• Journal of Digital Convergence
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• v.19 no.9
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• pp.289-297
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• 2021

Animation is a media reflecting social ideas, not only conveying information but also creating a new discourse. The purpose of this paper is to examine the social issues and gender discourse reflected in the media by analyzing the gender discourse inherent in the protagonist and surrounding characters, narrative characteristics, and background of the Ghibli animation "The Tale of the Princess Kaguya". As a research method for this purpose, figure out social problems related to gender performance, and analyze prior researches to derive a connection with the gender discourse in the animation. Grandfather is symbolic of a father who forces his daughter to follow his chosen happiness, and grandmother represents a mother who can not stop her husband. Stemaru is the character not in the original, posing a question of the problem of gender performance while failing to get married due to lack of sufficient wealth and honor. Princess Kaguya had been self-reliant and active like a modern woman at the beginning of the story. However, after being suppressed by society and people around her, the stereotyped gender performance forced Kaguya, who longed for the earth, to wish to return to the moon. Such social pressure happens in modern society. Gender performance is a systemic problem to be solved with systemic change. For this reason, constant consideration such as this paper is needed.

• The Journal of the Korea Contents Association
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• v.7 no.11
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• pp.150-157
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• 2007

The image calls forth the curiosity of the children. children experience the many thing through the image and it makes children to study naturally. Specially, the animation socializes children and it plays an important role in form of a self-identity. The gender-identity reappearance of the animation character is important. Gender-identity reappearance type of the animation character is able to classify with the reappearance type of visual information and the narrative. The narrative reappearance type does more clearly visual information reappearance type. Also classifying the gender-identity of animation character aspects into each type, they are; gender stereotype that character reflects the conservative and commercial ideology; gender non-stereotype that character doesn't reflect gender stereotype. But reappearance of the gender non-stereotype character as well, it is stopping in the exaggeration or the caricature of gender role of the character. Consequently the animation characters must be reappeared with the character which have the future oriented gender identity-as one human being that forms a value subjectively. The animation which reappears the future oriented gender-identity plants a proper self-perception and gender role in children and relaxes the traditional gender-identity which is already acquired.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.112-120
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• 2022

In order to examine the cultural vicious cycle of gender representation in online educational content, this paper reviewed the top five popular webtoons of inamootoon (EBStoon), Korea's first children's webtoon platform. The patterns of appearance representation that distinguish character's gender, the desire and psychology of characters according to gender, and their functions in the work were critically analyzed from a feminist perspective. In most of the works, the appearance of characters often follows gender stereotypes. It appears that women have long hair and wear dresses while men have short hair. On the other hand, the gender characteristics in terms of psychology and function show the aspect of breaking gender's cliche. The gender proportion of the protagonists is almost the same. Regardless of gender, they function as solvers or rescuers, bravely and wisely overcoming the problem situation. By the way, it is interesting that in representing the main character's gender, the weaker the gender stereotypes, the more popular the work among the readers. This fact suggests that the critical acceptance and choice of young readers can break the cultural vicious cycle of gender representation.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.12
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• pp.380-389
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• 2019

Animation is a medium that can be enjoyed by many age groups, and it often reflects the discourse and ideology of the time. Therefore, studying the tendency of gender identity as it is expressed in animations is meaningful as a process to understand current trends. Therefore, I examined how the female characters' performative gender identity has been expressed in Disney animations and how it has changed. Disney animations have stuck to dichotomous gender performance, with men playing active and adventurous roles, while women play submissive and passive roles. Disney began to deviate slightly from the dichotomous gender performance through "Pocahontas" and "Mullan", which emphasized the heroic role of women. However, these animations have been limited in the way that love stories between men and women make up the main theme. In "Frozen", however, women actively explored their lives by overcoming these limitations, and expressed their happiness through sisterhood rather than love between men and women. Therefore, "Frozen," which expresses an active female character who sets up her own kingdom as an independent entity, is meaningful in that it has demonstrated the changed gender performance.

