• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.162-170
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• 2016

Xavier Dolan delves into maternal instinct and sexual identity and the attempt and experiment of his movies are not difficult to understand and not unfamiliar. He communicates with audience through pastiche and self-reflexivity, rather than disassembling and destruction of style and form of existing films. Pastiche is the intertextuality between familiar genres such as film, poem, fashion, music, painting, etc. His films shows the characteristics of postmodernism, which include genre over, de-subjectivity, interest in public culture, and representation of nostalgia. This study recognizes anew the present of postmodernism gradually going out of fashion and analyzes the characteristics of postmodernism and repeated motif in his movies. This study also analyzes Xavier Dolan's interest in social minority and allegorian characteristics through characters appearing in his movies.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.41-54
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• 2002

This study discusses the beauty of the ideal body shown by fashion communication media, and explains how aesthetic aspects of, the body are being expressed in contemporary fashion. The beauty of the body may be considered as the beauty of sexual, controllable or consumable object. First. the most vigorously discussed point about the body is its sexual aspect, the most outstanding of which is the voluptuous and the androgynous beauty in contemporary fashion. Second, the body is an object which has been oppressed or controlled under the name of history. morality. and rationality. The things making us regard the body itself as an aesthetic object may be considered as dynamic and functional beauty Third, the sexual instinct and the body are fetishized as consumer goods, and women's bodies are presented as comsumer objects whose most parts could be restored to exchangeable value. The consumable beauty presented in contemporary fashion is the conspicuous beauty and the decadent beauty. So far, the various aspects of the beautiful body has been considered, based on the beauty of the ideal body shown by the fashion communication media. Man exists through on his body. but it is the embodied and formed body that serves as a means to manifest his social status and cultural ties. A natural body is reformed as a cultural phenomenon in various artificial ways. Popular culture has transmitted a series of new body image by creating and reproducing symbols and images, and has made the ideal body. Now there is not only one standard for the ideal beauty in our society. The standard of the beauty has changed continuously. There has been an aesthetic sense which can represent the times during the process of those changes. The various communication media have played a role of mirror reflecting those changes. The ideal body in contemporary times is no more an abstract media to express classical beauty, but an object directly affecting us, who are living in the crisis of subjectivity and identity.

• American Studies
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• v.41 no.1
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• pp.179-202
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• 2018

This study approaches the novel from psychodynamic perspectives, where the narrative is woven into the strands of traumatic memories and past. Deriving from Julia Kristeva's discussion on melancholia, this paper discreetly examines Hata as a melancholic, who is unaware of what he has lost and even that he has lost. Racially abject but in defiance of his separation from 'the mother,' Hata introjects loss as his own subjectivity. The insoluble void causes him to wander through the bravado of belongingness, which he eventually transforms into Sublimation. This paper reads that Hata finally faces his own black sun, deviating from his earlier gesture life; thus, the novel becomes a successful case study of the melancholic. However, female bodies are at stake, subsumed under Hata's sexual perversion. The novel renders trauma behind the fragmented narrative of an Asian American man at the expense of consuming morbid 'feminine' bodies physically and psychologically.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.510-520
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• 2018

This study explored the phenomenon of heterosexual women embracing Boys' Love manga within the heteronormativity context from a feminist psychological perspective. Specifically, the issue of genre characteristics of Boys' Love manga, women's psychological mechanism of reading Boys' Love manga, and the functions and effects of embracing Boys' Love manga were discussed. As a theoretical framework of analysis, I started from the classical psychoanalysis and critically adopted the concepts of the various camps of feminism, queer theory, and Huizinga's Homo Rudens. The results show that Boys' Love manga can be classified as a sub-category of the romance genre, which fulfills heterosexual women's desires of eternal love and equal partnership. From these wish-fulfilling fantasies, heterosexual women attempt to be decontextualized from the heteropatriarchism, to enjoy distancing and voyeuristic separation from the characters in the texts, and to disturb the dichotomous gender system through gender reversal identification. These processes, which can be regarded as a women's play challenging sexual rigorism, ultimately bring about an awareness of the female sexual subjectivity.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.693-718
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• 2009

Kate Burns, a disillusioned Irish woman in Quetzalcoatl, has alternating feelings of fear, repulsion, oppression, compassion, and fascination vis-à-vis Mexican people. Together, these feelings are constitutive of a psychic process in which an imaginary appropriation of the other takes place. In this process white subjectivity represents or reconstructs the dark race precisely as its other. At the same time, Kate's feelings register her anxious recognition of the resistant, unappropriated being of the dark people: their true 'otherness,' or what Žižek calls "the excess of existence over representation." The otherness, frequently racial and sexual, evokes mixed feelings in the white subject. Kate's at once amorous and aggressive response to Ramón's body provides a case in point. Kate's emotional undulation is considerably mitigated in The Plumed Serpent, the revised version of the novel in which the theme of 'blood-mixing' is pushed to the ultimate point. Yet the interracial marriage resolves neither the racial nor the ontologico-sexual issues raised in the first version. Kate is still attracted to Ramón in his sagacious sensuality but goes on to get married to Cipriano, a pure Indian, only to find his mechanical masculinity ever unpalatable. This shows, not just Lawrence's wilful commitment to the 'blood-mixing' theme, but perhaps his lingering taboo against miscegenation as well. Changes in the plot entail those in the narrative voice. In Quetzalcoatl, Owen, a spectatorial and gossipy character, frequently competes for narration with the fully participant third-person narrator. In The Plumed Serpent, the third-person narrator becomes predominant, now attempting with greater confidence to present the reality of the racial other immediately to European readership. While such immediacy is illusional, narrative insistence on it implies a struggle to displace racial stereotypes and offer an experiential understanding of the other.

