• Journal of the Korean Society of Child Welfare
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• no.32
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• pp.33-68
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• 2010

The aim of the present study is to understand the lived experiences of sexual violence in childhood and adolescence. Qualitative methodology, which allows us to directly meet individuals who experienced sexual violence, see their experience, and qualitatively analyze their experience was employed. More specifically, I conducted in-depth interviews with 6 woman who experienced sex abuse in their childhood and adolescence, and analyzed their experience using categorization and theme analysis methods. The key themes that were derived from the qualitative data include, 'On the day out of the ordinary; Unspeakable terror', 'Why did this kind of thing happen to me', 'Trying not to loss my senses; Unspeakable suffering, unable to speak', 'I hate myself', 'Forgetting wasn't the end; Would it be okay if I speak out' 'Becoming conscious creates more confusion', 'I know that it is not my fault', 'Internalized social norms', 'Denial of feminity', 'Confusion and recovery'. Based on these findings, I propose a practice guideline to help woman who experienced sexual abuse during childhood and adolescence, and implications for future studies.

• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• Journal of the Korean Society of School Health
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• v.16 no.1
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• pp.135-148
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• 2003

The purpose of this study was to find out the degree of satisfaction of body image and sex-role identity of primary school boys and girls and to examine their relevance between two sex groups. The data from study would be useful for mapping out some measures for school health education. Two hundred and forty five(245) students of 6th grade from 5 different primary schools in Seoul city and Gyonggi Province were selected for the study. The meaningful difference among demographic sociological characteristics between boys and girls has been shown to be in religion($x^2$=6.705, p=.044), the order of siblings($x^2$=7.455, p=.024), mother's academic career ($x^2$=6.705, p=.035) and the levels of living ($x^2$=4.108, p=.043). In the frequency distribution of sex-role identity, boys and girls were revealed as : undifferentiated 41.0%, 36.4%; as androgynous 24.8%, 25.8% respectively. Boys have masculinity (23.1%), on the other hand girls more feminity (22.7%). The meaningful difference of the degree of satisfaction of body image depends on father's ag(t=3.029, p=.050), mother's occupation(t=2.878, p=.023), home atmosphere(t=9.056, p=.000), level of livin(t=2.216, p=.028), academic achievements(t=4.580, p=.011). Masculine sex-role identity has shown its meaningful difference in mother's academic background(t=7.042, p=.001), academic achievements(t=14.963, p=.000). Feminine sex-role identity according to general characteristics shows meaningful difference in gender(t=2.683, p=.008), the order of siblings(t=3.019, p=0.51), father's academic career(t=5.558, p=.004) mother's academic background(t=7.676, p=.001), mother's occupation (t=3.405, p=.010), home atmosphere(t=4.492, p=.012), school performance(t=16.774, p=.000). Sex-role identity influences on the degree of satisfaction of body image as the relation bet ween the degree of satisfaction of body image and sex-role identity is pro correlative.

• Korean journal of communication and information
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• v.51
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• pp.156-173
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• 2010

This study analysed the narrative of and , two history documentary broadcasted on KBS, in terms of story-telling and discourse. And it also examined whether TV as mass media could provide an alternative interpretation against the dominant historical awareness. As a result, both programmes showed limitations on representing subversive point of view to the dominant ideology. At the story-telling level, firstly, they represented in a way of male-hero narrative though they were describing the history of woman, and while representing woman as a public figure they eliminated her feminity and individuality. Secondly, before evaluating woman as a historic figure they previously appreciated her appearance in a male-point of view. Thirdly, although they were telling the story of woman in a political view, they focused on love triangle, therefore failed to make her as a public figure. The discourses of both programmes were anchoring the existing historical interpretation instead of offering an alternative historical imagination. The narrator who were telling history at the studio in a omniscient viewpoint took a role as a meaning definer, placed at the highest rank in the hierarchy of discourse structure. Especially in , the dramatized images to cover lack of visual data helped anchor the patriarchal narrative and reduced the possibility of subversive interpretation on historic figure.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.5
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• pp.2170-2177
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• 2012

