• Journal of English Language & Literature
• /
• 제56권6호
• /
• pp.1281-1294
• /
• 2010

In Written on the Body, by creating the narrator's ungendered and unsexed identity, Winterson makes her text open to the reader's assumption of the narrator's sexual and gender identity. Thus, this novel has been read, on the one hand, as a lesbian text by those who assume that the narrator is a female and, on the other hand, as a suspicious text colluding with patriarchal and heterosexual values by those who define the narrator as a male. Those readings of the narrator as one of either sex/gender, however, demonstrate how (academic as well as general) readers have been accustomed to the gender-based reading habits in which textual meanings are dichotomously arranged along the lines of sex and gender of characters. Challenging those dualistic "gendered" readings, this paper reads Winterson's Written on the Body as a queer text which interrogates, troubles, and subverts the heterosexual concepts of narrative, desire, and body without reducing the narrator's identity to the essentialist sex and gender system. More specifically, this paper examines how the narrator's 'un-/over-' determined sexual and gender identity queers the narrative structure of author-character-reader; how the narrator's queer (fluid) desire is passing and traveling across categorical contours of (homo-/hetero-) sexual desires; how Winterson challenges the concept of a coherent body and queers the concept of body as a hermeneutic text with myriad textual grids which are not coherently mapped by power but randomly inscribed by nomadic desires.

• Journal of Korean Society of Archives and Records Management
• /
• 제16권2호
• /
• pp.113-142
• /
• 2016

With the increase in private and community archives to record various different shapes and forms of societies, the establishment of archives for social minorities has heightened. In line with these changes, this study analyzed the Korean queer archives "Queerarch," which focus on records and archives on sexual minorities. This study examined the current status of the archives of Queerarch, and grasped the characteristics of the queer archives and the problems of archival description elements. The current archival description elements used in Queerarch do not fully reflect the characteristics of the queer archives and the multilayer description method. To solve these problems, this study proposed a metadata schema that includes archival description elements that are based on archival description standards such as the General International Standard Archival Description (ISAD (G)), Manual of Archival Description (MAD), Rules for Archival Description (RAD), and others.

• Cross-Cultural Studies
• /
• 제40권
• /
• pp.111-131
• /
• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• Journal of the Korean Society of Costume
• /
• 제65권3호
• /
• pp.47-61
• /
• 2015

Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.

• Journal of the Korean Society of Costume
• /
• 제62권6호
• /
• pp.1-18
• /
• 2012

This study explores the clothing behavior of homosexual men for identity creation. Since homosexuality has been viewed in terms of immoral, medical or social problems, gay males have made efforts to construct presentational styles in order to hide or reveal their sexual identities. Kate Schofield and Ruth A. Schmidt found that there were three different layers of individual gay identity construction expressed in clothing: shared gay identity, tribal identity, and situational identity. Using their framework, 630 gay men's outfits found in the U.S drama 'Queer as folk' were analyzed, which dealt with the lives of a group of gay men living in Pittsburgh, Pennsylvania. Findings point that gay males use their clothing effectively to express their sexual identity. Firstly, they use certain fashion items as the signifier of homosexuality on a gay community level. They use their clothing to attract the sexual partners. On tribal identity level, diverse and fragmented styles could be shown besides the effeminate style. Homosexual men's clothing can be classified into the following four dominate styles: the drag look, the macho look, the androgynous look and conventional look. Findings also indicate that gay males make different clothing choices for different situations in order to blend into the heterosexual or homosexual society.

• Cartoon and Animation Studies
• /
• 통권38호
• /
• pp.1-28
• /
• 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.

• Fashion & Textile Research Journal
• /
• 제5권1호
• /
• pp.25-33
• /
• 2003

Rococo, which is represented as immoderate pleasure and luxurious aristocratism, had required to be liberal and unconventional in art and life, and the hairstyles were also much more fantastic, huge, and splendid than ever. Women's hairstyles in the early 18th century were the relatively simple style of Pompadour style that didn't inflate hairs and combed them backward. Then, as changes in haristyles began to appear in around 1760, the styles became gradually higher and huger, and very queer styles also appeared. In the 1780s, they ornamented these hairdos by using various things. This can be considered as women's behaviors that showed off their status and wealth instead of their husbands. Although men's hairstyles were not as huge and decorative as women's, wigs were worn frequently. Wigs became smaller and simpler than those in 17C, and while wearing them, they made wigs whitened by spraying hair-powders enough not to recognize their ages. Several names such as Pig tail, Ramilleis, Bag wig, Brigadiere, and so on existed, according to the way to tie the wigs. Somewhat exaggerated men's hairstyles were shown by Macaronis in 1780s. However, this can be regarded to reflect the situation of the age.

• Journal of East-West Nursing Research
• /
• 제27권2호
• /
• pp.195-204
• /
• 2021

Purpose: The purpose of this study was to understand the experiences and problems of sexual and reproductive health among Korean lesbian, gay, bisexual, transgender, queer or questioning, and intersex (LGBTQI) people. Methods: Phenomenological methodology was employed in this study, which comprised 14 LGBTQ participants. Data were collected using individual in-depth interviews from May to June, 2021, and were analyzed using Colaizzi's method. Results: Four categories-comprising nine theme clusters-emerged from the data, as follows: 1) hard-to-recognize gender identity, 2) blind spots in the healthcare system, 3) empathy and support in the community, and 4) new challenges to protect my precious self. Conclusion: This study provides valuable and detailed insights into the meaning of sex and reproductive health among Korean LGBTQI people. This finding could be utilized to develop effective questions for understanding not only sexual and reproductive health but also overall health problems of LGBTQI people.

• Journal of the Korean Society of Costume
• /
• 제57권4호
• /
• pp.173-187
• /
• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Fashion & Textile Research Journal
• /
• 제17권1호
• /
• pp.33-41
• /
• 2015

It analyzes the expressive characteristics of the third wave feminism revealed in the fashion photographs and examines the feminine image affected by the third wave feminism. For the research purposes, both literature review and case study were conducted together. Through the analysis on the expressive characteristics of the fashion photographs based on the characteristics of the third wave feminism, the followings are definitions of the feminine image affected by the third wave feminism. First, as the 'Female image with sexual freedom', it escapes from the passive viewpoint and expresses liberation and rights of women as the subject of the power rather than subordination using sexuality of women actively. Second, as the 'Female image with multiple aspects', it pursues an independent and strong image, challenges and threatens the man power. Third, as the 'Multicultural female image', it reduces a gap among colored races and many other cultures, seeks after rights and freedom independently escaping from the dual oppression, Fourth, as the 'Queer female image', it disorganizes dichotomous gender identity actively and pursues diverse gender identities. So, it shows that the third wave feminism expressed by the various media cultures influences the feminine image in a society at large creating a new image of a woman through exchanging and communicating with its recipients.