• 영미문화
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• 제14권2호
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• pp.23-48
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• 2014

Considered as the first generation of the Chinese American male writers, Shawn Wong has often been tagged with the male-centered or cultural nationalistic writer for his first short novel Homebase since the 1970s. He has, however, shifted his own gender and cultural attitudes toward his male character in his second novel American Knees, published in 1995. By focusing on his second novel, this paper examines how Wong critically reconsiders the male-centeredness and cultural nationalism in a way to invalidate them in relationships among male and female characters in the formation of the Chinese American male's identity. Attempting to establish his own national and cultural identity as an American citizenship and the self-awareness of masculinity as a man, Rainsford Chan in Homebase believed that he could achieve his identity and masculinity with the chronological experiences related to his ancestors in American society. He even strictly erased the presence of female in his own identity formation. In doing so, he seemed to anchor his authorship at the discourse of the male-centeredness and cultural nationalist like other contemporary writers such as Frank Chin and Jeffrey Paul Chan who always strongly marked cultural tradition. By creating a non-conventional male character Raymond Ding with compromising and open-eared attitudes toward female characters, however, Wong dramatically changes the idea of representing the relationships between male and female characters in American Knees. In this novel, he suggests that the male character' identity can be properly formed not in the extreme reinforcement of masculinity or the ethnic-based cultural awareness but with the mutual understanding between male and female individuals regardless of ethnic and nationalistic biases. Consequently, Wong attempts to bail out of the male-centered images of the first generation of the Chinese American male writers through Raymond Ding.

• 미술이론과 현장
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• 제15호
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• 여성학논집
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• 제27권1호
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• pp.145-183
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• 2010

본 연구는 징병제가 존재하고 한국과 사회적 역사적 유사성이 두드러지지만, 한국과는 달리 위계적 대학문화에 대한 증상이 거의 없는 대만과 대학생문화에 대한 양적 질적 비교를 병행하였다. 이런 비교조사와 분석을 통하여 한국대학의 위계적, 성차별적 군대문화의 현황을 좀 더 명확히 짚어내고 원인을 파악하려 노력하였다. 비교 연구 결과를 보면 대만의 대학문화는 한국보다 위계적이지 않고, 위계문화의 필요성에 대한 지지도가 낮았다. 폭력이나 단체기합등 군대문화적 요소는 주로 한국대학문화에서만 나타났고 남성중심적 술문화와 성매매문화의 지배력도 한국에서 더 강한 것으로 확인되었다. 대만과 한국의 대학문화의 이러한 차이를 낳는 사회 역사적 원인을 살펴보면 대만이 한국보다 위계적 집단주의 문화의 근거이고 원동력이라고 할 수 있는 국가주의적, 군사주의적 국민의 내적 동의나 뿌리가 약하다는 점을 들 수 있다. 대만 대학문화가 상대적으로 덜 위계적인 가장 중요한 직접적 원인은 징병시기에서 찾아볼 수 있다. 한국은 일반적으로 재학중 군대를 다녀오지만 대만은 대학을 마친 후 군대를 다녀오는 것이 일반적이다. 한국의 대학문화에서 군유경험자는 폭력성이나 위계문화 또는 술문화에 큰 영향력을 행사하는 존재로 확인되었다.