• Korean journal of communication and information
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• v.62
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• pp.30-50
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• 2013

Exploring the relationship between body and technology in gender studies, this paper argues that 'being women' as an analytical concept is not fixed but progressing, that is, 'becoming women.' In the age of neo-liberalism, gender and identity politics raised critical questions regarding the relations between women and technology. Understanding these dynamic relations asks us to reconsider the concept of 'body.' Thus, this study begins with a review of the discourses of body in feminism and gender studies. Then, it continues to the meaning of technology in body and gender relations, arguing that body is the discursive and material site where gender identity and being are simultaneously constructed. An introduction of cyberfeminism, which focuses on the triangular relations among body, gender, and technology follows, discussing the significance of technology in 'becoming women.' Finally, it is argued that finding the meanings of technology in becoming women requires reconsidering the discursive and performative construction of body. 'Becoming women' can be achieved through exploration of the articulations and processes of body, gender and technology, which allows us to figure out the (re)construction of gender identity.

• Proceedings of the Korea Technology Innovation Society Conference
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• 2017.11a
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• pp.697-714
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• 2017

국내 ICT 산업은 글로벌 경쟁력을 갖추고 경제발전에 크게 이바지 해왔으며, 현재는 4차산업과 다양한 산업들의 융합의 구심점으로 인식되며 앞으로의 경제 성장 동력으로 주목받고 있다. 이러한 ICT 산업을 국내외에서 다양한 모습으로 인식하고 있다. 그 중, 국내외를 막론하고 ICT 산업에 대해 존재하는 강한 스테레오타입은 ICT는 남성중심(masculine)적인 산업이라는 것이다. 본 연구는 이런 ICT산업의 남성 중심성이 서과에 이떠한 여햐을 주는지 고찰하기 위해서 2015년 중소기업 기술통계조사 결과를 활용하여 ICT 중소기업에서 젠더와 기술적 및 경제적 성과 간 관계를 살펴보았다. 공동연구선호여부나 R&D 지원을 받은 경험이 중소기업의 기술적 및 경제적 성과와 어떤 관계가 있는지 분석하였다. 특히 본 연구는 ICT산업여부와 여성연구원 보유여부가 정책지원과 성과의 관계에 영향을 주는 중요한 요인으로 보고 분석을 수행하였다. 본 연구의 결과에 따르면 ICT기업 중 여성연구원을 고용하고 있는 기업은 그렇지 않은 ICT기업에 비해 높은 기술적 성과를 보이고 있었다. 경제적 성과의 측면에서는 여성연구원을 고용하고 있으며 단독연구를 선호하는 ICT기업이 다른 ICT기업에 비해 높은 신기술개발 매출액을 보였다. 연구의 결과는 ICT 중소기업의 지원정책을 구상하는 정책입안자들과 여성의 ICT산업 고용 및 경제 활동 진흥 정책을 구상하는 정책입안자들에게 다양한 시사점을 제공할 것으로 기대한다.

• Korean Journal of Social Welfare
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• v.60 no.1
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• pp.127-157
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• 2008

The purpose of the current research is to reconstruct the 'structure of biographical processes' on the lives of the elderly couples residing in the rural area in terms of 'gender relations.' Autobiographical-narrative interviews with each of the six elderly couples were conducted. Interview data were analyzed through the eclectic application of $Sch\ddot{u}tze's$ autobiographical-narrative interview and Dausien's feministic biographical research methods. Research findings revealed that each biography of the elderly couples represents the 'structure of biographical process' that shapes 'trajectories.' Such 'trajectories' were found to characterize two dimensions of 'gender relations'. First, on the micro- and macro-levels of 'trajectories,' 'gender relations' were noticed. The 'trajectories' of the male elderly were found to be both in personal and familial contexts and in socio-structural context, while those of the female elderly were found to be mostly in personal and familial contexts. Second, on the micro-level of 'trajectories,' 'gender relations' were noticed. The male elderly were more or less different from one another, contingent on the phases of life. They turned out to take simple roles of performing 'outdoor duties' and to be passive in doing 'housework.' Contrary to the male elderly, the female counterparts proved to actively assume 'dual roles' in 'family affairs' and 'outdoor duties'. Such findings led to the observation of 'doing gender' in the biographies of the elderly and, furthermore, to capturing the fact that 'doing gender' is different, depending on the phases of life and sex. Finally, some implications for practice were drawn from the current findings with special reference to biography and gender relations.

