• Title/Summary/Keyword: Gender Discourse

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A Study on the Postfeminism about the Medieval Warrior Image in Contemporary Women's Fashion (현대 여성 패션에 나타난 중세 전사 이미지의 포스트페미니즘 경향에 관한 연구)

  • Oh, Eun-Kyung
    • Journal of the Korean Society of Costume
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    • v.61 no.8
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    • pp.100-113
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    • 2011
  • The earlier notion of feminism regarding gender equality was changed into that of Postfeminism because of gender differences. The idea of Postfeminism has been present since the 1980s but has been influenced by modern culture theories such as Postmodernism, Poststructuralism, Theory of Power and Discourse and Psychoanalysis. Various features of Postfeminism are found in the medieval warrior images of contemporary fashion. Warrior costumes were men's exclusive property in the medieval ages, but as it is introduced as women's wear in the 21st century, it shows us new fashion images which are constructed by gender deconstruction, differences and pastiche. In this regard, the purpose of this study is to examine a key characteristic of Postfeminism fashion. An article described the historical costumes of medieval warriors and refocused on the development processes of feminism and then conducted an analysis on formative characteristics and Postfeminism tendencies in contemporary women's wear from 2000 to 2011. The results were that materials such as metallic and flexible materials, monotonic and red colors and detailed patterns of armor were used to display forms of exaggeration and restraint. These elements fully and correctly expressed the image of a medieval warrior woman in contemporary fashion. Postfeminism fashion is constructed with feminine power, gendered identity, sensual elegance and a postmodern body. Postfeminism is the contemporary cultural icon and is continuously influencing modern fashion design in the 21st century in a positive and powerful way.

Analysis on Policy Discourse of Female Traditional Musician in Joseon Era (문화정책 관점에서의 조선시대 여악에 대한 담론 연구)

  • Kwon, Youngji;Hong, Kiwon
    • 지역과문화
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    • v.6 no.3
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    • pp.29-53
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    • 2019
  • Korean traditional women artists are placed in dual suffering from unequal rights in terms of gender and misrecognition endowed by historical legacy. There has been no clear cut definition but interchangeable adoption of various terms such as Yeo-ak, Yeo-gi, and Gisaeng even in the study of music theory and history itself. Study on female musician has been mostly performed on the basis of music theory and history so that one sided discourse on female traditional artist has survived and aggravated its connotation during the colonial ages and modernization. Envisioning traditional female artist as instrumentalizing their body and status as artist resulted in crucifying victims of sexual harassment is one recent example. This study is an attempt to collect knowledge on the various layers of discourse about the status and role of female traditional artist. This is a first stage of analysis covering the period Joseon dynasty where original and official records regarding female traditional artists remains until today. The findings are that policy discourse are to be classified as politico-ideological layer, music theoretical layer, and socio-political layer. It is to be clarified in the future which layer has the most sustaining influence to the present and why.

Ambivalent Reading on the Story of the Colonialism in The Piano

  • Park, Seung Hyun;Nam, Jae Il
    • International Journal of Contents
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    • v.9 no.4
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    • pp.86-91
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    • 2013
  • The Piano, directed by Jane Campion in 1993, became a sensational movie with a special theme focusing on gender and sexual identity, when it won Palme d'Or in the Cannes Film Festival at the same year. Most of the critics discuss the representation of Victorian sexual repression in the colonial setting. But the critical acclaim tends to view the existence of the Maori people and the colonial setting as the backdrop of the narrative, although this colonial background is constructed as a medium to accelerate the release of the repressed passion. Regarding the race issue as a compelling discourse that gets left out of "feminist" accounts, this paper analyzes The Piano, focusing on both how the story of colonialism is constituted in the film and how the film represents ambivalent images of the Maori people, the native of New Zealand.

Masculinization of Femininity: A Gender-Based Reading of Đoạn tuyệt [Breaking Off] by Nhất Linh

  • TOAN, TRAN VAN
    • SUVANNABHUMI
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    • v.5 no.2
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    • pp.81-99
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    • 2013
  • Đoạn tuyệt is the representative of not only Nhất Linh's literary life but also of the Tự Lực Văn Đoàn [Self-Strength Literary Group]. Đoạn tuyệt's contributions are emphasized in the following aspects: 1) critique of the feudal family model, 2) an advocate of female and individual liberation, 3) nationalistic content, though rather vague. Based on analysis of gender power relations in the masculinization of femininity exemplified in the character Loan of the novel, this paper addresses the following points: - In Đoạn tuyệt, the woman is eager to free herself from feudalist ties not to construct her own identity but to identify her with men's identities. - The construction of new feminine identities was conditioned in new rising discourses of Western modernity-based nationalisms in pre-revolutionary Vietnam. - The feminization of masculinity echoes the crisis of Vietnamese masculine in facing colonial power.

