• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.4
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• pp.599-614
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• 2017

With the increasing media representation of aging as negative and abnormal, anti-aging products and discourses are spreading to younger generations. This paper analyzes the anti-aging discourse in a fashion magazine targeted towards women in their 20s. It quantitatively analyzes the historical development of the antiaging industry and discourses from 1994 to 2014 in the magazine "$C{\acute{e}}ci$". It also analyzes the patterns of signification associated with aging in the magazine through the use of critical discourse analysis. This paper identifies five major discourses -"segmentation of the definitions of youthful appearance", "scientific and medical discourse", "self-care discourse", "prevention of aging", and "social values of youthful appearances". The paper finds that the construction of anti-aging discourses towards women in their 20s is heavily influenced by the close link between the anti-aging industry and the fashion media. It also confirms the ideology of self-development though a rigorous appearance-management that is strongly imposed on Korean women and subsequently reproduced in an anti-aging discourse towards women in their 20s.

• Journal of architectural history
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• v.30 no.6
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• pp.59-70
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• 2021

Compared with other philosophers and writers who were engaged in architecture Georges Bataille was extraordinary. Because he produced anti-architectural discourse. This paper studied the Bataille's thinking with relation to architecture that used as a fundamental and privileged metaphor. Philosophy regarded as the foundation of all academic discipline needed architecture in order to show its system was durable, synthetic and hierarchical. The will to build a solid system of reasoning made philosophy to call architecture to pretend that it is structurally stable. Metaphor and representation is inevitable in philosophy. Then architectural image that supported by discourse of philosophy became a representation of sociocultural system. According to Bataille architectural representation justified existing power and belief system. With architecture Identity always represented the true and good. This kind of architectonic thinking erased the Other that allowed metaphysics and symbolic Against architecture Bataille produced writings of violation and excess corresponding to labyrinth. Labyrinth in fact made a formal structure of architecture possible to be a metaphor of symbolic system. Bataille's anti-architectural thinking paradoxically shows the importance of Architecture and give a chance to rethink the ethical aspect of architecture instead of aesthetics.

• Korean Journal of Social Welfare Studies
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• v.42 no.1
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• pp.179-217
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• 2011

This paper discusses the type of discourse associated with mental illness and individuals with mental illness in the context of TV documentary. Discourse is an linguistic product which prescribes and interprets the reality and reconstructs the reality systematically. Therefore, TV documentary contents illuminate the dominant discourse associate with mental illness through the diverse types of representation. We picked four TV documentaries from each public channels and analyzed these documentaries using Fairclough's Critical Discourse Analysis. Faircough suggests the analysis frame consisting of three level. The analysis reveals that TV documentaries produce the discourse "the Completion of Distinction" associated with mental illness and individuals with mental illness. TV documentaries suggest the reason why we distinct them from us in textual level. In discourse practice level, they suggest the method and the principal agent of distinction. For social practice, TV documentaries reinforce the dual attitude of viewer. Alternative discourse associated with mental illness and individuals with mental illness will be constructed when individuals with mental illness recovers the status of principal agents and produces strong voices about themselves.

• Journal of architectural history
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• v.20 no.6
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

• Journal of Digital Contents Society
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• v.15 no.5
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• pp.613-620
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• 2014

Gender Representation of animation character that is discussed in this essay is a semantic discourse that is related to communication with contemporary audience. For gender Representation of animation character, as it can be thought that linguistic elements for signification with audience are materialized, it has a significant value when it comes to communication with audience. Commercial success of Disney's feature length animation Frozen is from excellent aesthetic principles and techniques and global marketing capabilities of Disney studio. However, independent and active gender representation of Elsa and Anna in Frozen are more important commercial successful elements. Especially, Gender representation of these two characters reflects myth of women who live in this modern society so their linguistic meaning can appear affluently. That also means that those two characters have advantages, in terms of communication, that can have effective signification with contemporary audience as linguistic sign. And those advantages are signification foundation that Frozen can be commercially successful by communicating with audience all around the world.

• (The) Korean Journal of Advertising
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• v.29 no.4
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• pp.131-157
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• 2018

This study explores the characteristics and discourse of creative work in advertising and investigates women's work experience and their problem. This will reconfirm the characteristics of advertising as creative labour. For this, it conducts in-depth interviews and analyzes them through a theoretical detour and a thick description. The study found the dominant discourse that creativity is their duty and ultimate goal. This dominant discourse makes the gendering of creative roles and representation languished. In spite of this, female creators with parenting have difficulty in reducing work ability, because conflicting identities weaken their self-regulation. This means that advertising is 'self-regulationized' labour.

• The Journal of Art Theory & Practice
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• no.7
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• pp.189-240
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• 2009

This essay aims to develop a critical approach of interpretation in examining the panoptical condition of representation that is said to permeate the tradition of modern realism in novels and paintings. In defining this approach, I am interested in the problem or inability of panoptical representation to tell a coherent story of solitude(solitary confinement, isolation, self-absorption, etc.) in a range of texts from prison documents to paintings and novels, and also what might occasion such an inability including social, material, or stylistic contradictions and conflicting epistemological angles. This task potentially anticipates a trajectory of readings and investigations that cuts through the history of panoptical representation, which is outside the scope of this essay. In this writing, I will engage in a series of debates with what I consider as major theories and views of panoptical representation offered by Jeremy Bentham, John Bender, and Michael Fried. Based on this, I will formulate a conceptual or methodological frame of discourse that would envisage an anti-panoptical approach of interpretation. As an attempt to validate this formulation, I will offer a reading of Henry Mayhew's Criminal Prisons of London and Scenes of Prison Life(1862), a case of panoptical representation that produces a peculiar sense of ambivalence while accounting for sites of penal solitude.

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• Cartoon and Animation Studies
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• s.34
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• pp.237-262
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• 2014

Recent Korean popular films and television dramas represent journalist as the character who colludes with corrupt power to engage in scandals or completes one's goals by good or bad means. It matters that the negative discourse of journalists fosters audience's distrust on journalism. Representation of journalists in popular culture is related to the reliability of journalism. In relation, it is noticeable that popular media represent female journalists. This study examines how recent popular films deal with female journalists through the case of (2011) and (2012) to find improvement of discourse on journalists. In result, three female characters in these films represent positively 'reformative leadership' (Chief Cho in ), 'appropriation of information technology'(Seong Hyo Kwan in ), and 'emotional response' (Jang Eun Seo in ). Compared to representation of journalists through male, the positive representation of female journalists constributes to positive discourse on role and function of journalism. However, it may be considered that these positive representations are merely a part of whole journalists.

• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.