• Korean journal of communication and information
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• v.27
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• pp.63-91
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• 2004

The purpose of this study is to investigate the gender discourse of Korean newspapers. For this, the study analyzes the frames of frames of crime news on Chosun Daily and Hangyurae Newspaper for 2 years. The data are collected using KINDS, and include 265 crime articles involving woman. According to the results of this research, the episodic frames are used in the most of crime news. The five frame devices are founded in the episodic frame articles; the male subjectivity and the female objectivity, the male-oriented perspectives which reporters have, the abused sexual details and sensationalism, the emphasis of women body's fragility which imply woman's unavoidability as victims, and finally, blaming women who are victims of crimes. And in the articles of thematic frames, the similar frame devices are found. In particular, they only emphasize the problem of crime and fail to suggest a concrete resolution. Finally, the study discusses the findings relating to the patriarchal news making convention and the commercialism of newspaper industry. The two newspapers have been pursuing quite different political lines in Korean society. It is generally considered that Hangyurae newspaper is progressive and Chosun Daily is conservative. However, this study reveals that the way dealt with women in the crime news are not different. It is concluded that Korean newspapers still produce the gender discourse based on male-centric perspective and patriarchal ideology.

• Journal of Korean Academy of Fundamentals of Nursing
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• v.7 no.2
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• pp.271-286
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• 2000

This study is designed to investigate what elders think about the meaning of aging. We have used Q-methods to identify meaning of aging from elders, and developed self-referenced surveys to analyze characteristics In this study, we used a non-structured method to select Q sampling. From 183 Q populations, we selected 36 Q sampling. A total of 32 persons sixty-years or older were randomly selected for P samples, When the Q-sorting was complete, we interviewed the participants at both end of the extremes(agree or disagree), and documented their responses. We used PC QUANL to process the data and used principal component analysis for Q factor analysis. There were five subjective types for the meaning of aging by elders. Of the 32 P-samples of elders, 11 were identified as Type 1, 7 as Type 2, 2 as Type 3, 8 as Type 4, and 4 as Type 5. Type 1 : 'Matured elders' Elders wished the well being of their children, thought older persons should maintain good health, worried about becoming senile, and dependent God believing in life after death. Type 2 : 'Assertive-Rights' Elders categorized as Assertive-Rights insisted on their rights to life as a person. Type 2 elders characterized themselves as people who should keep themselves healthy, become weak and lack sexual desires, act selfish like a child, need to be protected, and be financially independent. Type 3 : 'Passive-Dependents' Elders characterize themselves as those who pray for their children's well being, worry about the children even after their death. and becoming senile. Type 4 : 'Hopeless' The 'Hopeless' type of elders characterized aging as a time to pray for their children, insignificant beings, thoughts were selfish and child-like, poor, worried about going senile, regret their life overall, and preferred to die than to live as an old person. Type 5 : 'Attached-Present' The 'Attached-Present' type of elders thought elderly characterized themselves as acting selfish and child-like, wiser, anxious, regret their life, stand aloof of greed and worldly things, being a model for the society, and deserving to be treated with filial respect. Thus far, Korean elders seemed to have a positive and negative meaning of aging due to the current changes in the society, value system, and family structures. The above five subjective meanings of aging confirm that we need to approach and nurse the elderly differently. Years of aging are a part of and a natural process of life with various physical, psychological, and sociological changes. Nurses need to assist elderly to find the positive meaning of their life by providing appropriate physical, psychological, and social support at an earlier stage in nursing. Based on this study, we could derive the following two implication from the perspectives of science of nursing to care for elders. 1) Based on the studies investigating the type of meaning of aging, we could develop tools to assist in nursing intervention programs for elderly. 2) Based on research on the meaning of aging for different developmental stages of life, we could develop a model for roles for different family members in nursing and caring for the elders.

• Journal of English Language & Literature
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• v.54 no.2
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• pp.301-322
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• 2008

Pauline Hopkins's Of One Blood; Or, the Hidden Self was published in the Colored American Magazine during 1902-03. As a literary experimentalist and a political protester, Hopkins uses her fiction as a medium to overcome and ameliorate the violently racialized surroundings of the turn-of-the-century America. Having been faced with racist rhetorics and theories growing on biological differences between races, Hopkins must have felt an overwhelming urgency to challenge the heritage of slavery in American history. In order to speak out her political agenda in such a milieu, she needed a new setting as well as new narrative materials for the new era. She had to move the setting from America to Africa, the ancient utopian Ethiopia; her interest in the ancient African civilization reflects both a popular African-American vision of Africa and the movement of "black nationalism" of the time. She also needed materials from nineteenthcentury sciences, the newly evolving theories of psychology and mysticism (spiritualism/mesmerism), to explore the meaning of "the hidden self" which unfolds the complex nature of Hopkin's position on race, "blood," and African-American racial subjectivity. Hopkins in the novel explores not the color line but the bloodline. Tracing the horrific legacy of incest in the history of slavery, she attempts to redefine the true racial identity of African-Americans in America and to reconstruct their past, both family and race history. At the very center of her major tropes in the novel-such as "of one blood," "the hidden self," and incest-exists female body. Black female body, though it represents the violent site of sexual body (rape and incest) in slavery, ultimately becomes a vehicle to convey and preserve the truth of racial memory/past/history for African-Americans. As a conveyor of the past, black women not just connect the past and the present but also reawaken AfricanAmericans with the legacy of the African 'pure' bloodline. Hopkins's vision here necessitates the reevaluation of black women's role in family and history, heralding the 20th-century black feminine writing. With the major tropes, Hopkins clearly suggests that the blood of (African-)Americans is unrecognizably intermixed. Although the novel ends with ambivalence and without resolution on what Africa signifies, those tropes certainly offer her a vehicle for criticizing as well as for challenging the racial reality of America.