feminism and gender identity expressed in fashion collections. As for the research method, this study searched the fashion collections, with the theme of feminism, utilizing key words related to feminism on an online portal, and collected the photo materials of fashion collections provided by vogue.com. This study classified the photo materials of 31 fashion collections, with the theme of feminism, into femininity, masculinity, androgyny, and avant-garde, according to the fashion design elements that divide gender identity. As a result of the classification, 326 photos were collected, in which gender identity was expressed ambiguously. This study reclassified the collected photos according to their fashion items and styles. As a result of the study, it was noticed that the fashion collections with the theme of feminism expressed the messages, using lettering graphic images, and performance. In addition, they showed a form in which men's collections and women's collections were integrated according to the change of the perceptions of gender identity, of feminism, and delivered body positive expressions, respecting differences and diversity as individual subjects, by casting diverse models in terms of age, body size, race, and culture. As for the gender identity expressed in the fashion collections, the gender-fluid images were classified into empowerment images, that expresses social rights and dignity; agender images that expresses the possibility of a gender-flexible transition; rational images that expresses the rational and practical characteristics that removed the boundary of fashion; and images of pro-sexism that expresses a new gender identity.

• Journal of English Language & Literature
• /
• v.56 no.6
• /
• pp.1105-1117
• /
• 2010

This study traces out female identity and sexuality in George Du Maurier's novel, Trilby. The heroine's sexuality in this novel plays some interesting roles invoking both male gaze and male homosocial desire. There seems to have been lots of debates about female subjectivity and gender relations in the Victorian age. George Du Maurier tries to redefine female identity which had been divided into two aspects in the age: angel and demon. When he describes Trilby's identity, the fixed duality as fallen, demonic and autonomous women might have been considerably fluid. Rather than returning to the old boundaries of female subjectivity and identity through his heroine, he unwittingly describes the female role as an erotic organizer. As Du Maurier shows that Trilby's identity plays a conduit role for male homosocial desire, he created the tension between masculinity and femininity and revealed a changing relationship between female nature and male culture as well. Furthermore, when George Du Maurier in his novel opened a new possibility for an erotic organizer through his heroin, Trilby, he seems to have represented the more fluid female role in the patriarchal culture that asked only some fixed roles for women.

• International Journal of Advanced Culture Technology
• /
• v.10 no.1
• /
• pp.10-16
• /
• 2022

This paper focuses on the aesthetic ideology and aesthetic style embodied in the work of 'Blue is the Warmest Color' to dissect it and examine the identity and construction of identity as a minority group in a postmodern context. Blue is the Warmest Color is a film that focuses on homosexual emotions in adolescent development, showing the budding love and emotional orientation of a 15-year-old girl's adolescence, and the ecstsy and torment that comes with an awakened consciousness. The evolutionary process of the characters' emotional orientations is dissected, pointing out that the central theme of the film is the concern for fluid identity and self-identity. Through the narrative and the setting of the characters' emotional patterns and the "Body Writing" of women, this paper further examine the typical variability and fragmentation of postmodern identity, and interpret in detail the content, messages and effects of the characters' dialogues in the film to illustrate the way in which the work expresses class and identity differences. The research method is based on textual analysis and theoretical research.

• The International Journal of Costume Culture
• /
• v.8 no.2
• /
• pp.61-70
• /
• 2005

A representative British designer, Vivienne Westwood's work. world from radical punk style to aristocratic historical dress is explored in context in terms of Englishness. National identity opens up into the process of mobilization of collective sentiment in the national context, unlike nationalism, and Englishness signifies the idea or emotion of England in contrast with Britishness, the political constructor influenced by geographical aspects. There is no doubt that Vivienne Westwood is central to ideas about creativity and originality in English design on subculture. However, in evaluating a designer and her work we should consider the entire context surrounding her from a broader view, rather than arguing only her own ingenuity. In this article, through reconsidering her originality in the historical reference as well as the resistant punk style in aspect of fluid national identity, I show a case of a constituted Englishness, forged by Vivienne Westwood as a cultural creator of national identity. Vivienne Westwood's case hints the complexities of national culture, which constantly shifts, translating her understandings of history and culture into fashion in her contemporary insight and glamorous ways.

• The Research Journal of the Costume Culture
• /
• v.10 no.1
• /
• pp.60-75
• /
• 2002

The purpose of this research is to understand the gender identity expressed in Madonna music video texts and performances. Madonna has reconstructed the fluid identities through the variations of body, images, costumes, and attitudes . The results are as fellows; ① Her punky sexuality is to be seen the flash trash look, kitsch fashion, which reconstructs a good/bad taste, modesty/immodesty, the relations of under/outer wear using bawdy sexuality through her early Virgin tour. ② Her Heterosexuality is to be seen the glamourous look, traditional images of women, which represents the passive feminity of patriarch. ③ Her sadomasochism sexuality is to be seen the bondage look of dominatrix image, which deconstructs sexual taboos; represents sexual power. ④ Her bisexuality is to be seen androgynous look, the 3rd species look using masculinity/feminity signifier, which deconstructs the stereotypes of gender roles. ⑤ Her homosexuality is to be seen the fetish fashion by drag and lesbian, which deconstructs the dichotomy of normality/perversion; opens a possibility of women subjectivity of sexual desires.

