• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.1-16
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• 2015

This study aims to provide a new perspective on Disney's animations, by examining how Disney systematized and transformed his own ways of cognitive systems of producing meaning through the costumes of his characters. For this purpose, 10 Disney animations of which the main characters were costume-wearing humans were selected and analyzed. First, the characters' costumes of the passive female heroines were much different from those of the active female heroines while the costumes of male heroes did not have any common characteristics. Second, the characters' costumes according to the settings of the animations had different aspects: the Western-Europe-based animations exhibited the appropriate costumes of the set times, but the non-Western-Europe-based animations exhibited the imaginative costumes of Disney rather than the appropriate costumes of the actual countries. Third, the costumes played the role of expressing the situations of the animations, and had their own repetitive conventions in each animation. Changes in the situations or the upward mobility of the status could be found easily through the costumes, but such distinctiveness became less visible in the later animations. Disney displayed his own distinctive formula of visual aesthetics through the characters' costumes. But it is recommended that we should have the critical views on the cultural messages of Disney's to prevent fixed ideas or cultural prejudices.

• Journal of Digital Convergence
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• v.19 no.6
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• pp.309-314
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• 2021

Disney animation can be said to be part of American culture and art. With the changes in American society and culture, we can see the changes in the personality and social status of female characters in Disney animation. Especially in the Disney animation works published after 2000, many works showing equality in the social abilities and status of women and men have been published. In this study, the characteristics of female characters of the 20th century and the 21st century is compared and analyzed the characters of Elsa and Anna, who expressed the female image in a metaphorical way of 'Frozen 2'. And studied the characteristics and meanings of clothing and colorful shapes. This paper reveals the design elements needed to construct a gender-equality image of female characters, and hopes that it will become a useful research material for the animation industry and academia in the future.

• Journal of Integrative Natural Science
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• v.14 no.3
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• pp.78-86
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• 2021

Personal space is an invisible space around people and plays an important role in human communication. Individual spaces are known to change according to gender and relationships in communication between people. This study examines whether such personal space exists between characters on a metabus. Gender participants took up short personal space, and female participants found that on the Metabus, they changed their personal space according to their intimacy or gender with other people's characters rather than their own. Male participants are thought to change their personal space according to their personality in case of reason in Metabus. From this, it is thought that the participant continues to have physicality, just as the meta-bus actually has a body. Female participants found that in Metabuses, as in the real world, gender between characters has a similar short personal space, rather than gender, and intimacy between characters. In the case of male participants, it was shown that the closeness between the characters was similar to that of the personal space, but the gender of other characters did not change the personal space. Future validation of personal space for metabus characters requires comparison of shapes of individual spaces and cultures, such as individual characteristics, such as introduction and extroversion of individual space, and experiments of gender. In this experiment, the number of female experiment participants is strongly required in future experiments, as compared with male experiment participants, and the need for various cultural experiments is also required.

• The Korean Journal of Ecology
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• v.14 no.4
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• pp.415-433
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• 1991

Seasonal variation in size and number of floral structures was examined in two massachusetts populations of chelidonium major, a self-compatible herb. All floral charcters except for anther number per flower declind significantly during a 3 week period. However, temporal patterns were not identical among characters or between popolations. The result indicate that floral characters varied in conjunction with flower diameter,but that the pattern of changes in floral characters in response to environments may not be easy to predict. Principal components analysis was conducted to environments may not be easy to predict. principal compenents analysis was conducted tl identify the functional relationship among floral male function, and female function, respectively, perhaps reflecting the functional distinction of floral characters. Based on this pattern, the relative allocation to sexual structures within flowers was examined: male allocation was relatively greater than female allocation eary or in the middle of flowering season, depending upon populations. Temporalvariation in relative allocation within flowers was not independent of seed tield components:; different combinations of the size and number of floral characters were correlated with different seed yield components, for example, either seed size or number per fruit, during a season. in particular, allocations to attractive and male structures were highly correlated with mean seed weight only earlier in the season. These result provide some evidence that flowering phenolgy is an important comportant to be considered in the study of sexual allocation.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.510-524
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• 2007

There is something common between the Korean female Kukkuk and the Japanese Takarazuka Revue in that actors are all females and love is the main theme. Some of the females should play men's roles, so they are described as ideal men and are more manly than real men, and female audiences are attracted by them. It is hard for actresses to play men's roles-they have to stretch open their shoulders, walk with long steps and produce a deep voice. They put on a makeup a little exaggeratedly to perfectly disguise themselves as men and express strong images-some red tone makeup on their face, thick eyebrows with their ends upward, thick eye lines to make eyes seem bigger and stronger, and thick side whiskers. On the contrary, a makeup for female characters is softer to highlight femininity with thin penciled hair parted and braided on the sides of the face. The Takarazuka Revue's students are divided into male characters and female ones from the regular course of music schools, and they select their roles in consideration of their height and range of voice, mainly based on their wish. In case of male characters, they need a long career and verification of ability to be the best. Females playing men's roles and showing their manliness are violation of a social custom standardizing the character of males and females and are the reverse of roles expected by a society or a culture. A world experienced by these plays is a kind of revolt breaking the taboo of the patriarchal system.

