• Proceedings of the KAIS Fall Conference
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• 2009.12a
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• pp.138-140
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• 2009

스포츠선수들에 대한 섹슈얼리티는 '유니폼 관련 섹슈얼리티', '선수의 신체적 특징 관련 섹슈얼리티', '외모 관련 섹슈얼리티' 요인으로 구성되었다. 인터넷신문의 스포츠영상에 묘사된 섹슈얼리티가 인터넷신문의 이용자에게 미치는 영향에 대한 분석에서는 남자 실험집단에서만 차이가 있는 것으로 나타났다. 남자집단의 피실험집단과 남녀경기 처치집단 간 차이가 있는 것으로 분석되었다. 인터넷신문의 스포츠영상에 묘사된 섹슈얼리티에 대한 인지도는 남자집단의 피실험집단에 비해 남녀경기 처치집단이 더 높은 것으로 나타났다. 따라서 인터넷신문의 스포츠영상에 묘사된 섹슈얼리티는 남성스포츠 소비자들에게 더 큰 영향을 미치는 것으로 볼 수 있다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.10 no.7
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• pp.1718-1724
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• 2009

This paper is aimed at studying the sexuality elements and their perceptibility in the sports photographs and images of internet portal media. The sexuality elements are composed of athletes' uniform, body and external feature. In an analysis of sports' users through portal media, there were some differences in an experimental group of men. There was the difference between an experimental group of men and a of men and women sports game. The perceptibility of sexuality imaged by sports images of men and women games in portal media was higher in an of men and women sports game than the experimental group of men. Accordingly, the sexuality imaged through sports images of portal media had a higher effect on sports' men-users.

• Korean journal of communication and information
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• v.45
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• pp.255-295
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• 2009

The purpose of this study was to investigate how much multi-cultural traits the multiculture-oriented TV programs would have and how they tended to represent it with what kinds of meaning structures. As an object of this study, the authors chose the Program of KBS-TV which had been discussed seriously to raise a multi-cultural issue as well as a sexuality issue of lady guests. They collected 70 weekly programs from Nov. 26 of 2006 to March 31, 2008, and finally selected and analyzed 5 weekly programs as main analytic data. They tried to analyze them with various semiotic research methods, especially, linguistic semiotic research methods and pictorial research methods. As results of this study, it was found that this Program was based on multiful-levels of meaning structure: that is, superficial level, representation level and in-depth level. The superficial level of this program presented various multi-cultural traits through many and various talks of lady guests. Its representation level indicated some patterns of discourses about issues and agendas of the talks among lady guests. The in-depth level was based on the sexuality of lady guests as well as the male-dominant ideology. It was finally implicated that this Program was based on the sexuality and feminity of lady guests even though it tried to advocate its multi-cultural traits.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.4
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• pp.626-638
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• 2018

Recent perspectives on masculinity have changed and are expressed as a genderless style in fashion. Male models wearing womenswear are frequently presented in menswear collections. This study analyzes the genderless men's styles from the Heterotopia concept viewpoint. Heterotopia, coined by the post-modern philosopher Michel Foucault, is a space that deviates from normality and a space of alternative. The research methodology is combined with a literature study and case study. Contemporary men's genderless styles examined through the Heterotopia concept are categorized as transition, deviation, contradiction, crisis, and coexistence. Genderless phenomenon are also accelerated by the development of the media as well as the younger generation who express personality and social messages through a genderless style.

• Korean Journal of Social Welfare Studies
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• v.41 no.4
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• pp.5-44
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• 2010

The main purpose of this study is to critically examine the existing theoretical as well as analytical scope of 'sexual minority' in Social Welfare, and to (re)construct and expand it incorporating feminist theories on sexuality. The body of literature on sexual minority or homosexuality in social welfare in Korea as well as in the West can be characterized as two distinct features: first, medical discourse leaning on pathological perspective which perceives homosexuality as a disease or defect, homosexual as a pervert; and second, human rights perspective premised upon the idea of diversity and multi-culturalism, both which are anchoring at 'essentialism.' Based upon the understanding of sexuality as a social construct, we argue that feminist insight on sexuality can lead to reconceptualizing homosexuality and reorienting theories and practices in social welfare. From radical feminism to postmodern queer theories, feminists have developed diverse ideas and complex theories on sexuality and homosexuality, including the concept of 'compulsory heterosexuality,' 'lesbianism as political resistance,' and 'performative gender.' For feminists, particularly, sexuality which is constructed in the complex power matrix of dominations to producing and maintaining inequalities and discriminations is not merely a distinctive variable, but one of the important organizational principles such as gender, class, race, age, and nationality. This epistemological principle will hopefully shed lights on alternative 'knowledge' on homosexuality in social welfare, and lead to significant contribution to its critical expansion in theory and practice.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.80-90
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• 2013

Despite the growing popularity of gay consumers as a fetching niche market, there has been little academic attention paid to the homosexual themes in print media, especially compared to research on gender, race, and sex imagery in ads. The present study aims to fill this void by examining advertisements with three different target audiences(homosexual, metrosexual, retrosexual consumer) through a comparative analysis of contemporary magazine advertisements. In this present study, we analyzed ads in three leading men's magazines (Out, GQ, and Maxim). Product (product category, price, and luxury brand) and human model (basic descriptions, sexuality, status, and masculinity) characteristics in ads were analyzed as the variables signifying the degrees of gay themes in ads across three magazines. The results showed that more expensive luxury brands were placed in GQ and Out than Maxim, and more male models were under-sexualized in Maxim than GQ and Out.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.443-459
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• 2008

This paper examines the discourse of masturbation in modern England and aims to re-draw the map of male sexuality related to such issues as nation, empire, family, and economy. It argues that the discourse of masturbation in modern England reflects national anxieties for the future of empire and an economic concern for unproductive sexual behavior, which were the main factors to transform masturbation into "solitary vice." The anxieties about empire and British dominance were constituted as the core of the anti-masturbation discourse on the boys. The imperial destiny was regarded to depend on the protection of the middle- and upper-class boys from the harmful psychological and physiological effects of masturbation represented in Lawrence's "The Rocking-Horse Winner." In the case of a single male, the concern for masturbation is constructed as a concern about economy, family, and human solidarity. As seen in Eliot's Silas Marner, the act of masturbation was condemned as the fulfillment of illegitimate sexual desire outside the familial sphere and a commercial economy, and thus without the possibility of human community. Silas Marner and Meredith's The Ordeal of Richard Feverel show the ways of reconstituting sexual others as normalized subjects: Boys were forced to be asexual through the regime of surveillance; and a single male was required to enroll in a remedial course on familial respectability.

• 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.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.