• Journal of Engineering Education Research
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• v.13 no.1
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• pp.38-51
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• 2010

This article is a theoretical and empirical study of engineering and gender, and also explores the policy development of WIE program. WIE in Korea aims to foster talented women engineers through the introduction of gender-sensitive engineering education system, field-adaptive skill improvements of women students, and industry-university collaborations. This study examines gender perspectives to analyze our WIE program. It is important to recognize that it's not enough to acquire institutional and structural equity in developing women in engineering. Above all, we should note our situations that has frustrated women's career development in engineering. In university education, we need to improve the engineering faculty's recognition of gender equity. Efforts to establish the professional identity of women engineers, involvement of men and women students, and building of women engineers' network are necessary elements to implement successful WIE program. Additionally, we discuss that policy support to WIE program should be continued and enlarged in university level.

• Issues in Feminism
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• v.12 no.2
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• pp.69-103
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• 2012

By reviewing relatively recent theory of coercive control, which considers gender as a key concept to conceptualize domestic violence, this article explores battered women's experiences with police responses and institutional law enforcement. Using data and interviews from Korea Women's Hotline, this article analyzes the effects of state intervention which fails to support battered women and sends a message to the community that domestic violence is not such a serious crime. Specifically, this study found some problematic responses and attitudes of police and legal system: first, police is equating domestic violence with physical attacks or serious harms. Second, police and law enforcement personnel blame victims based on her gender performance or gender roles. Third, by individualizing the problem of domestic violence, state intervention ignores important structural factors that cause and perpetuate it. Finally, police and the justice system disempower and discourage battered women by exacerbating victim's fears and risks. Viewing domestic violence as a liberty crime, this study concludes that enhanced understanding of the nature of domestic violence only can contribute to solving the problem and protecting women's human rights.

• Cross-Cultural Studies
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• v.47
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• pp.291-312
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• 2017

This paper examines how 'house' is meaningful in Chi Li's novel. Chi Li focuses on the house as a symbol of status, and the house as a place of gender performance. First, as a sign that symbolizes an individual's identity, 'house' is divided into intellectual and petit bourgeois, and constitutes binarism into civilization/non-civilization, knowledge/non-knowledge, spirit/anti-spirit and superior/inferior. In recognizing the irrationality and unfairness behind house symbolizing intellectual and petit bourgeois, Chi Li shatters the boundaries of the binaralized house as a sign of identity. Second, it dismantles the house as a place where gender is (re)produced. This is accomplished through two aspects. One is to re-define a private area house as a public area in which economic activity occurs. The house, as a public area in which economic activity occurs, becomes a place where women are reborn as economic entities. Passive, dependent femininity is reconstructed as independent and subjective. The other dismantles the definition of the house which is identified with masculinity. The house identified with masculinity is a place that symbolizes the socio-economic capacity of men. According to the socio-economic ability of males, the house is a place symbolizing the realization of masculinity, and it becomes a place to fix the gender order while reproducing masculinity. It may become a place to experience the weakening or defamation of masculinity. At that moment, the house becomes a place where the gender order of masculinity and femininity is overturned. Through this, Chi Li reconstructed, and in a sense revolutionized the definition of the house as a place where traditional gender is (re) produced by dismantling the definition of fixed femininity or masculinity.