• The Korean Fashion and Textile Research Journal
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• v.8 no.2
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• pp.156-160
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• 2006

Poststructuralism gives us a clue to totally understand fashion design, which is in danger of difficulty and frivolous ambiguity caused by indiscreet creating and groundless interpretation of Postmodernism. In addition, it leads us to have a new viewpoint, which is freed from stereotyped past concepts and constraints, with regard to fashion design. The main purpose of this study is to examine the various theoretic systems and characteristic concepts of Poststructuralism, and supply a new cognizance frame to understand the processes of fashion design with free and varied notions of deconstruction and generation, in place of the former systematic and consistent interpretation of meaning. Concerning fashion design, present study employs a two-way research method: analysis of theories and analysis of contents. In analysis of theories, a cognizance frame is proposed that can categorize the concepts of cognizance are classified into Nonboundariness, Otherness, and Textualism, derived from various theories of Poststructuralism, as traits expressed in fashion design. In analysis of contents, 10 fashion designers are chosen who exhibit new works at every Pr$\hat{e}$t-$\acute{a}$-Porter collection. Including 20 works that those designers displayed at Pr$\hat{e}$t-$\acute{a}$-Porter from spring/summer 2001 through autumn/winter 2004-2005, a total of 200 works are analyzed.

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.1-9
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• 2024

This paper explores the concept of otherness through the lens of Dokkaebi, a figure in Korean folklore. Dokkaebi serves as a monster that is both familiar and distant-a 'familiar trap' or 'well-known monster'-reflecting its nature as a marginal being. Though far from divine, Dokkaebi is also not human, existing in a liminal space that allows it to wander among us even today. Outsiders, gods, and monsters often reveal the cracks within the human psyche, illustrating our divisions between consciousness and the unconscious, the familiar and the unfamiliar, and the same and the different. Outsiders and monsters emerge from our tendency to other various entities. This paper discusses how Dokkaebi embodies the characteristics of a 'subjectivized other,' a 'dual other,' and an 'other that generates a double self. As a 'subjectivized other,' Dokkaebi transcends the narrative of a monster othered by humanity, revealing the relationship between the subject and the 'internalized other.' As a 'dual other,' Dokkaebi mimics the ways in which men other women, bringing this dynamic vividly to life within the tales. Lastly, functioning as an 'other that generates a double self,' Dokkaebi prompts us to consider how we treat the other within ourselves and the dangers posed by that inner other.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.1031-1047
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• 2010

This study examines the conceptual characteristics of fantasy movies. It also studies the process of socio-cultural changes of the mythical images such as heroes, goddesses and the devil that have often become the centre of fantasy movie characters. This study further examines the features of each character that correspond to specific mythical images. The purpose of this research is to suggest the conceptual and aesthetic characteristics of fantasy reflected in the characters and the costumes of fantasy movies, which were released since the year 2000. The followings are the results of the research: The conceptual characteristics of fantasy reflected in the characters and the costumes of fantasy movies are summarized as representation of reality, allegory and symbols, horror, desire, deconstruction and metamorphosis, otherness and counter-cultural sentiments. The aesthetic characteristics of the costumes of fantasy movies are defined as typicality and symbolism, grotesqueness, sensuality, hybridization, and otherness. These characteristics are very interconnected. The costumes of heroic characters appearing in fantasy movies show strong side of standard while the costumes of the evil characters revealed the limit of dualistic point of worldview centered on West. Heroic characters show realistic and human side that reflects the ethos of the time. Negative characters such as the devil or witches, which were created in human imagination and emotion, become the dynamic force of fantasy movies through their deviant actions. Their clothes, with variety and hybridization, become the source of creativity expected in present society.

• 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 Social Welfare Studies
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• v.42 no.3
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• pp.57-83
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• 2011

The aim of this study is to elucidate the meaning of school dropout which teenager unmarried mothers have been experiencing. Thus, the researchers conducted in-depth interviews of 6 unmarried mothers to portray vividly their voices and the data were analyzed using a qualitative case study. Acording to the results, the meaning of school dropout of teenager unmarried mothers was redefined as the matter of "identity and status deprivation". Also, their school dropout expediences should be analyzed in the more extended perspective beyond the negative meaning of the existing studies. This meant " the one sided exclusion from academic community." This could be drawn with the implications that the exclusion acted as the inner mechanism of another social exclusion and their school dropout served as the bondages of their lifetime. That is, the problem of school dropout has the meaning of 'the present tense' and 'the future tense' simultaneously. Within this context, the phenomenon in which they experienced was acting as the foundation of a continuous exclusion and discrimination. Also, it was found that our society applied its standards to them unilaterally and they came to live as otherness through their pregnancy. Based on these results, this study has an important significance in that it overcame the limitations of previous research and investigated their subjective worlds.

