• English & American cultural studies
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• v.14 no.1
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• pp.27-51
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• 2014

Doris Lessing describes a band of revolutionaries who become involved in terrorist activities far beyond their level of competence in The Good Terrorist. Alice Mellings who is from a middle-class family has organized a squat house in London and seems capable of controlling everyone around her and anything about the house. She is seemingly like a housekeeper or a breadwinner. She also likes to be on the battlefront, for instance, demonstrating, picketing and spray-painting slogans. Such is able to easily exploit the others and she increasingly becomes the leader in the house. Recently some critics have focused on the political and social roles of the protagonist who represents a voice of terrorists in the 1980s England. Based on this, The Good Terrorist is read with the concept of the subject of feminism that Gillian Rose adopts in order to show that this subject tries to avoid the exclusion of the master subject. This subject imagines spaces which are not structured through masculinist claims to exhaustiveness. Alice as the subject of feminism shows different roles; she extorts or steals money for the maintenance of the house from her affluent parents; she spends all her time cleaning, fixing, decorating the deserted house; and she looks after the official affairs related to the house with her skills and experiences. She is systematically in charge of the house and sits at the head of the table in the kitchen. But when their activities turn into disaster and their plans fail, Alice willingly decides to close down the house after ousting the members. Here in her extorted gaze it is revealed that she takes control over the working class members of the house who are unable to lead a revolution because of their own problems and thereby the working class are dominated by the middle class. That is, the place is paradoxically recreated based on class differences, which the revolutionaries try to break. By representing the deconstruction and recreation of the place through squat houses, Lessing reveals her implicit feminism in which a new place should be produced crossing the principle of the dichotomy of gender and class.

• Fashion & Textile Research Journal
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• v.17 no.1
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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.

• Cartoon and Animation Studies
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• s.6
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• pp.7-22
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• 2002

Animation constitutes the core of the media industry, which in turn lies at the center of the cultural industry. It is considered one of the industries where South Korea has the competitive edge over other countries. With the pool of customers getting wider, the genre of animation has become more and more diverse, forming a great market for it. Aware of this trend, this study focused on animation as a part of the pop culture, and on providing corresponding various viewpoints for future cultural studies. This researcher measured the practicality and persuasiveness of this study through Shreck, a three-dimensional C.G. animation which is acclaimed for its success in dismantling the old grammar of animation movies that represent the anti-Disney ideas. This researcher felt it imperative to heed the unique language of Shreck, which contains discourses on various cultural ideologies such as paradoxical structure that pits entertainment that is shown through dismantling of the canon, feminism and antifeminism against each other. This study analyzed the entertaining element of the animation genre by means of the Semiotics of Keith Moxey, thereby attempting to establish a legitimate social status of the genre, whose artfulness has been depreciated in the art society. In chapter II, this researcher examines the chronological development of three-dimensional C.G. animation that has shown a rapid advancement. Chapter III defines the cultural ideology of Shreck by exploring basic theories and texts employed in analysis of art works. This study started with the assumption that defines, from the viewpoint of symbology, the animation text as an aggregate of discourses on entertainment, and competitive and paradoxical ideologies. Then, this researcher analyzed the text and the generation process of meanings in Shreck. Consequently, this study has come to the following conclusions: First, Shreck induces changes of concepts about the canon by means of distorting and reversing the existing animation movies, which seems to reflect in the contemporary tendency of seeking new interpretations of entertainment. Second, Shreck shows up the cognitive changes of our age as to feminism by competing feminism against antifeminism. Although Shreck serves as a venue of competition between the two opposing ideas, it stops short of brushing off women as outsiders in society. Rather, it represents the resistance to the male chauvinism existing in the structures of animation and culture. As shown in the text analysis, Shreck presents an advent of a new ideology critical of the previous animation films. In addition, it reflects in the struggle between the pro-feminism on the part of the viewers and the anti-feminism that lies in the social and culture structure. This study, however, is limited in its scope and selection of subject. First, although this researcher has stressed the importance of understanding the animation as part of the pop culture and conducting researches within the historic paradigm, this study fails to provide an in-depth insight in the impacts that the changes in the C.G. industry and the systematic conditions may have on the three-dimensional C.G. animation genre. Furthermore, this study runs the risk of being understood as pro-American due to its selection of Shreck as its research subject.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.1
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• pp.89-103
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• 2011

The recent innovations in technoscience have changed the patterns of everyday lives for women and their politics of identity. Among the various debates on a women's relationship to technoscience, Donna J. Haraway's theory of the cyborg has been one of the most influential, as it provides new modes of conceiving subjectivity as well as new notions of women's shared experiences. For Haraway, the cyborg is an image of a female subject that will lead the future of science and technology as an amalgamation of non-hierarchical differences. This study examines the characteristics and meanings for the distortion, anti-aesthetic body, and clothing in fashion design through the cyborg feminism theory. Characteristics and meanings of the cyborg in fashion designs find their expression through mechanical images, distorted physical transformations, reconstruction of a destructed body, expression of an anatomical and heterogeneous body, and the persona image. Such expressions are not simply an act of distorting and destroying a body image but extending the category of a body, but of going beyond the limit of a real body and create a new body.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.4
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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.

