• Journal of Fashion Business
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• v.12 no.5
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• pp.126-140
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• 2008

This thesis aims to examine the symbolism of color in the clothing of women, focusing on the protagonist of the movie Elizabeth: The Golden Age (2007). At the beginning of the movie, the Queen wears gowns with cartwheel ruff and wheel farthingales, symbolizing the attempt of establishing a powerful majesty. However, the Queen falls in love with Walter Raleigh and her clothing comes to emphasize femininity displaying her cleavage. Later on, her clothing indicates charismatic authority as she prepares for the Spanish war. At the end of the movie, the Queen who led the the country to victory in war puts on a luxurious gown with butterfly wings that reminds of a fairy queen. The colors of the Queen's clothing are categorized into three groups. First, the color red represents two opposite allegories. The positive image of red denotes Christ's blood, the love of God, and noble status of the Queen's image as a savior of England. On the other hand, red represents lewdness and evil which insinuate that the Queen is being attacked on her religious and political genuineness. Second, the color blue represents Saint Maria, chastity, and divinity. Third, the color goldw and white represent the Queen's ideals which are chastity as a virgin Queen and divinity.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.336-352
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• 2019

This study examines the characteristics of expressing hippie styles in contemporary women's collections and analyzes them to benefit future fashion design and research. This study reviewed advanced research, fashion magazines, and information providers. The advanced research determined the study's scope by pinpointing the designers who introduced the hippie style into their collections. The results are as follows: First, the reproduced hippie style appears as the combination of various colors and materials, a convergence or mixture of styles, or the use of collage or patchwork. It employs natural silhouettes or varied colors and materials, which makes the renewed hippie style more luxurious than in the past. Second, the reproduced hippie style emphasizes and distinguishes between two types of femininity: a girlish, romantic image using A-line silhouettes and, bright, gleaming colors, and a sexy version that boldly exposes the body or women's curves and, uses soft and flexible materials. Third, the exotic tendencies found in the reproduced hippie style reflect the characteristics of the times, folk costume, or eastern or western features perceived as exotic. Recently, traditional costumes have changed slightly to recall characteristics found in the past. Fourth, the reproduced hippie style reflects hippies' affection for and interest in nature by using environmentally-friendly materials like natural fibers. Flowers, the symbol of hippies, appear most frequently.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.4
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• pp.17-30
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• 2018

This study discusses the ambivalence and ambiguity in the relationship between the women's body and fashion drawings in respect to post-feminism perspectives. Deconstructivist post-feminists, perceiving the body as a passive subject, asserted that women internalize the male gaze by becoming the object of male desire, then manipulate the body to conform to that ideal. In this perspective, corsets assumed the role of the tool for forcing women's body to be obedient, restraining and suppressing the body. On the other hand, in the essentialist post-feminist perspective, which regards the women's body as an active object, insists that fashion, in its essence, is not necessarily about sex, nor is it devised to attract the male gaze. In such a viewpoint, the women's body functions as a vehicle for empowerment; by wearing corset women gain power and embraces the cultural norms of dominant beauty. As investigated in this study, the corset is both a tool for oppressing the women's body, as well as a vehicle for the voluntary expression of femininity. This ambivalence in the perception of the corset in the post-feminist theory represents the double-sided perspective in fashion as being both a subordinate construction and a powerful tool for self-expression.

• Acta Via Serica
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• v.4 no.1
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• pp.71-86
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• 2019

Transnational exchange has been an inseparable part of both the ancient and modern Silk Road. This paper shows how Rumi (1207-1273), a famous Persian Sufi poet, travels along the Silk Road in the $21^{st}$ century. With the birth of a Rumi phenomenon in the West, Silk Road artists have rediscovered and adapted him for different purposes. Elif Shafak, the Turkish-British novelist and women's rights activist, espouses feminist beliefs in her bestseller, The Forty Rules of Love (2010). Benefiting from the views of feminist theorists like Woolf, de Beauvoir and Friedan, this paper reveals how Shafak appropriates Rumi for her feminist purposes. Forty Rules of Love's protagonist, Ella Rubinstein is analyzed, compared and contrasted with her former literary counterparts Pinhan and Zeliha, heroines of Shafak's previous novels. By adapting Rumi's definition of equality, Shafak shows how egalitarianism must pervade the relationship between women and men. The adaptation of Rumi's ideas regarding the equality of sexes finds a different dimension when Shafak reveals that all humanity possesses femininity and masculinity at the same time. By means of ideas prevalent in the ancient Silk Road, the five classical elements theory, and the yin and yang principle, Shafak portrays unity within contradictions. It is concluded that although individuals might belong to different typologies of the five symbolic elements of nature, they can at the same time complement one another's inharmonious personalities peacefully. The process of integration of female and male sexes can be expedited by opening up one's heart to a universal love.