• Journal of Convergence for Information Technology
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• v.9 no.11
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• pp.180-188
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• 2019

The purpose of this study is to rethink the common theme that penetrates Faulkner's authorship. That is to say, does his authorship come from "being white"? To answer this question, I try to look into "otherness"/violence against others through re-reading Light in August. By borrowing the idea of "panopticon' mechanism in Michel Foucault's Surveiller et Punir, I will examine the process of justifying the violence against others, especially blacks. Through this process, I try to research the one side of Faulkner's Southern myth which was riddled with the history of pillage and violation of black people's rights. In Light in August, I will compare Jefferson society which encircles Joe Christmas to panopticon mechanism derived from Michel Foucault's Surveiller et Punir. Jefferson society as a designer of surveillance system and an executor as well ceaselessly surveils Joe Christmas's otherness/difference or blackness and tries to punish him whenever they can. With this mechanism, I try to explain that writer's repetitive narration of collective amoral behavior such as lynch comes from his anxiety and conscience about his dark side Southern history.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.161-164
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• 2005

The concept of Space-time is performed while the movement of human Is imaged on coming 20th century up. Specifically it is considered that the movement of human is caused by the relativistic otherness rather than an absolute subject in space of deconstructive tendency. The purpose of this study is that I try to analyze an expression of relative space-time concept in desconstructive tendency and I have to get a concept how this kind of expression effect the contemporary commercial space. Through this study, I can get to know that the expression of relative space-time concept expresses the dynamic construction by the indeterminacy and the visual effect by the dematerialization in the contemporary commercial interior-space. According to the result of study, the concept of space get to be more meaningful, relative space-time concept and it can be attributed to the concept of human's new creative space over human's life in general.

• Korean journal of communication and information
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• v.43
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• pp.385-426
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• 2008

This paper focuses on how international marriages among Asians have been represented by the Korean media. Due to globalization, the so-called 'ethnoscape' has changed, and so ethnicity or racial identity within the boundaries of the nation-state changed. The recent diaspora of Asian women into Korea through international marriages has reflected how globalization has proceeded at a regional or local level. This paper attempts to analyze Koreanmedia discourses on the Asian female diaspora. This study analyzes what kind of generic forms TV dramas, other shows(TV reality programs, TV journalistic programs), movie and internet have employed to represent international marriages and how they have portrayed the subjectivities of the Asian female diaspora. This study discuss how this representation has been contested by the 'realities' of their international marriages. By examining how the Korean mainstream media have dealt with the conflicting issues of the Asian female diaspora, this paper intends to look critically at how local discursive practices have substantiated the changing ethnoscape. As a result of the study, this paper can find international marriages among Asians have been represented by Korean media still patriarchal system in male-oriented society. The otherness of Asian women justify the strong work of household affairs, and so justified life is standardized 'a kind of daughter- in-law', 'a complaisant daughter-in-law' in the process of migration. Also the otherness of Asian women standardized 'a victor' or 'a harmer' through international marriage of money that commercialized 'sexuality'. After all Korea media discourse on Asian women's international marriage, the gender issues on it have not been focused on a serious level.

• Cross-Cultural Studies
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• v.50
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• pp.483-507
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• 2018

Shylock in Shakespeare's play, The Merchant of Venice has been considered as either a devilish villain, or as a victim who was persecuted unfairly by the Christian society in Venice. By focusing on the matter of the Other, which has been summarily overlooked in literary texts and the literary criticism, it is noted that the New Historical and Cultural criticism interpreted Shylock as the racial, religious, and economic Other in the Venetian society which at the time was dominated by Christian ideals. The purpose of this paper is to show how Shylock becomes an abjected Other, that is, the abject, based on Julia Kristeva's theory of abjection. According to Kristeva, an abjection is the process of expulsion of otherness from society, through which the subject or the nation tries to set up clear boundaries and establish a stable identity. Shylock is marginalized and abjected by the borders drawn by the Venetian Christian society, which in a strong sense tries to protect its identity and homogeneity by rejecting and excluding any unclean or improper otherness. The borders include the two visible borders like the Ghetto and the red hats worn by the Jews, and one invisible border in the religious and economic fields. By asking for one pound of Antonio's flesh when he can't pay back 3,000 ducats owed, Shylock tries to cross the border between Christians and Jews. Portia frustrates Shylock's desire to violate the border by presenting a different interpretation of the expression, 'one pound of flesh,' from Shylock's interpretation. And in doing so she expels him back to his original position of abject.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.5-50
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• 2012

In these days, we come across a growing interest in animals from various perspectives. Considering that the posthumanistic point of view forms the major stream of postmodern humanities, ethics and philosophies, this paper tries to study the liminality between human beings and animal as appear in postmodern plays. The cases of a middle-aged architect falling in love with a goat (The Goat, or Who is Sylvia? by Edward Albee); An abandoned (human-)dog that encounters his old mistress under the moonlight (A leaseholder by Yoon Young-sun); Coexistence of men, dog, plants in a Country life (White Cherry by Bae Sam-sik); A Mutual sympathy between a swarm of bees and a woman dying of cancer(Bee by Bae Sam-sik) were discussed referring such concepts as 'Otherness' of Derrida, 'Becoming'of Deleuze, 'a bare life' of Agamben and ecological co-existence. In The Goat, the moment of Martin who happened to meet a goat's eyes in a suburbs can be paralleled with that of Derrida who one day found himself caught up with the gaze of a cat in the bathroom while he was naked. They shared the common experience in that they went through the ontological and mysterious abyss that rendered them to raise the question of "Who am I ?" In A leaseholder, a young woman returns to her hometown exhausted by the calculating human society and meet her old time (human-dog). This story reminds us of Agamben's werewolf, Levinas's dog Bobby and Derrida's Zootobiography. He, an abandoned pet, both excluded and included from human society, now appearing as a mysterious human-dog, welcomes, embraces, and comprehends his old mistress and exposes his individual remorses and passions as an animal-subject. In White Cherry, the author describes the coexistence of all the life-beings such as an old dog, a golden bell tree, the deceased daughter and even a fossil remains in a country life. Bee is a story of a beekeeping village where bees were leaving and disappearing. A swam of bees fly down on a woman who was dying of cancer. With physical and spiritual empathy the dying woman helps the swarm of bee to conduct a new birth and a new life.