• International Journal of Knowledge Content Development & Technology
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• v.1 no.2
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• pp.5-14
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• 2011

This study analyzes sexism in children's picture books that incorporate mathematical problems and problem-solving into the plot to determine if children's earliest reading material is affecting the achievement gap between males and females in this subject area. The study focused not just on overall totals of male and female characters, but also analyzed which genders most often portrayed gender stereotyped behaviors and personality traits and which characters were most often shown with mathematical skills. The findings of the study show that there were twice as many male as female characters, and the math problem-solving was generally done by males in the majority of titles.

• Animal cells and systems
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• v.10 no.4
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• pp.183-189
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• 2006

The fine structural characteristics of the antennal sensory organs of a female millipede, Orthomorphella pekuensis, were observed with field emission scanning electron microscopy. On the surface of the antenna, four basic types of sensory receptor with the function of either mechanical or olfactory reception are identified in this female millipede. Of these, chaetiform sensilla (CS) and trichoid sensilla (TS) are related to mechanical reception, and four large apical cone sensilla (AS) and three subtypes of basiconic sensilla ($BS_1,\;BS_2,\;BS_3$) are likely to function in olfactory reception, as these receptors have porous structure commonly. Although this millipede also possess a number of primary or secondary sexual characters to improve the efficiency of reproduction, we could not observe their prominent sexually dimorphic characters in the antennal sensilla with the exception of minor structural and numerical differences.

• English & American cultural studies
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• v.14 no.2
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• pp.23-48
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• 2014

Considered as the first generation of the Chinese American male writers, Shawn Wong has often been tagged with the male-centered or cultural nationalistic writer for his first short novel Homebase since the 1970s. He has, however, shifted his own gender and cultural attitudes toward his male character in his second novel American Knees, published in 1995. By focusing on his second novel, this paper examines how Wong critically reconsiders the male-centeredness and cultural nationalism in a way to invalidate them in relationships among male and female characters in the formation of the Chinese American male's identity. Attempting to establish his own national and cultural identity as an American citizenship and the self-awareness of masculinity as a man, Rainsford Chan in Homebase believed that he could achieve his identity and masculinity with the chronological experiences related to his ancestors in American society. He even strictly erased the presence of female in his own identity formation. In doing so, he seemed to anchor his authorship at the discourse of the male-centeredness and cultural nationalist like other contemporary writers such as Frank Chin and Jeffrey Paul Chan who always strongly marked cultural tradition. By creating a non-conventional male character Raymond Ding with compromising and open-eared attitudes toward female characters, however, Wong dramatically changes the idea of representing the relationships between male and female characters in American Knees. In this novel, he suggests that the male character' identity can be properly formed not in the extreme reinforcement of masculinity or the ethnic-based cultural awareness but with the mutual understanding between male and female individuals regardless of ethnic and nationalistic biases. Consequently, Wong attempts to bail out of the male-centered images of the first generation of the Chinese American male writers through Raymond Ding.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.107-117
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• 2020

Animation films form a substantial part of pop culture and depict the sociocultural changes and values of the time in which they are made through visual expression of story and characters. In the process of appreciating animation films and accepting the characters, the audience learns the gender role behaviors that appear in the works as socially acceptable representations of men and women. This study illustrates whether the expression of gender role and behaviors of characters from animation films have changed over time or not by analyzing the costume and gestures of the female protagonists in 'Mulan', 'Tangled', 'Moana', and 'Frozen 2'. These films are considered to reflect the modern female identity on their story and characters. The study confirms that the stereotypical gestures and behaviors of women are still used today to portray the female protagonists in the animation films contrary to the story composition and various aspects of characters which escaped the formal stereotype. It is important for children and adolescents, the main consumers of animation, to learn and know how to consume media properly. Thus, this study seeks to illuminate the importance of research on animation literacy eduction for children and adolescents by examining the visual expressions and their implications in various animation films.

• Journal of Digital Convergence
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• v.17 no.9
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• pp.361-366
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• 2019

First quarter of 2019, 'Honour Of Kings' continued to be rank No.1 in mobile game sales. Although 'Honour Of Kings' is a game preferred by male players, it has more than 100 million female players. It can have such a large number of female players, in addition to its simplified game operation, social function, there are also included changeable characters for women's preferences. So that the 'Honour Of Kings' allows many female players to take part in. In this paper, the author chooses a skin with high preference for female players among many game consumer goods as the research object. Analysing the design elements of female player' preferences. Female players are more emotional, their favorite game characters just reflect women's longing for beautiful things. It is pointed out that the female orientation of female consumers should be taken into account in the mobile game market, which indicates the direction of visual factors for future mobile game design.