• Korean Journal of Child Studies
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• v.15 no.1
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• pp.187-203
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• 1994

This study investigated the relation of androgynous parent's child-rearing practices to children's self-perceived competence by comparison of the effectiveness of androgynous people as parents compared with parents who are other-typed in their sex-role identity. The subjects were 362 third and sixth grade children and their parents selected from two elementary schools in Seoul. The instruments were a children's self-perceived competence scale, a perception of maternal warmth and control scale, a perception of paternal warmth and control scale, parent's self-esteem scale, and parent's sex-role identity scale. Frequencies, percentiles, mean, ${\chi}^2$ test, two way-ANOVA, one way-ANOVA, Cronbach's ${\alpha}$ and $Scheff{\acute{e}}$-test were used for data-analysis. The major findings showed that (1) Androgynous and masculine fathers had higher self-esteem than feminine or undifferentiated fathers. Androgynous, masculine, and feminine mothers had higher self-esteem than undifferentiated mothers. (2) There was no difference in children's perception of parental warmth and control as related to parent's sex-role identity. Androgynyous parents were not more likely to be authoritative parents. (3) Sons of androgynous parents had higher self-perceived competence than those of sex-typed parents, while daughters of sex-typed parents had higher self-perceived competence than those of androgynous parents.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.74-84
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• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.

• Journal of Fashion Business
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• v.17 no.4
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• pp.164-176
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• 2013

The study aims to find differences in clothing image preferences according to gender-roleidentity. The questionnaire developed by the researchers was distributed to 533 men and women who aged between 20 and 59. Fourhundred eight questionnaires were used for the final analysis. The data were analyzed by ANOVA, and Tukey's test using SPSS 18.0/Windows. As results, both male and female participant groups of the study were classified into 4 groups according to their gender-role identity: masculinity, femininity, androgyny, and the undifferentiated. For men, the masculinity group showed a higher preference for flamboyant, sexy, expressive, cold, mature, hard, strong, weighty, heavy, sharp images, while the femininity group showed a stronger preference for flamboyant, bold, luxurious clothing images. The male androgyny group preferred masculine, sexy, cold, mature, hard, strong, weighty, luxurious, heavy, artificial images, whereas the undifferentiated group preferred flamboyant, sexy and mature images. On the other hand, for women, the masculinity group showed a higher preference for luxurious image, while the femininity group showed a stronger preference for sexy, urban, decorative, modern, complicated, luxurious images. The female androgyny group preferred expressive, modern, mature, complicated, and luxurious images, whereas the undifferentiated group preferred bold, decorative, rational, and complicated clothing images.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.2
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• pp.152-163
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• 2000

This study intends to analyze the sex role stereotype that could be effective variable for conduction clothing behavior and clothing image preference, to find out the relationship between sex role stereotype and out/inner wear clothing behavior and clothing image preference of women, and to provide useful information for establishing marketing strategies of out/inner wear market. A total of 628 samples were selected from adult female in Seoul. Questionnaire was used as major method of gathering data. They were analyzed by SAS package. Main result of this study were follows: 1. In the relationship between clothing behavior and clothing image preference and demographic variables, four clothing-behaviores of out wear, and comfort and aesthetics of inner wear showed significant differences according to all of the demographic variables. 2. In the relationship between sex role stereotype and clothing behavior and clothing image preference, four types of sex role stereotype were showed significant differences in comfort, modesty, aesthetics and masculine-feminine image of out wear, and masculine-feminine image of inner wear. 3. In the consistency between out wear clothing behavior and clothing image preference, and inner wear clothing behavior and clothing image preference according to sex role stereotype, all cases except one showed no significant consistency.

• Analyses & Alternatives
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• v.4 no.2
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• pp.163-202
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• 2020

This paper examines how Japanese society produced and reproduced a distinctively gendered history and memories of the experience of WWII and colonialism in the postwar era. We argue that these gendered narratives, which were embedded in postwar debates about the Peace Constitution and comfort women, have engendered contradictions and made the historical conflicts with neighboring countries challenging to resolve. On the one hand, this deepens conflict, but on the other, it also generates stability in East Asia. After Japan's defeat in WWII, the American Occupation government created the Peace Constitution, which permanently "renounces war as a sovereign right of the nation and the threat or use of force as means of settling international disputes." The removal of the state's monopoly on violence - the symbol of masculinity - resulted in Japan's feminization. This feminization led to collective forgetting of prewar imperialism and militarism in postwar Japan. While collectively forgetting the wartime history of comfort women within these feminized narratives, the conservative movement to revise the Peace Constitution attempted to recover Japan's masculinity for a new, autonomous role in international politics, as uncertainty in East Asia increased. Ironically, however, this effort strengthened Japan's femininity because it involved forgetting Japan's masculine role in the past. This forgetting has undermined efforts to achieve masculine independence, thus reinforcing dependence on the United States. Recurrent debates about the Peace Constitution and comfort women have influenced how Japanese political elites and intellectual society have constructed distinctive social institutions, imagined foreign relations, and framed contemporary problems, as indicated in their gendered restructuring of history.

