• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.430-448
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• 2011

This study analyzes the stereotyped femininity with a focus on body codes, which has been continuously expressed in fashion illustrations from the late $19^{th}$ century to the year 2010, and examines the changes in its meaning. Stereotyped femininity was reorganized by the changes in female sex role effected by social changes, as well as by the body discourse and feminism in the late $20^{th}$ century, These socio-cultural backgrounds led to the change in the meaning of stereotyped women expressed in fashion illustrations. The stereotyped women in fashion illustrations are characterized by gender-oriented body, and the typical image of women was reproduced with the marks of poses and looks that feature passiveness and subordination. Then, the gender-oriented body since 1990's shifted to active meaning that positively revealed sexual desire. The space positioned by women is also the symbol of gender. In line with changes over time, the backgrounds in fashion illustrations have changed from private space such as home and nature to public space such as city, which reflects diversification and expansion of space for women. This study has identified the changes in meaning, based on the analysis of the characteristics of stereotyped women expressed in fashion illustrations. Above all, women who were objectified as a subject by dominant discourse have established the concept of active body as an entity. In addition, the symbol of typical femininity is "slim" and "beauty", which reflects the change from the emphasis on childbirth-related femininity to self-control and conquer. On the other hand, the typical features expressed through body have reproduced dichotomous structure, but the emergence of body and background deviated from gender has reorganized the symbolic order of gender.

• Asian Pacific Journal of Cancer Prevention
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• v.14 no.3
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• pp.2079-2084
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• 2013

Background: Breast cancer is the most prevalent cancer among Iranian women and mastectomy comprises 81% of surgeries for treatment of breast cancer. Mastectomy may create feelings such as deformation or impairment in patients, cause body-image disorder, and reduce sexuality and sexual activity which in turn may entail mental disorders. The study aimed to elaborate coping processes. Materials and Methods: A grounded theory method was used in conducting this study. Twenty Iranian participants undergoing mastectomy were recruited with purposive sampling. An open, semi-structured questionnaire were developed. Obtaining consent, conversations were recorded and immediately transcribed after each session. Data analysis was carried out with the constant comparative method using the Strauss Corbin approach. Results: Analyzing the collected data, the study came up with seven main categories which affected the coping process in patients with breast cancer, namely: reactions to mastectomy; loss and death contest; reconstruction of evaluation system; consent for undergoing mastectomy; reactions and troubles after loss; confrontation of loss and health; and reorganization and compatibility with changes. Conclusions: The results of the study indicated: when patients become informed of their breast cancer and the necessity of undergoing mastectomy as the treatment, they probably pass through seven categories to adapt after mastectomy. Having insight about them is likely to contribute medical personnel in leading patients to the highest degree of feeling healthy.

• Asian Pacific Journal of Cancer Prevention
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• v.13 no.5
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• pp.2241-2247
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• 2012

Objective: This qualitative study retrospectively examined the experience and psychological impact of contralateral prophylactic mastectomy (CPM) among Southern Chinese females with unilateral breast cancer history who underwent BRCA1/2 genetic testing. Limited knowledge is available on this topic especially among Asians; therefore, the aim of this study was to acquire insight from Chinese females' subjective perspectives. Methods: A total of 12 semi-structured in-depth interviews, with 11 female BRCA1/BRCA 2 mutated gene carriers and 1 non-carrier with a history of one-sided breast cancer and genetic testing performed by the Hong Kong Hereditary Breast Cancer Family Registry, who subsequently underwent CPM, were assessed using thematic analysis and a Stage Conceptual Model. Breast cancer history, procedures conducted, cosmetic satisfaction, pain, body image and sexuality issues, and cancer risk perception were discussed. Retrieval of medical records using a prospective database was also performed. Results: All participants opted for prophylaxis due to their reservations concerning the efficacy of surveillance and worries of recurrent breast cancer risk. Most participants were satisfied with the overall results and their decision. One-fourth expressed different extents of regrets. Psychological relief and decreased breast cancer risk were stated as major benefits. Spouses' reactions and support were crucial for post-surgery sexual satisfaction and long-term adjustment. Conclusions: Our findings indicate that thorough education on cancer risk and realistic expectations of surgery outcomes are crucial for positive adjustment after CPM. Appropriate genetic counseling and pre-and post-surgery psychological counseling were necessary. This study adds valuable contextual insights into the experiences of living with breast cancer fear and the importance of involving spouses when counseling these patients.

• Journal of Fashion Business
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• v.2 no.3
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• pp.55-72
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• 1998

The purpose of this study is for consideration of the flapper fashion (1924-1928) in Jazz Age (1919-1929) of America and the influences of it on modern fashion. This study is started from the latest fashion trend which is pursuing it's inspiration into the Jazz Age, the 20s. The etimology of 'flapper' was based on mines is 'flap' such as 'flutter of skirt hemline', 'hands', 'arms', 'wings' and a slang which was applied to young women from 1830. In 20th century it has meant not only new American women but also their fashion and attitude. The designs of flapper fashion were expressed by simplicity, functionality, nudity and rhythm. Simplicity was the best value of this time and the simple image was considered the smartest. Functionality was represented by straight boyish style and loose baggy silhouette that was related to free dome. Nudity was expressed by revealing of legs, arms, backs in shapes and see-through by materials. It was related to sexual attraction and point to youth. Rhythm of flapper fashion expressed optical effect of movement. Using of light material was deep related to freedom of flappers, speed, rhythmical Jazz and dancing. The influences of flapper fashion were giving an opportunity that changed fashion leader from high class to young popular group and simple design of flapper fashion effected to modernization and popularization of American apparel business. And it influenced American casual fashion which was known as brightness, youth and openhearted mood. So flapper fashion can be reganded as the starting point of the street fashion of the 20th century.

