• Cross-Cultural Studies
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• v.47
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• pp.77-100
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• 2017

Memoirs of Hadrian is a representative historical novel of Yourcenar which focuses on the personal history of the Emperor Hadrian of Rome and on his inner side. This study focuses on the love story of Hadrian and Antinous, and examines the specificity of their love in relation to the homosexual culture of ancient Greece, especially pedophilia. Through this topic, we have analyzed the causes of the tragic death of Antinous by capturing the progression of a cycle of pedophilia, a young boy (Eromenos), that grows into manhood as Erastes. This study defines the emperor's efforts to restore Antinous in his own way after a failed love, as a passion toward totality. Therefore, we see the two figures as a process of mythology in which the pie of tragic destiny is transferred to the myth of androgyny that becomes one body and one unity in pedophilia. We see this ancient myth as a concept contrasting with the sense of pedophilia of the emperor, who arbitrarily distinguished between love and pleasure, and believed that the affection calculated with calmness and indifference was a harmony of love. This study explains the intention of Yourcenar in her work to present the value of empathic love, especially sacredness and sublime, which should be a part of sensual love. It also reminds us of the importance of sagacity that a person with power must hold in the happiest and most loving moments of life.

• Journal of Korean Library and Information Science Society
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• v.51 no.4
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• pp.101-119
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• 2020

The study aims to understand major topics and concerns of gender identity-related questions expressed by the users of the NAVER social Q&A site. To achieve this goal, we analyzed 2,120 questions created from 2010 to 2018 using natural language- and information retrieval-based methods. Results indicated that the major topics discussed by the users include interpersonal relationships, doubts about gender identity, sexual orientation, feelings and relationships, and concerns about gender identity. In addition, users mainly expressed concerns regarding general issues of gender identity; sexual orientation; negative cognition about gender identity; confession, coming-out, homosexuality; future, heterosexual relationships, military enlistment; and causes of gender identity confusion. The present study effectively derives information needs from real-world concerns about sexual identity by employing topic modeling techniques, and by comparing the advantages of exact match and tf-idf-based information retrieval methods extends methodology of Library and Information Science. Further, it has contributed to the academic maturity of the study of information behavior by observing the information needs or information-seeking behaviors of online community users with specific interests.

• Korean Journal of Culture and Social Issue
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• v.23 no.4
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• pp.605-634
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• 2017

The purpose of this study was to investigate families' responses and attitudes and the experiences of Korean LGBT individuals after revealing their sexual identity and sexual orientation and to determine how families' attitudes affected the mental health of these individuals. For this purpose, in-depth interviews were performed with 12 male and female LGBT participants, ranging from 19-30 years of age, who resided in Seoul and metropolitan areas, and reported coming out to or being outed by their families. One-to-one interviews were carried out using semi-structured questions, and the data from the interviews were analyzed using consensual qualitative research (CQR). Most of the families had very negative responses and attitudes to the participants coming out and exhibited rejection or avoidant attitudes; only a few of the families responded with receptive attitudes. As a result, the LGBT participants reacted with friction and coping behaviors, such as persuasion, participation in professional counseling, abandonment or avoidance, and running away from home. Most of the effects of the families' attitudes on the participants were negative psychological effects, such as anger, sadness, a sense of alienation, depression, anxiety, fear, trauma, helplessness, lowered self-esteem, alcohol dependence, and suicidal ideation and attempt, while receptive attitudes provided a sense of stability. For all participants, they reported that they were more likely to be hurt by their families' negative attitudes than by social attitudes. This study is significant because it provides framework for specifying families' attitudes and LGBT individuals' experiences after coming out in Korean society. It also outlines LGBT individuals' coping behaviors, psychological difficulties, and the process of coming out and provides suggestions for individuals to overcome. The results are expected to help counselors create practical strategies to better understand LGBT individuals and the psychological difficulties they may experience and provide proper interventions while counseling both the individual and the family.

• Korean Journal of Culture and Social Issue
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• v.22 no.3
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• pp.343-362
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• 2016

Despite recent social movements to protect homosexuals' rights in Korea, psychological research investigating attitudes toward homosexuals has been largely ignored. The present study examined Koreans' explicit and implicit attitudes toward homosexuals and how openness is related to them. College students (N = 56) responded to questionnaires assessing explicit attitudes toward homosexuals and openness, one of the five factors of personality. They then took an Implicit Association Test designed to assess implicit attitudes toward homosexuals. We found that participants in general had more negative explicit attitudes toward gay men than lesbians. Implicit prejudice against gay men was also higher than lesbians. There was no participant sex difference in implicit attitudes toward gay men. However, male participants had more negative implicit attitudes toward lesbians than female participants did; in fact, females' implicit attitudes toward lesbians were not biased. While openness was negatively related only to explicit prejudice, values, one of the facets of openness, was negatively related to both explicit and implicit prejudice. This was the first study in Korea that investigated both explicit and implicit attitudes toward gay men and lesbians.

• Cartoon and Animation Studies
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• s.38
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• pp.1-28
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• 2015

The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.