• SUVANNABHUMI
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• v.14 no.1
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• pp.133-160
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• 2022

This paper examines narratives of women's marginal position in Bao Ninh's Short Stories and Svetlana Alexievich's Unwomanly Face of War from a feminist narratological approach. In analyzing voices of marginalized women, direct and indirect descriptions of women's beauty and pain, and private-public narratives of women's love stories, this paper aims to identify presentations of women's real authority in the text written by a male author, Bao Ninh, and in the one by a female author. The paper argues that juxtaposing these texts reveals an overturn of the traditional conception of sexual and gender differences. Specifically, distinguishing between male/female discourse does not show powerful /nonpowerful language, but recognizes the real authority of each type of discourse based on sexual differences. The writing also illustrates that masculine language becomes powerless and deficient in the women's world; meanwhile, in writing about herself, woman establishes a type of a powerful feminine discourse, which blends both emotional, enthusiastic, and gossipy characteristics of female language and direct, rational, and strong ones of male language. Thus, the feminists' radical segregation on male/female discourses to overturn masculine authority and create a language for women at par with men has been clearly shifted when comparing the two writers' texts based on the juxtapositional model of the comparative literature.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.6
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• pp.1058-1073
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• 2022

Big data analytics and social media have shifted the way fashion trends are dictated. Fashion as a medium for expressing gender has created new concepts of masculinity in popular culture, where men are increasingly depicted in a softer style. In this study, we analyzed 2,879 menswear collections over a 10-year period from Vogue US to uncover key menswear trends. Using Semantic Network Analysis (SNA) on Orange3, we were able to quantitatively analyze how contemporary menswear designers interpreted diversified trends of masculinity on the runway. Frequency and degree centrality were measured to weigh the significance of trend keywords. "Jacket (f = 3056; DC = 0.80), shirt (f = 1912; DC = 0.60) and pant (f = 1618; DC = 0.53)" were among the most prominent keywords. Our results showed that soft masculine keywords, e.g., "lace, floral, and pink" also appeared, but with the majority scoring DC = < 0.10. The findings provide an insight into key menswear trends through frequency, degree centrality measurements, time-series analysis, egocentric, and visual semantic networks. This also demonstrates the feasibility of using text analytics to visualize design trends, concepts, and patterns for application as an ideation tool for academic researchers, designers, and fashion retailers.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.931-946
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• 2010

This paper examines the role of gender ideology in early British and American detective fiction focusing on the female detectives. Since a detective's attributes honor and idealize such traditionally masculine qualities as independence, intelligence, heroism, and bravery, the woman detective fiction has potentiality to operate against the established gender norms. The narratives about women in pursuit of justice and order through their criminal investigation can allow women to possess the masculine rationality and power. The subversive possibility inherent in the woman detective fiction is, however, contained by the representation of the female detectives and the negotiation through narratives. A female detective is represented either as unfeminine and thus unattractive and unlikeable or as desperate for survival. Her threatening potentiality is easily dismissed as that of an inadequate woman or a desperate one. The compromise in narratives is effected by the following three ways: first, a female detective is assigned to investigate crimes as an assistant to the male detectives; second, staying within the domestic sphere, she solves crimes by using her expert knowledge of the domestic service; and third, her detective narrative ends with the conventional marriage plot. Confining the female detectives within the conventional feminine roles and domains, the woman detective fiction supports and reestablishes the dominant gender ideology.

