• Journal of the Korean Society of Costume
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• v.37
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• pp.71-88
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• 1998

This study will analyze the aesthetic qual-ities revealed in the work of Vivienne Wes-twood in order to gain an understanding of the development process and uniqueness of modern avant-garde fashion. Westwood gained worldwide recognition in the 1970s as the Punk movement emerged in London. Although her works have often been described as decadent and anti-establishment, her anarchic view of fashion has had a considerable influence on other designers, both in England and around the world. Vivienne Westwood's works can be divided into three periods. In the first period(1971∼78). Westwood design demonstrated elements which were variations of the subcultural Punk style. The noteworthy designs of this period included ripped T-shirts, bondage clothes, and fetishist accoutrements. In the second period(1979∼83), her designs expressed elements from ethnic and primitive tribal societies through the 'Pirate', 'Savages', 'Buffalo Girls', 'Witches' collections, which inspired New Romanticism movement. In the third period (1985∼ ), through works such as 'Mini-Crini'collection, her works identified elements from the old west and used materials such as crinoline and Harris tweed and contemporized them by rearranging the innovative technique. In the end the news synthesis helped formulate new ideas. The aesthetic qualities in Vivienne Wes-twood's works can bed identified with the following themes : Punkature, Erotic Intelligent-sia, Anarchic Collage. First, within Punkature, Westwood's ideas are at the forefront as her impact on the cut of clothes and creative detailing have been considerable. Also, while her ideas can be extreme, her clothes are wear-able, resulting in the synthesis of Punk and couture. Second, as Erotic Intelligentsia, Vivienne Westwood does not present sexuality as a straight forward attribute that fashion so often tends to do, but instead as a matter for inquiry, exploration and debate. She asserts that sexuality is always an interplay between the polarities of masculine and feminine, of dress and undress. Third, as Anarchic Collage, she has taken, juxtaposed, and transformed objects and symbols from dominant culture, like every modern subversive movement from Dada to Punk. She has continued this form of anarchic collage, mixing styles from various times and places, taking them out of their traditional context. From thiss viewpoint, Vivienne Westwood's works can be considered to be made up of past themes merged with is contemporary. The usage of contrasting elements such as Punk and couture to communicate her ideas visually or technically.

• Proceedings of the KAIS Fall Conference
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• 2009.12a
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• pp.138-140
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• 2009

스포츠선수들에 대한 섹슈얼리티는 '유니폼 관련 섹슈얼리티', '선수의 신체적 특징 관련 섹슈얼리티', '외모 관련 섹슈얼리티' 요인으로 구성되었다. 인터넷신문의 스포츠영상에 묘사된 섹슈얼리티가 인터넷신문의 이용자에게 미치는 영향에 대한 분석에서는 남자 실험집단에서만 차이가 있는 것으로 나타났다. 남자집단의 피실험집단과 남녀경기 처치집단 간 차이가 있는 것으로 분석되었다. 인터넷신문의 스포츠영상에 묘사된 섹슈얼리티에 대한 인지도는 남자집단의 피실험집단에 비해 남녀경기 처치집단이 더 높은 것으로 나타났다. 따라서 인터넷신문의 스포츠영상에 묘사된 섹슈얼리티는 남성스포츠 소비자들에게 더 큰 영향을 미치는 것으로 볼 수 있다.

• Journal of Digital Convergence
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• v.10 no.6
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• pp.349-359
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• 2012

There is growing recognition that individuals with mental retardation are particularly vulnerable to sexual abuse due to multiple factors including life-long dependence on adults for care, trained compliance, social isolation, lack of education about sexuality and sexual abuse, and a societal view that devalues people with disabilities. Teaching about sexual abuse only may raise an individual's anxiety without promoting a healthy sexual identity. For many individuals with mental retardation, the provision of formal sexual health education and sexual abuse prevention training has been shown to be protective against exploitation as well as increase appropriate sexual behavior. To maximize the reach of formal sexual health education and abuse prevention promotion effort, this article suggest exploiting the internet and digital contents as delivery vehicles that have uniquely suitable communication characteristics and outstanding ability to reach large numbers of persons with mental retardation. We review the sexual health education programs, utilizing the internet and digital contents, for individuals with mental retardation. We also suggest the revised version of the Information-Motivation-Behavioral Skills (IMB) model of health behaviour change (Fisher & Fisher, 1992), and give a brief discussion of how useful this model is for constructing a life-long sex education program for persons with mental retardation.

