• 영어영문학
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• 제56권6호
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• pp.1281-1294
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• 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.

• 한국기록관리학회지
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• 제16권2호
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• pp.113-142
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• 2016

사회의 다양한 모습을 기록으로 남기려는 민간 공동체 아카이브 구축이 증가함에 따라 사회적 소수자들에 대한 아카이브 구축에 대한 관심도 증가하였다. 이에 성적 소수자들의 기록에 초점을 맞추어 국내 퀴어 아카이브인 '퀴어락(Queerarch)'을 중심으로 기록물 구축현황을 알아보고 퀴어기록의 특성과 퀴어락 기술요소의 문제점을 파악하였다. 퀴어락 기술요소의 문제점으로 제시된 집합적 기술과 다계층 기술의 부재, 퀴어 기록의 특성을 충분히 반영하지 못했다는 점을 보완할 수 있는 방안을 마련하고자 ISAD(G), MAD, RAD 등의 기술규칙을 참고하여 새로운 기술요소를 제안하였다.

• 비교문화연구
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• 제40권
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• pp.111-131
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• 2015

본 논문은 <공각기동대>의 주인공인 사이보그 여전사 쿠사나기 소령에 초점을 맞춰, 포스트휴머니즘과 퀴어이론의 시각에서 <공각기동대>를 재해석하는 것을 목적으로 한다. 기존비평에서 쿠사나기 소령의 몸이 여성해방의 상징으로 극찬 받거나, 아니면 그 성적 함의로 인해 여성성의 상품화란 비난을 받았다면, 포스트휴머니즘과 퀴어 이론은 인간/비인간, 남성(성)/여성(성)이란 이분법을 넘어 소령의 몸을 보다 급진적으로 해석할 여지를 준다. 즉, 이분법의 해체를 통해 이미지에 함몰된 현실 속에서 과연 현실이라는 것이 얼마나 "현실적"이며, 현실 속의 다양한 대립범주들이 얼마나 인위적인 것인지 재고해 보게 해주는 것이다. 이러한 해석의 틀로 본다면, 쿠사나기 소령의 몸은 현실 속 여성상의 "반영"이라기보다 그 자체로 존재의의를 지닌 아니메 속 허구 존재, 인간/비인간, 여성/남성의 범주에 속하는 대신 SNS와 정보화사회 속에 점점 내면을 잃어가는 현대인의 불안을 구현해주는 혼종적 존재이다. 많은 포스트휴머니즘 이론가과 퀴어 이론가들이 경고하듯, "포스트휴먼"이나 "퀴어"란 용어는 너무도 종종 인간중심적 사고를 재확인하기 위해 대중문화텍스트에서 남용된다. 이런 점을 염두에 두며, 본 논문은 소령의 혼종적 몸이 인간과 기계의 결합이기에 의미 있는 몸이라고 단순하게 주장하거나, 혹은 피상적인 포스트모던 읽기를 통해 경계를 넘나드는 해방적 몸이라고 미화하지 않을 것이다. <공각기동대>가 거두고 있는 성취는, 소령의 몸 속에 어지럽게 구현되고 있는 개인성, 동물성, 그리고 기술의 결합이 인간이 "언제나, 항상" 포스트휴먼적 존재였음을 깨닫게 해주는 것이다. 본 논문은 <공각기동대>가 유려한 영상을 통해 그려내는 이러한 인식의 전환, 즉 억압적인 인간중심 휴머니즘에서 퀴어한 존재들과의 공존이라는 인식의 전환이 윤리적 함의를 지녔음을, 그리고 이러한 윤리적 시도가 바로 이 영화의 가장 핵심적인 성취이자 지속적인 매력임을 주장하려 한다.

• 복식
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• 제65권3호
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• pp.47-61
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• 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.

• 복식
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• 제62권6호
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• pp.1-18
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• 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.

• 만화애니메이션 연구
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• 통권38호
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• pp.1-28
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• 2015

디즈니 애니메이션에서 여성 캐릭터가 등장하는 작품은 1937년 '백설공주와 일곱 난쟁이'로부터 시작된다. 그 후 2010년 '라푼젤'에 이르기까지 11명의 여성 캐릭터가 등장하였다. 여성 캐릭터들은 순종적, 가정적이고 왕자와의 결혼으로 인한 자신의 정체성을 들어내는 것에서 부터 시작하여 독립적, 개척적이고 때로는 나라를 구하고 남성을 이끄는 여전사의 캐릭터로 발전하기에 이르렀다. 하지만 여전히 디즈니 애니메이션의 결말은 제도적, 전통적 담론에서 벗어나지 못하고 있다. 남성 주인공을 만난 여성캐릭터는 키스와 결혼으로 결말 되거나 남성을 위한 희생의 미덕을 보여주는 것 이었다. 하지만 '겨울왕국'의 엘사는 지금까지의 디즈니에서 보여준 남성주의적, 가부장중심의 이성애적 이분법 담론의 캐릭터와는 구분되는 주체적 정체성을 가진 캐릭터이다. 본 고에서는 섹스와 젠더의 구분을 해체하고 젠더 개념을 수행적이며 유형화된 행동에 의해 구성된 것이고 남/녀, 이성애/동성애의 이분법적 자체를 해체한다는 개념인 퀴어이론을 통하여 엘사 케릭터의 젠더 정체성의 변화를 설명하고자 한다. 퀴어의 수행성은 레즈비언-게이 섹슈얼리티와 이성애 사이의 경계를 모호하게 만드는 것이며 이러한 패러디적 전략을 통해 지배담론에 대해 저항하는 정치성을 갖게 된다고 말할 수 있다. 엘사가 보여주는 수행성은 자매애와 이성애의 경계에 있음이다. 이성애적 관점에서 분석을 한다면 엘사의 정체성은 누이와의 친밀감이 단순히 자매의 사랑으로만 이해해야 한다. 반면, 여성들 간의 관계에 초점을 맞춘다면 엘사와 안나의 관계는 동성애의 관점으로 인식된다. 레즈비언 연속체의 개념으로 본다면 정체성의 제약을 가진 디즈니 여성 캐릭터의 동성애적 사랑은 여성들 간의 유대처럼 보이기 때문에 이성간의 사랑보다는 쉽게 성적 욕망이 은폐될 수 있다. 엘사는 퀴어적 정체성의 억제와 발현을 통하여 수행적 정체성으로 발전해나가고 있다. 그녀가 가지고 있는 마법은 초기의 금기시되고 두려움의 존재에서 레즈비언적 팔루스의 존재가 되고 이성애적 가부장 제도에서의 특권에 대항하는 의미화된 팔루스로 비추어지면서 아렌델의 세계관에서 인정받게 됨을 볼 수 있다. 엘사는 디즈니가 선보이는 새로운 여성 캐릭터이며 이 캐릭터를 퀴어이론으로 분석함으로써 다양한 캐릭터 분석 방법의 영역을 확장하고자 하였다.

• 한국의류산업학회지
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• 제5권1호
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• pp.25-33
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• 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.

• 동서간호학연구지
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• 제27권2호
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• pp.195-204
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• 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.

• 복식
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• 제57권4호
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• pp.173-187
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• 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.

• 한국의류산업학회지
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• 제17권1호
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• pp.33-41
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• 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.