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A Study of Dorothy Wordsworth's Later Conversation Poetry (도로시 워즈워드의 후기 대화시 연구)

  • Cho, Heejeong
    • Journal of English Language & Literature
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    • v.57 no.2
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    • pp.191-215
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    • 2011
  • This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

Haunting the London Streets: Virginia Woolf's Urban Travelogues Re-appraised

  • Choi, Young Sun
    • Journal of English Language & Literature
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    • v.55 no.3
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    • pp.415-427
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    • 2009
  • Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

David Henry Hwang's M. Butterfly: Postmodern Other, (Post-)Imperialist Melancholy and Western Masculinity in Crisis (포스트모던 제국의 우울증-데이빗 헨리 황의 『엠. 버터플라이』)

  • Park, Mi Sun
    • Journal of English Language & Literature
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    • v.54 no.4
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    • pp.579-597
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    • 2008
  • This article discusses David Henry Hwang's M. Butterfly as a suggestive text for examining Western masculinity in crisis in the post-imperialist age, in which territorial imperialism is no longer valid. Previous scholarship on M. Butterfly has centered around the interlocking dynamics of imperialism, racism and sexism. Such critical attentions focus on how Hwang deconstructs racialized significations of the East and the West. In these discussions, the issue of gender is often addressed merely as a trope to represent the power relations between the East and the West. As such, gender as well as sexuality is highlighted as the very source of subversion of the power relations. My discussion departs from a critique of the gendered trope of the East and the West, highlighting a postmodern agent, the allegedly feminized character Song Lining: a Chinese actor who passes for a woman for political purposes in postcolonial China. Remaining an "inappropriate/d other" in the gendered imperialist discourse, Song becomes an emergent subject, who is capable of playing gender ambiguity for reclaiming a devalued identity, that of homosexual Asian man. Discussing how the central character Rene Gallimard's masculine identity is constructed in a cross-cultural space and how it evolves, I also argue that Gallimard's melancholic death signifies a historical unsustainability of imperialist masculinity in the postmodern/postcolonial age since World War II.

The Ethical Regime and Technological Citizenship in Software Oriented Society (SW(소프트웨어)중심사회의 윤리적 체제와 기술 시티즌십)

  • Kim, Seungeun;Kim, Hyomin
    • Journal of Science and Technology Studies
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    • v.15 no.2
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    • pp.263-301
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    • 2015
  • Digital inclusion is the ability or opportunities of individuals and groups to access and use information technology (IT). Digital inclusion strategies aims to ensure that all citizens regardless of their gender, race and class benefit from IT. Discourse of digital inclusion is notable in that it proposes a desirable relationship between the state, individuals, and the market within the shifting topology of technoscience. Throughout broad discourse analysis of media coverages, in-depth interviews and reports on Korean IT industry, this research argues that dialogues on digital inclusion have substantially influenced the formation of a specific ethical regime. In this regime, individuals should become subjects embodying IT expertise and acceptable codes of conducts. We further discuss that such government-driven ethical regime conflicts with technological citizenship practiced by IT experts and semi-experts. We make theoretical contribution to STS by expanding the concept of technological citizenship to include the rights and obligations of heterogeneous expert and semi-expert groups to form, propose and socially demand alternative developmental pathways of technoscience. We also note that, amid the conflict between ethical regime and technological citizenship, alternative interpretations of gender gap can be forged, providing competing perspectives on women's under-representation and labor conditions in the IT industry. Further research is required to capture the emergence of multiple identities--differentiated by gender, race, class, and more--within the clashing interface between the ethical regime and technological citizenship.

Discourse On the Male Body Represented In Fashion Advertisement (패션 광고에 표상된 남성 몸에 관한 담론)

  • Park, Seon-Ji;Yim, Eun-Hyuk
    • Journal of the Korean Society of Costume
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    • v.63 no.6
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    • pp.29-39
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    • 2013
  • In this study, the image of the male body represented in fashion advertisement is analyzed based on discourses on the male body. Fashion brand advertisements, which emphasized the images of the male body, were selected from two magazines: GQ, a men's magazine, and VOGUE, a representative women's magazine. The published dates of the selected images were from Feb. 2010 to Oct. 2012, and these images were used for the analysis. The study results of the discourse on the male body appearing in fashion advertisement based on the discussion of changing masculinity suggests the following 4 features: i) macho, powerful and muscular male representing the hegemonic manhood; ii) refined and decorated male representing the wealthy and disengaged figure of a successful businessman; iii) androgynous male represented by the deconstruction of masculinity and femininity embedded in gender; iv) as an aesthetic object, the male with sex role of changed from a subject to an ornament, whose body becomes the object of voyeuristic view. This study tried to grasp the ideal and modern masculinity, and in particular, attempted to offer suggestions in different approaches to the male body image depending on the consumer type in order to enhance the brand image. This new masculinity is thought to be a foundation on which the advertisement and products suitable for the demands of future customers can be produced.

A Study of Apology Strategies between Genders in EFL College Students

  • Shim, Jae-Hwang
    • English Language & Literature Teaching
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    • v.15 no.2
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    • pp.225-243
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    • 2009
  • This study investigates the use of different speech act of apology strategies between male and female EFL college students by comparing the components of intensity, stylistic competence, and semantic formulas. The data was collected from 37 participants who were studying freshmen English reading course at the Department of English Education of C University in Seoul. Most students were English majors taking pre-teacher course of teaching English for secondary school students. The participants were divided into two gender groups of male and female. The discourse completion test (DCT) which was revised from the speech act of apology by Olshtain and Cohen (1990) was provided with the participants after the researcher explained the speech act of apology in ten situations. The speech act of apology depends on situation variables: social solidarity, severity of offense, and social status. The results show that in the preference of intensity, male and female have almost the similar ratio in high (female: 24.7%, male 24%) and low intensity (female: 75.3%, male: 76%). In the use of stylistic competence, male group (21%) expresses more diversely formal features than female group (12%), while female (87%) use more informal features than male (66%). Most of participants show a limitation in the use of speaking four types of semantic formulas: expression of apology (APOL), acknowledgment of responsibility (RESP), offer of repair (REPR), and promise of forbearance (FORB). As nonnative speakers, the participants cannot conduct the semantic formula in some situations regardless of the tasks provided. The results suggest that English teachers should recognize pragmatic variations in which students feel difficulty in appropriate speaking strategies on apology. This study also contributes to teaching learners the strategies and speaking patterns in the course of various apology situations.

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