• Korean journal of communication and information
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• v.62
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• pp.5-29
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• 2013

This study criticizes the neoliberal dominance in social web popular culture from a feminist perspective. A key question is to identify the nature of the social web popular culture-is it the repercussion or recapturing of feminism in relation to the social context of the prevalence of popular cultural practices of neoliberalism and how to challenge against neoliberal ideology with the critical positioning of feminism? In dealing with these questions, four celebrities' twitter discourses are analysed. The emphasis of smartness in digital mediascape, neoliberal imperative to be competitive, autonomous, positive and affirmative, and desire and fantasy brought by postfeminist lifestyle industries are embedded in the present popular culture. The critical account of neoliberal postfeminism suggests the necessity of an critical feminism which brings about alternative values to the current neoliberal demand for the active subject and consumer freedom of choice as the standard of ideal women.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.439-446
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• 2019

Feminism on the theme of gender equality is emerging as an important issue in the overall Korean culture. Feminism is not only a level of claiming or advocating women's rights, but an essential subject of gaze and thought, not a distorted, artificially portrayed image of women distorted or typified in a story created by men in the past It is a film that explores the problem of the individual's life in society fundamentally. Jun Koeun's movie' 'micro-habitat'(2018) 'expresses a feminist theme that shows a strong self - selection and transcendental thinking in male - oriented stereotypes and inequal social structure. The film, which focuses on the public insight into society and the enhancement of the ideal human being from the viewpoint that the public film should lead the educated enlightenment character that raises the broad insight into the world and lead the mature social culture, I think it will play a big role.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.339-363
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• 2014

This essay reconsiders the subject of Romantic self-consciousness in a post-de Manian perspective. Self-consciousness is an attribute of Romantic lyricism whereby the poetic speaker I remains conscious of how (s)he feels or lives here and now. This self-reflective feature of Romantic poetry has been controversially interpreted either as self-centered solipsism or as self-expressive objectivism. The question is stirring more disputes among Romantic critics after the advent of New Historicism and Feminism. These two historicistic approaches reprove Romantic poetry for a lack of the sense of history and ascribes it to Romantic self-consciousness. They argue that Romantic poets in general displace historical materiality into an object of internal consciousness, so negating absurd social realities "merely to gain their own immortal soul." This essay targets to overcome this negative stance on Romantic self-consciousness with a "subversive" return to Paul de Man's criticism of Romantic internality.

• Women's Health Nursing
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• v.18 no.2
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• pp.135-148
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• 2012

Purpose: The purpose of this study was to explore the meanings of 'Natural childbirth' from experiences of Korean women who gave birth to a baby in the midwifery using a feminist approach. Methods: This paper is a qualitative research study and applies a feminist epistemology and methodology to the experiences of women who gave birth in midwifery. The data were collected by individual in-depth interviews with eleven participants. Results: Two main themes emerged from the feminist content analyses and each main theme had three sub themes. A. transformation of control and knowledge on childbirth and the body 1) refusing coercive medicalization and building a new normality, 2) specific expectations about biological health and maternity rather than a return to nature, 3) the subject of pregnancy and childbirth, B. 'natural childbirth' practice as a new embodied discipline 1) helpers to support mothers, midwives, 2) helping the body to do 'natural childbirth', 3) from isolated labor to cooperative reproduction. Conclusion: These results indicate that women desired to practice being a subject, consultation with professionals, self-discipline and named actors except for women as 'other subjects' in childbirth.

• The Southeast Asian review
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• v.21 no.2
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• pp.263-291
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• 2011

The purpose of this study is to see and compare the contemporary Korean-Thai female poems from a feminine standpoint to newly clarify the textuality of their poems. The textuality defined in this manuscript is the text of Korean-Thai contemporary female poems. To newly clarify the textuality of their poems are to go against the existing discussion method and to newly read out the text as re-vision method. This discussion is to analyse deeply how the central exis composing a text which is the identity of woman in a body, appearance of uttrance, or action of abjection is exposed in gender space and to identify the poem's textuality. In other words, through in-depth analysis of the text of poems, which are very complicated as a skein of yarn, place a high value of Korean-Thai female poems. Transcending time, nations and races, if the text of female poem would not free from a biased male-dominated thinking or make a mystery of female poem textuality without critics or tend to be stereotype the text of poem as pathos of female, it would not get out from man-centered reading. To escape from the state of sexual discrimination, the new reading method was seriously analysed and found out that the female text poems not only implicate sexual discrimination but also link to expansive cultural and social structure. And for that reason, this study raise a question to male-dominant sexual discriminated norm. It is very significant that through this elaborate and in-depth text poem analysis, a creation process of female poem is traced. Eventually, the comparative study on Korean-Thai female poems is meaningful and worthy in regard to the contribution to promotion of cultural exchange between korea-Thai two nations and furthermore extend to East Asia to make a basement for the vitalization of Asia comparative literature.