• Journal of Digital Contents Society
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• v.16 no.1
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• pp.25-32
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• 2015

With the increased frequency of crime such as assaults and sexual violence, the reliance on CCTV in arresting criminals has increased as well. However, CCTV, which should be monitored by human labor force at all times, has limits in terms of budget and man-power. Thereby, the interest in intelligent security system is growing nowadays. Expanding the techniques of an objects behavior recognition in previous studies, we propose a system to detect forms of violence between 2~3 objects from images obtained in CCTV. It perceives by detecting the object with the difference operation and the morphology of the background image. The determinant criteria to define violent behaviors are suggested. Moreover, provable decision metric values through measurements of the number of violent condition are derived. As a result of the experiments with the threshold values, showed more than 80% recognition success rate. A future research for abnormal behaviors recognition system in a crowded circumstance remains to be developed.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.62-69
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• 2013

The purpose of this study is to examine how the masculinity types of the male lead appearing in melodrama genre TV series with 2005 as the borderline when we perceived the change of female types in TV drama series. To attain the goal, the paper analyzed the change of the male lead in 74 melodrama series that ranked high from 1992 till 2012 in terms of the ratings. As a result, from 2005, the types of masculinity of the male lead changed significantly. The followings deal with the details of the change: first, about the age of the male lead, those in the 30's or older increased. Second, unmarried men increased. Third, more of them saw men and women equally, and masculinity types setting no role division for men and women increased. Fourth, masculinity types of having more concern over their appearance increased. Fifth, masculinity types of relying on others when a problem occurred increased. Sixth, in relationship with others, passive masculinity types increased. There was no change in men's jobs, economic level, personality, or sexual consciousness. This study result shows that from 2005, stereotyped masculinity types shown in advanced research have disappeared a lot, and the current men image tends to show both male and female features.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.151-166
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• 2013

In order to create a national myth and be able to control international society, America with her short national history, used popular culture to accomplish these goals. The medium fit this purpose the best was the use of superhero characters based on comics. Born and developed from the 1930s through the 1960s, which could be seen as America's national crisis era, superhero characters were thorough advocates of American justice and was perfect for the role of spreading the legitimacy of American ideology. From the 1970s, superhero characters became part of movies and became even more influential through the Hollywood's massive film industry and the box office success. American ideology in superhero characters symbolically appeared in movie costumes. Starting with Superman and Batman, the very first and typical superhero characters' costumes work as metaphors for realization of American justice. After the 1980s, superheroes were newly developed through a genre called graphic novel and the most representative piece of this genre is Alan Moore's Watchmen. In the Watchmen, which was also turn into a movie in 2009, six changed superhero characters appear ranging from a non-human superhero, villain superhero, superhero with mental disorder and superhero with sexual impotency, the characters were never-seen-before superheroes with different aspects that connote introspection and philosophical ideology. The changed type of heroes and ideology became another form of heroes, and this brought changes to character costumes that were never considered before. The superhero costumes that used to symbolize America now express different types of superhero by borrowing exotic mythical elements, undressing, pastiche and daily life clothes. The superhero characters and their changes in costumes from Watchmen imply American popular culture's introspective tendency. Amongst these changes, we need to raise our critical vision towards popular culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.267-278
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• 2005

Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.

• 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.

• Journal of the Korean Society of School Health
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• v.34 no.1
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• pp.1-12
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• 2021

Purpose: Growing evidence indicates that adolescents from multicultural families are more vulnerable to drug use than those from non-multicultural families. This study aimed to compare the factors associated with the habitual drug use among adolescents from multicultural and non-multicultural families. Methods: A descriptive cross-sectional design was employed. Data were obtained from the 14~15th (2018~2019) Korea Youth Risk Behavior Web-based Survey. Overall, 91,443 multicultural (n=1,725) and non-multicultural adolescents (n=89,718) were included. Data were analyzed using descriptive statistics, univariate analysis, and logistic regression analysis. Results: The multicultural adolescents engaged in more habitual drug use than did non-multicultural adolescents. In both groups, those who currently drank, experienced violent victimization, had sexual experiences, and did not live with their family were at greater risk of engaging in habitual drug use. The odds ratios of these factors were higher in multicultural adolescents than in non-multicultural adolescents. In non-multicultural adolescents, those who were boys, had experienced depression and suicidal ideation, perceived their body image as normal, overweight, or obese, and had poor subjective health status were at greater risk of engaging in habitual drug use. Conclusion: These results highlight the need to develop customized strategies for adolescents from both multicultural and non-multicultural families to reduce and prevent their habitual drug use.