The ratio of index finger length to ring finger length(2D:4D) is an index of prenatal testosterone and/or estrogen exposure. The aim of this study is to investigate digit ratio and the type of gender-role orientation, to identify the correlation between 2D:4D and gender-role orientation in health and medical students. Participants were 120 male and 146 female university students majoring in health or medicine. After filling in KSRI(Korean Sex Role Inventory), 2nd and 4th finger lengths were measured on both hands using vernier callipers with photocopy. This study showed 2D:4D in the males was 0.95, and that in the females was 0.96 (p<0.01). 38.3% male students revealed androgyny, on the other hand, 35.6% female students revealed undifferentiated type from KSRI. And also, there was a significant difference in masculinity score between male and female but not in feminity score. There was no significant difference in 2D:4D according gender role orientation. The KSRI masculinity score was negatively related to 2D:4D of left hand in male (p<0.05). The results of this study suggest that a more masculine gender role orientation in males is associated with low 2D:4D revealing higher testosterone and/or lower estrogen level in utero. However, more research in 2D:4D ratio to Korean is needed for support of this result.

• Journal of Korean Philosophical Society
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• v.137
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• pp.409-438
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• 2016

The movie, Battle of Wits which is based on the cartoon by Morihideki(森秀樹) is directed by Zhang Zhiliang(張之亮), a director from Hong Kong. Morihideki's cartoon is based on the novel by Sakemikenichi(酒見賢一). The movie represents a successful one-source multi-use case. Battle of wits, which deals with the Mozi's propaganda against war, presents the thought of Mozi School(墨家) in spring, autumn, and warring states. The movie criticizes aggressive war by powerful nations. Aggressive war is an extreme form of brutality and worthless action without any benefit. Aggressive war represents 'never each love(buxiangai, 不相愛)' and 'never each benefit(buxiangli, 不相利)' as understood by Mozi. The main character of the movie endeavors and successfully defends the enemy's attack as Mozi did. It is due to the propaganda of Mozi School 'not to attack(feigong, 非攻)' that they can defend themselves from the attack from a powerful nation. It means that 'the universal love(jianai, 兼愛)', the ideology of Mozi, is concretely actualized. The philosophy of Mozi School in the Battle of Wits has its limits as follows: the thought of Mozi School is just suitable during times of war and unnecessary in times of peace, the contradiction between universal love and hatred for one person; the Mozi School's faith in the nature of human beings to confront betrayal. This limit was also proposed in the movie. However, the movie presented how the masculinity of Mozi School, supplemented by the feminity of Daojia(道家), can succeed in achieving genuine communication. When focusing on this point, the movie can be interpreted as biased towards the philosophy of Daojia.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.401-412
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• 2020

This study was to determine differences and relations in nursing students' clinical practice stress and clinical competence by gender role identity. The study made a questionnaire survey of 450 nursing students of 2 colleges in J city, Gyeongnam, from June 1st to 30th, 2020. Data from 417 sheets were finally analyzed with descriptive statistics, χ2test, t-test, ANOVA, Scheffe test, correlation and hierarchial regression analysis. The analysis found that most of the participants belonged to undifferentiated type(34.3%) in gender role identity. Clinical competence showed significantly different(F=20.98, p<.001), but clinical practice stress showed no significant difference depending on that identity(F=1.56, p=.199). Clinical competence had positive correlations with the index of masculinity(r=.397, p<.001) or the index of feminity(r=.325, p<.001), but had no with clinical practice stress(r=.061, p=.217). Gender role identity turned out to be a factor that would significantly influence clinical competence(F=6.67, p<.001). These findings suggest that gender role identity of nursing students should be confirmed prior to clinical practice education and, thereon, interventions for clinical competence improvement should be developed.

