• 복식문화연구
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• 제23권6호
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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.

• 영미문화
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• 제17권2호
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• pp.1-27
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• 2017

My aim in this paper is to provide a clear view of Victorian gender ideology and highlight the role played by Browning's dramatic monologues in the challenge against the strict patriarchal codes of the era. Laura Mulvey's Male Gaze theory in cinema is especially useful for understanding Browning's most well-known dramatic monologues, "Porphyria's Lover," and "My Last Duchess," because these poems are structured by polarities of looking and being looked at, the active and the passive. In her 1975 essay "Visual Pleasure and Narrative Cinema", Mulvey introduced the second-wave feminist concept of "male gaze" as a feature of gender power asymmetry in film. To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze. She declares that in patriarchal society pleasure in looking has been split between active/male and passive/female. Browning's women are subject to the male gaze, but they refuse to become the objects of a scopophilic pleasure-in-looking. Porphyria and the Duchess don't exist in order to satisfy the desires and pleasures of men. They reveal themselves as an autonomous being - reserved in Victorian gender dynamics for men. Mulvey advocates 'an alternative cinema' which can challenges the male-dominated Hollywood ideology. It is possible to say that Browning's dramatic monologues correspond to Mulvey's 'alternative cinema' because they show a counterview in terms of the representation of woman against the Victorian patriarchal ideology.

• 트랜스-
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• 제15권
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• pp.57-79
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• 2023

본 연구는 SNS 플랫폼(인스타그램, 유튜브, 틱톡)에서 인기가 높은 남성 뷰티 인플루언서 4명을 선택하여, 그들이 여성 팬들의 동일시를 얻기 위해 사용하는 SNS 이미지의 전략과 효과를 탐구하고자 한다. 연구 방법은 2023년 7월 21일까지 인스타그램, 유튜브, 틱톡에서 구독자 수가 높은 남성 뷰티 인플루언서 4명인 리쟈치(李佳琦), Jeffree Star, James Charles, Bretman Rock을 선택했다. 연구는 이들이 SNS에 게시한 콘텐츠를 관찰하며 라캉의 응시 이론을 통해 남성 뷰티 인플루언서의 이미지 유형, 특징 및 여성 팬들과의 동일시와의 연관성을 분석했다. 그 후 응시와 관련된 거울 단계, 스크린, 대상a 등의 개념들을 보충하고 남성 뷰티 인플루언서의 이미지 특징과 여성 팬들의 시청 동기에 대해 깊이 있는 분석을 수행했다. 연구 결과로, 남성 뷰티 인플루언서들은 여성화된 거울 이미지 안의 동일성으로 형성된 동일시를 통해 여성 팬들과 '여성적 우정(girl-friendship)'이라는 친근한 관계를 유지할 수 있다는 것을 제시한다. 또한, 남성 뷰티 인플루언서들은 성 정체성의 다원화, 즉 차이성을 가진 이미지를 통해 여성 팬들을 남성적 응시에서 여성적 응시로 변화시켜 보이는 대상에서 보는 주체로 만들 수 있다. 따라서, 남성 뷰티 인플루언서의 이미지는 성별에 대한 사회의 고정관념을 뒤집는 동시에 현대 젊은 여성들의 독립과 평등에 대한 요구에 부응하고, 여성적 응시에 대한 이해를 촉진하며, 소셜미디어 플랫폼의 민주성과 포용성의 잠재력을 탐색하는 새로운 시각을 제시할 것이다.

• 문화기술의 융합
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• 제8권3호
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• pp.399-404
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• 2022

셀린 시아마는 동시대를 대표하는 여성감독이다. 그녀는 꾸준히 여성에 관한 주제로 작품을 만들고 있으며, '여성서사'를 개척해왔다고 할 수 있다. 특히 성장기 소녀의 성적 정체성 형성을 둘러싼 복잡성과 또래 문화가 개인들에게 미치는 영향들을 다루는 데 있어 독보적인 시각을 보여주고 있다. <타오르는 여인의 초상>에서 감독은 가부장이 부재하는 해방된 공간에서 '아가씨', '화가', '하녀' 간의 여성 연대를 보여주면서, 여성주의적 고전 해석과 여성 역사 기록에 대한 자기반영적인 의식을 보여준다. 이 영화는 '그림 그리기'라는 설정을 토대로 시각예술 전반의 역사를 통해 구축된 시선의 젠더화, 응시와 대상화, 본다는 것과 권력의 문제 등을 탐사한다. 영화 속에서 엘로이즈와 마리안느의 초상화 작업은 '보는 자로서의 남성 화가와 남성의 시선을 경유하여 자신을 응시하는 여성 모델'이라는 공식을 해체하고 응시를 주고받음의 상호작용 과정으로 전화시킨다. 응시를 주고받는 과정은 엘로이즈의 몸에 마리안느의 얼굴이 겹쳐지는 누드화로 인장된다. 이는 서구의 회화 역사에서 보기 방식의 양식화를 통해 남성 관객 위치를 이미지 안에 새겨 넣는 지배적 형식으로서의 누드화를 레즈비언의 에로틱한 시선으로 일순간에 전복시킨다.