• Fashion & Textile Research Journal
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• v.6 no.3
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• pp.336-340
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• 2004

This is the result of the comparison of the number of jeans, colors, images, opinions when it was purchased, shapes according to the gender of persons in jeans. According to the gender, male students had 1.64 jeans(46.3%) and female students had 2.09 jeans(53.7%) on the average. Male students selected colors of jeans which they don't have, but want to wear once in the order of blue(3.7%), red(21.0%), white(24.1%), black(25.6%), and others(25.6%). Female students selected colors in the order of blue(3.2%), black(15.6%), red(24.8%), white(27.7%) and others(25.6%). In case of the general image about jeans, male students thought the jeans as masculine(1.2%), sexy(3.1%), unisexual(3.2%), active(23.6%), young(29.8%), and comfortable(36.5%) and female students thought it as masculine(0.3%), sexy(3.5%), unisexual(10.4%), young(21.9%), comfortable(28.1%) and active(35.8%). Male students considered torn or holed jeans ill-mannered(10.7%), delinquent, (20.7%)trendy(21.0%), comfortable(22.9%), and dandy(24.7%). Female students think it ill-mannered(3.4%), delinquent7.1%, trendy(17.4%), comfortable(21.1%), and dandy(50.9%). When they purchase jeans, male students choose according to trends(17.9%), don't consider design(19.5%) and look for their own styles(62.6%), female students didn't consider design(5.2%), choose according to trends(22.0%), and look for their own styles(72.5%). The designs of jeans which they usually wear were bell bottom(1.5%), wide-shaped(7.4%), baggy(17.5%), straight-shaped(73.6%) in case of male students. on the other hand, in case of female students, baggy(10.2%), wide-shaped(11.0%), bell bottom(17.0%), and straight-shaped(61.8%). The designs of jeans which they didn't have but want to wear once are wide-shaped(10.1%), bell bottom(13.2%), baggy(20.9%), and straight-shaped(55.2%) in case of male students. On the other hand, females students want to wear baggy(11.6%), wide-shaped(15.0%), straight-shaped(27.6%), and bell bottom(45.8%). The above-mentioned findings illustrated that both male and female students regarded blue as the original color of jeans, but they wanted to wear jeans in colors other than blue. In the past, jeans were considered masculine and unisex, but they viewed jeans as an apparel that was comfortable to wear and made it easier to move. Female students had a higher tendency to be fashionable than male students, and their preference for jeans was consequently different. Jeans manufacturers should take those characteristics into account to produce products in different colors and form.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.181-188
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• 2005

This study attempted to investigate the plastic characteristics of cyber punk fashion with a focus on fashion in the cyber punk movies in order to inquire into how the influence of the cyber punk taking the lead in the spiritual culture and way of life of the humankind in the 21th century would be expressed in fashion. For this purpose, it sought to analyze the beauty of new fashion creating the cyber environment and identify its contemporary meaning. An attempt was made to investigate the image of cyber punk fashion with a focus on fashion expressed in the cyber punk movies. As a result, the following findings were obtained: First, the image of cyber punk fashion expressed in the cyber punk movies was simplicity, which was to express the modest silhouette and details exclusive of decoration. In addition to clean and smooth gloss, it contained the modest image of resistance', not 'revolt' by borrowing the partial motive and image from existing punk fashion. The change of cyber punk fashion into the characteristic of concise, smooth external appearance brought about the restraint of its image and symbolism as well as its plastic characteristic. Second, it was characterized by the Eroticism nature of emphasizing the body line while expressing the future and modest image or exposing the body. Cyber punk fashion expressed the avant-garde image by using materials that gave a mysterious and future feelings, as well as unsymmetrical silhouette, the slit of body-conscious line, coarse cutting, the method of do-constructing and reconstructing the silhouette, the method of applying diverse underwears such as corset, brassiere and the like. Third, cyber punk fashion was marked by the nature of mined sex. It had the masculine image by using the black color containing the image of masculinity and resistance in female clothing and expressing the suit, coat and military looks giving an masculine impression. And it expressed the image of mixed sexes with the masculine image in male clothing by borrowing feminine images such as body-conscious line, widely cut neckline, floral decoration, leggings and the like. Fourth, cyber punk fashion was marked by naturalness. It was expressed as clothing made from silhouette, knit, cotton and the like in the atmosphere expressing love, comfortableness and truth. This contained the image of naturalness, a return to the primitive, that human being wanted to return to their original figure in the future element. The cyber punk movie may contain a dismal, gloomy future image on the whole, which can be overcome, and shows the possibility that it may grow into the alternative culture, not the revolting culture. The movie of 'The Fifth Element' demonstrates the meaning and role that shows the bright future image. It is thought that designers should make efforts for cyber punk fashion to perform its role in changing the gloomy future image into the bright image of society