• The Korean Journal of Rehabilitation Nursing
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• v.3 no.1
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• pp.80-97
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• 2000

The purpose of this study is to identify and describe a process of sexual adjustment of individuals with spinal cord injury: and to describe and explore positive and negative influences on the adjustment process. This qualitative study was conducted with 10 Korean individuals with spinal cord injury who had been physically disabled for more than one year. Data were collected and analysed at a same time using grounded theory method. Major categories of this study showed a process how the individuals with spinal cord injury adjust to their individual life as sexual beings. The process included and individual responses to the behavioral efforts including and . Initially physical aspects of sexuality seemed to be affected by spinal cord injuries. The changed physical aspects then influenced other aspects of their sexual life. Life satisfaction of each individual as a sexual being revealed as very subjective. It could be defined according to how the individual approved their sexual life no matter what and how much behavioral effort the person had done. In this study 3 types of sexual adjustment aspects were explored: 'Active adjustment' 'Passive adjustment' 'Maladjustment'. There were negative and positive factors influencing the adjustment process of individuals with spinal cord injury. Those factors might come from themselves, from families, or from social situations. Findings of this study suggested that sexual life of individuals with spinal cord injury should not be understood as a physical or behavioral matter. It was a combination of physical, psychological and social aspects of life. Therefore, appropriate rehabilitation programs for the sexual adjustment of individuals with spinal cord injury need to concern heterogeneous life values of them and obtain individualized services for each individual at a different stage of the sexual adjustment process.

• 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 Culture and Social Issue
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• v.13 no.4
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• pp.53-82
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• 2007

This study, driven by the question of 'what the experience of healing of female sexual abuse victims is like,' explores the process the victims undergo as they heal from the traumas. Using the methods suggested by Strauss and Corbin's Grounded theory, it analyzes nine interviews taken from victims who have received counseling. The study found that the central phenomena that take place in the process of their healing is 'mental pain due to the damage caused by sexual abuse,' the causal conditions are 'the recognition of the sexual abuse' and 'desperation,' and the contextual conditions are 'the reaction of the close ones of the victims,' 'the preconception about sexuality,' and 'the incarceration and punishment of the offenders.' The victims have been intervened in the healing process by 'being supported' and 're-interpreting the meaning of the damage caused by sexual abuse,' and are found to utilize the interactive strategy among 'facing their emotions,' 'learning new coping strategies,' and 'hoping for the future.' They are also found, as a result of the healing, to 'live unafraid as survivors' and 'have structured their lives in a new way.' This study is of significance in systematically elucidating the healing process and the related elements found through the voices of the survivors of sexual abuse in the context of the Korean society and culture. The limits of this study and suggestions about the studies that should follow this one are included as well.

• Women's Studies Review
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• v.27 no.1
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• pp.73-109
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• 2010

The cultural pluralism on which more and more emphasis is put in the globalized cultural environment, takes local identity as a crucial index for the cultural exchange on the global level, but at the same time it results in transforming individual regions/places into a homogeneous space, as it forces the local identity itself to fit into the standardized global perspective. In this context I focus on two art projects that are related to 'Dongducheon', a town that houses the U. S. Second Infantry Division. These projects attract specific attention due to the fact that Dongducheon is a significant place with very 'thick' cultural identity: it reveals that modernization in Korea took place in intersection of nationalism, patriarchy and gender/sexuality postcolonial (military) culture. With these two Dongducheon related art projects (Donglyung Kim) and (Eunyoung Jeong) as excellent examples of site-specific art practice, this paper asks what it means to keep the historicity of disappearing local space/place in the global era. And how is it possible to 'represent' an extremely gendered/sexualized place like Dongducheon. This should be examined from a postcolonial feminist perspective. Since emancipation from Japanese occupation Dongducheon has been an island or an outside space in the nation-state Korea. This becomes more complicated, as now mostly women from the Philippines or former Soviet countries are working in the nightclubs in Doungducheon. and are feminist activist experiments to make the place with its residents to be seen and heard in proper a way of mourning, recognition and communication. shows the 'new' kijich'on women as those who are daring to be on an 'Odyssey' for a better life as they run everyday life in Dongducheon, working in clubs, doing laundry, bearing children, going to mass; tries to help them to be heard and felt, while it gathers sounds on the street or at mass and shows the doors or narrow alleys which lead to the their rooms. It aims to mourn the dead kijich'on women and to represent the precarious life of the present migrant kijich'on women, as it shows no faces.