• Analyses & Alternatives
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• v.4 no.2
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• pp.163-202
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• 2020

This paper examines how Japanese society produced and reproduced a distinctively gendered history and memories of the experience of WWII and colonialism in the postwar era. We argue that these gendered narratives, which were embedded in postwar debates about the Peace Constitution and comfort women, have engendered contradictions and made the historical conflicts with neighboring countries challenging to resolve. On the one hand, this deepens conflict, but on the other, it also generates stability in East Asia. After Japan's defeat in WWII, the American Occupation government created the Peace Constitution, which permanently "renounces war as a sovereign right of the nation and the threat or use of force as means of settling international disputes." The removal of the state's monopoly on violence - the symbol of masculinity - resulted in Japan's feminization. This feminization led to collective forgetting of prewar imperialism and militarism in postwar Japan. While collectively forgetting the wartime history of comfort women within these feminized narratives, the conservative movement to revise the Peace Constitution attempted to recover Japan's masculinity for a new, autonomous role in international politics, as uncertainty in East Asia increased. Ironically, however, this effort strengthened Japan's femininity because it involved forgetting Japan's masculine role in the past. This forgetting has undermined efforts to achieve masculine independence, thus reinforcing dependence on the United States. Recurrent debates about the Peace Constitution and comfort women have influenced how Japanese political elites and intellectual society have constructed distinctive social institutions, imagined foreign relations, and framed contemporary problems, as indicated in their gendered restructuring of history.

• Journal of Korean Clinical Nursing Research
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• v.16 no.2
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• pp.33-42
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• 2010

Purpose: The current study was done to describe how nurses are portrayed in hospital administration journals as compared with physicians. Methods: A content analysis of the pictures was conducted using the framework of Goffman. The data were collected from all issues of four hospital administration journals published in 2005, 2006, and 2007 (n=465). Results: Overall, the analysis indicates that nurses were portrayed from the perspective of femininity and mothering. In group scenes, nurses were pictured as peripheral, compared with physicians. Sometimes the photos did not focus on nurses at all. Nurses were also placed standing in the periphery not like physicians at the center of the scene. In terms of professional portrayal, the photos in general present positive image of nurses similar to that of physicians. However, the number of photos including nurses was relatively small. Conclusion: The results of this study indicate that nurses appear less frequently in mass media and when they do it is at the periphery of the scene. It is, then, necessary to make greater effort to call upon mass media to cover more nurses showing a positive images of the profession. All stake holders such as individual nurses, hospitals and related associations should make a combined effort toward that end.

• Korean Journal of Occupational Health Nursing
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• v.31 no.2
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• pp.57-65
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• 2022

Purpose: This study aims to examine differences in experiences of violence and hospital violence attitude according to gender and gender-role identity of clinical nurses. Methods: The quota sampling method, was used to select the research subjects. They were divided into two groups male and female nurses who worked for three general hospitals or higher level-hospitals in Incheon and Gyeongbuk. The data of 219 subjects was used for final analysis. The IBM SPSS 22.0 was used to analyze the data t-test and ANOVA. Results: According to gender, the hospital violence experience of female nurses was oserved frequently when the verbal violence came from guardians, and when the physical threats came from others. For male nurses, the experiences of hospital violence was obserbed. According to gender, the hospital violence attitude revealed significant differences in female nurses that the negative attitude was higher (t=-4.69, p<.001). According to gender-role identity, the undifferentiated and femininity showed significant differences (F=4.86 p=.003). Conclusion: The differentiated strategies of coping measures and violence preventive education considering the gender and gender-role identity of clinical nurses would help formulate measures for the effective management of hospital violence.

• Journal of Fashion Business
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• v.27 no.6
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

• Journal of The Korean Association For Science Education
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• v.29 no.5
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• pp.501-512
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• 2009

The purpose of this research is to compare the attitudes of female students in Korea toward science with the child-rearing attitude of their parents they perceived and their sex-role identity. The participants in this study were 374 female middle- and high-school students, chosen randomly from Seoul and Gyenggi-do in South Korea. We used three different forms of questionnaires in this research: "Scale of Parents' Child-rearing Behaviors Perceived by Teenagers", "Korea Sex-role Survey", and "Attitude Toward Science Measurement." The significant results were acquired after we had analyzed the comparison of the attitude of female students toward science with their perception on their parents' child-rearing attitude, especially on their fathers. The fathers' "monitoring" and "over-expectation" factors affected the attitudes of female students toward science; on the other hand, any child-rearing attitudes of their mothers did not influence their attitudes toward science. We also analyzed the attitudes of female students about science based on their sex-role identities. In consequence, we found that meaningful differences existed in four types of gender-role identity: androgyny type, masculinity type, femininity type and undifferentiated type. In particular, the androgyny type was characterized by a higher score in attitude toward science compared with the undifferentiated type.

• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.77-98
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• 2022

Symbolic meaning underneath good and evil motifs in the Divine Comedy was analyzed based on its historical, theological, and psychological perspectives. Contemplating psychological structure and collective psyche in divine comedy with the perspective of Dante's era, brief analyses of various mythological elements, such as mythical beasts, fallen angels, cursed space and time, and femininity, were attempted in this paper. The Divine Comedy lustrously responds to modern man's existential questions about divinity and the opposing dark side of the human psyche. It helps restore the significant connection between the religio and conscientiousness toward the imago Dei and shadow.