• 한방안이비인후피부과학회지
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• 제24권3호
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• pp.129-137
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• 2011

Objective : Foville syndrome & Foville-Millard-Gubler syndrome is a disease characterized by facial palsy, ipsilateral conjugate gaze palsy and ipsilateral internal strabismus. There has never been a clinical report of this disease in oriental medicine. Since gradual improvement has been experienced with oriental medical treatments based on facial palsy and paralytic strabismus in this case, it is worthwhile to introduce this disorder and report the case referring to clinical record. Methods : 75-year-old female patient and 45-year-old male patient suffering right facial palsy, right conjugate gaze palsy and right internal strabismus were treated with acupuncture, herbal medicine, pharmacopuncture and electroacupuncture. Result : Concurrence of right facial palsy, right conjugate gaze palsy and right internal strabismus was diagnosed with Foville syndrome or Foville-Millard-Gubler syndrome which is generally caused by the impairment of PPRF, abducens and facial nerves on the affected side and showed improvement with oriental medical treatments. Conclusion : More accurate diagnosis, more aggressive treatments and further researches are all required on this disease afterwards.

• 한국운동역학회지
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• 제27권1호
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• pp.35-43
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• 2017

Objective: The purpose of this study was to determine how gaze angle affects muscle activity and kinematic variables during treadmill walking and to offer scientific information for effective and safe treadmill training environment. Method: Ten male subjects who have no musculoskeletal disorder were recruited. Eight pairs of surface electrodes were attached to the right side of the body to monitor the upper trapezius (UT), rectus abdominis (RA), erector spinae (ES), rectus femoris (RF), bicep femoris (BF), tibialis anterior (TA), medialis gastrocnemius (MG), and lateral gastrocnemius (LG). Two digital camcorders were used to obtain 3-D kinematics of the lower extremity. Each subject walked on a treadmill with a TV monitor at three different heights (eye level; EL, 20% above eye level; AE, 20% below eye level; BE) at speed of 5.0 km/h. For each trial being analyzed, five critical instants and four phases were identified from the video recording. For each dependent variable, one-way ANOVA with repeated measures was used to determine whether there were significant differences among three different conditions (p<.05). When a significant difference was found, post hoc analyses were performed using the contrast procedure. Results: This study found that average and peak IEMG values for EL were generally smaller than the corresponding values for AE and BE but the differences were not statically significant. There were also no significant changes in kinematic variables among three different gaze angles. Conclusion: Based on the results of this study, gaze angle does not affect muscle activity and kinematic variables during treadmill walking. However, it is interesting to note that walking with BE may increase the muscle activity of the trapezius and the lower extremity. Moreover, it may hinder proper dorsiflexion during landing phase. Thus, it seems to reasonable to suggest that inappropriate gaze angle should be avoided in treadmill walking. It is obvious that increased walking speed may cause a significant changes in biomechanical parameters used in this study. It is recommended that future studies be conducted which are similar to the present investigation but using different walking speed.

• 한국의상디자인학회지
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• 제20권4호
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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.

• 영어영문학
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• 제56권6호
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• pp.1105-1117
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• 2010

This study traces out female identity and sexuality in George Du Maurier's novel, Trilby. The heroine's sexuality in this novel plays some interesting roles invoking both male gaze and male homosocial desire. There seems to have been lots of debates about female subjectivity and gender relations in the Victorian age. George Du Maurier tries to redefine female identity which had been divided into two aspects in the age: angel and demon. When he describes Trilby's identity, the fixed duality as fallen, demonic and autonomous women might have been considerably fluid. Rather than returning to the old boundaries of female subjectivity and identity through his heroine, he unwittingly describes the female role as an erotic organizer. As Du Maurier shows that Trilby's identity plays a conduit role for male homosocial desire, he created the tension between masculinity and femininity and revealed a changing relationship between female nature and male culture as well. Furthermore, when George Du Maurier in his novel opened a new possibility for an erotic organizer through his heroin, Trilby, he seems to have represented the more fluid female role in the patriarchal culture that asked only some fixed roles for women.

• 한국실내디자인학회논문집
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• 제18권5호
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• pp.128-136
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• 2009

This study analyzed and defines the property of visual perception throughout the revision of the observation time of the original space and the rotating space. The conclusions of this study are as fellows: First, based on the existing theory and experiment, the study obtained the basis which decides the sector data originating fixation-gaze after staring the specific sector over 300ms time. It will become the turning point hereafter for our research to fix the time in this way. Second, in analyzing the minute data, the study built a revision method of the observation time by analyzing the meanings and the reasons of the revision of the original data. Third, according to the difference of revision quantity, female testee have more increases in the amount of data than male testee from the original screen. On the other hand, the opposite tendency appears from the previous data. This shows there is a difference in the observation properly by sex. Last, we could grasp Information about the property of the observation time throughout eyeball fixations, and the revision and analysis of the 'controlled observation data'. These data can be used in design element arrangement of interior space, hereafter.

• 복식문화연구
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• 제23권1호
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• pp.1-10
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• 2015

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.