• Journal of Fashion Business
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• v.3 no.4
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• pp.147-160
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• 1999

This paper is intended to compare and analyze the fashion trends that were introduced in the recent shows, held abroad and in Korea, so as to investigate how well the designers in Taegu and Kyungbuk (TK) area are keeping up with the international vogue. The research has done, analyzing Pret-a-Porter in Paris and the three events held in the TK area in 1997 -The Taegu Collection, Kyungbuk Fashion Festival and Textile & Apparel Fair and using reference pictures and documentary records. In order to investigate the trends the research is divided by four groups which are the silhouette, the detail, the color and the Fashion image and has done with the help of three postgraduate students. The results are as follows. 1. The Silhouette The slim-line has the greatest importance in the silhouette analysis of the recent collections. Like Elongated and Fit & Flare, tight-fitting and female-line were also appeared quite a lot. Compared with foreign collection, Korean collections put the bigger importance on the slim-line. 2. The Detail The printings, using paintings and plant-logos had the large portion of the accessories in both foreign and Korean collections. Draw string and wrap style were also presented a lot. Especially, at the Korean collections, layerd, corsage, and craft accent were emphasized, too. As for the necklines the similarity was found over the four events considering. Camisole neckline and halter neck were presented the most, and bared top, Vneckline, boat and low-neck which can highlight the feminity were often appeared as well. Considering collars, tailored and peaked collars which are frequently used for the jackets, were usually shown at the collections. Like convertable, shirts, wing and Italian collar, the collars that can be applied for the sports wears were presented a lot. Virtually no variation of design was found in the sleeve analysis. While set-in-sleeve and sleeveless were found commonly, not so many ornaments were added to the sleeves. The ankle and knee length for the pants and skirts were common. Furthermore, including the micro-mini, showing extremely feminine style the mini-style had the 20% portion of the skirt-length. Unbalanced lengths, using bias-cut were presented quite a lot on the runways. Deep slit skirts, wide pants and irregular hem skirts were in vogue. On the runways of Paris, more than 21% of the design was the burmuda pants. 3. The Color Red and Blue were in vogue in the four collections considering. Sometimes, yellowish was combined in Korean collections. Black and pale tone were appeared to be in fashion also with light grayish, moderate and deep tone. 4. The Fashion image As for the fashion image, feminine-decorative trend amounted to the large percentage in korean collections. At the foreign collection feminine-decorative trend and feminine trend were predominant, then mannish trend and simple trend were apeared equally. The research shows that TK area and foreign collections are fairy similar, which means that the designers in TK area have been making their efforts to satisfy the clients who have the international minds. However, compared with foreign collections, TK collections were apprered to be strongly inclined to only a few trends. Consequently the season trends are not as diverse as the foreign trends, which cannot satisfy the fashion taste of the clients in TK area. The local designers should know the tendency and the taste of the clients and make the more efforts to read local clients' mind.

• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• Korean Journal of Culture and Social Issue
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• v.9 no.2
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• pp.41-59
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• 2003

The present study was conducted to (1) explore the perceptions of Korean men and women about what is an important relationship for them and how do each gender group construe relational self, and (2) develop the scale to assess the factors of relational self and verify construct validity of the scale. 40 college students and 60 adults participated in survey and FGI (Focused Group Interview) respectively, and content analysis of their responses yielded 2 categories with 39 characteristics of relational self. The one category was named 'instrumentality' which was important to men and the other was named 'expressivity' which was important to women. The list of 39 items was administered to a nationwide sample of 1503 Korean adults to assess their construal of relational self through the 6-point Likert scale. Principal axis factor analysis showed that the two categories were unidimensional with high reliability. As a result of factor analysis on each category, a total of 9 factors were extracted. Specifically, the instrumentality consisted of factors such as utilitarianism, independence, initiativeness, self-assurance, and competence. And the factors of expressivity were empathy, passiveness, dependency, consideration. The tests of mean difference revealed that men had higher scores in most of the instrumental factors, while women had higher scores in most of the expressive factors. But there was no sex difference in the interdependent self-construal scale(Cross, 2000) which has been frequently used for measuring relational self. This is related to the Korean's collective cultural characteristics, and it was concluded that the relationship with others is very important to both Korean men and women, but the meaning and expectation of the relationship as well as the method for its preservation are different to each sex group. In addition, the correlation analyses indicated that the feminity score was positively correlated with the expressiveness while the masculinity score was positively correlated with instrumentality. This result implicated the differences of relational self among Korean people were related to the socialization process of each sex, i.e., sex role identity. Finally, limitations of this study and the directions for future research were discussed.