• Journal of English Language & Literature
• /
• v.57 no.1
• /
• pp.147-170
• /
• 2011

This paper elucidates the characteristics of transnational adoption, estimates the possibility of beyond-borders identity of transnational adoptees, and tries to analyze Jane Jeong Trenka's The Language of Blood in its context. Though it has been regarded as one of the most humanitarian ways of helping orphans and poor children of the world, transnational adoption, a one-way flow of children from poor Asian countries to rich white countries, has been operated under the market logic between countries. Transnational adoptees, who had been abandoned and forced to be taken away from their birth mother, and later, to fulfill the desire of white parents for a perfect family, perform an ideological labor, serving to make the heterogeneous nuclear family complete. Korean transnational adoptees, forced to transcend the borders of nation, culture, and ethnicity, experience racial conflict and alienation in white adoptive family and society. Their diaspora experience of violent dislocation creates frustration and confusion in establishing their identity as a whole being. When they return to Korea to find their birth mother and their true identity, Korean adoptees, however, are faced with other obstructing issues, such as language problem, culture conflict, and maternal nationalism. Finally, Korean transnational adoptees reject Korean nationalism discourse based on blood, and try to redefine themselves as beyond-borders subjectivities with new and fluid identities. Jane Jeong Trenka's The Language of Blood, an autobiographical novel based on her experiences as a transnational adoptee, represents a Korean adopted girl's personal, cultural, and racial conflict within her white adoptive family, and questions the image of benevolent white mother and the myth of multiculturalism. The novel further represents Jane's return to Korea to find out her true identity, and shows Jane's disappointment and alienation in her birth country due to her ignorance of language and culture. Returning to USA again, and trying to be reconciled with her American mother, Jane shows the promise of accepting her new identity capable of transcending the borders, and thus, the possibility of enlarging the category of belonging.

• Journal of English Language & Literature
• /
• v.56 no.6
• /
• pp.1281-1294
• /
• 2010

In Written on the Body, by creating the narrator's ungendered and unsexed identity, Winterson makes her text open to the reader's assumption of the narrator's sexual and gender identity. Thus, this novel has been read, on the one hand, as a lesbian text by those who assume that the narrator is a female and, on the other hand, as a suspicious text colluding with patriarchal and heterosexual values by those who define the narrator as a male. Those readings of the narrator as one of either sex/gender, however, demonstrate how (academic as well as general) readers have been accustomed to the gender-based reading habits in which textual meanings are dichotomously arranged along the lines of sex and gender of characters. Challenging those dualistic "gendered" readings, this paper reads Winterson's Written on the Body as a queer text which interrogates, troubles, and subverts the heterosexual concepts of narrative, desire, and body without reducing the narrator's identity to the essentialist sex and gender system. More specifically, this paper examines how the narrator's 'un-/over-' determined sexual and gender identity queers the narrative structure of author-character-reader; how the narrator's queer (fluid) desire is passing and traveling across categorical contours of (homo-/hetero-) sexual desires; how Winterson challenges the concept of a coherent body and queers the concept of body as a hermeneutic text with myriad textual grids which are not coherently mapped by power but randomly inscribed by nomadic desires.

• Journal of the Chungcheong Mathematical Society
• /
• v.23 no.2
• /
• pp.271-277
• /
• 2010

We prove the global (in time) vorticity existence for the 2-D Euler equations of a perfect incompressible fluid in $B^0_{{\infty},1}({\mathbb{R}}^2){\cap}L^p({\mathbb{R}}^2)$ with 1 < p < 2. Moreover, we prove that the particle trajectory map X(x, t) satisfies the following estimate: for some positive constant C $${\parallel}X^{\pm1}(\cdot,\;t)-id(\cdot){\parallel}_{B^1_{\infty,1}}{\leq}Ce^{e^{Ct}}$$, where id represents the identity map on ${\mathbb{R}}^2$.

• Journal of The Korean Association For Science Education
• /
• v.41 no.3
• /
• pp.267-281
• /
• 2021

The shift in the perspective on learning as participation draws attention to learners' identity work. This manuscript foregrounds the ongoing and fluid processes of identity, and focuses on the structure surrounding learners where identity work occurs and the expression of individual agency. From the perspective of learning as participation, we introduce Holland et al. (1998) identity-in-practice theory, as the theoretical lens that dialectically describes structure, agency and identity. The concepts representing this theory are 'figured world', 'positionality' and 'authoring self'. The figured world is a web of meaning encompassing the continuous construct/reconstruct through human actions and also exerts as the social force that shapes human actions. 'Positionality' on the other hand, means an understanding of one's social position in the world. The notion of 'authoring self', is a dimension that synthesizes the above two concepts, which describes the improvisation of one's self through the orchestration and collaboration of various social voices. Next, we analyzed and described various cases of this theory that we found within the scope of science education. However, due to the nature of this theory, which takes a sociocultural approach, international research studies cannot be simply applied to the Korean context. Therefore, we sought to expand the applicability of this theory as a methodological tool, by discussing the directions in which this theory can be used in a domestic context. It is intended that the introduction of this theory, which emphasizes multi-layered, continuous and cumulative identity work, will be used as a resource to further expand the horizon of science education reform that is required for the times.