• Journal of Popular Narrative
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• v.25 no.3
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• pp.349-383
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• 2019

This paper examined the meaning and task of romance research with a focus on Reading the Romance(1984) by Janice A. Radway. This book, which analyzes romance texts by examining the situation and meaning of reading romance by women readers integrating between cultural studies and literary studies, is one of the most popular studies on the romance genre. Radway scrutinized the practical significance of reading romance in a community of women readers. Through a study involving questionnaires and in-depth interviews, she found that for women, romance reading is a 'compensatory fiction' that brings happiness and emotional redemption through a sense of liberation achieved by escaping from patriarchal daily life. The romance that women prefer is composed of 4 stages and 13 divisions: 'Encounter → Attest → Recovery → Happy End'. It also maintains a formula that begins with an immature female character's identity crisis and ends with a blissful union that recognizes the intrinsic value of the main character, who has turned into a man who is considerate of the women. Therefore, romance plays the role of pursuit of the 'female utopian fantasy' and at the same time a reconciliation of women to patriarchy. Feminist critics of the day criticized this argument. However, reading romance is a 'feminine reading', and romance is literature about the functional relationship between women's lives and patriarchy. Yet the interpretation could differ depending on the different viewpoints and definitions of the women's utopian fantasy. In recent years, the conditions of female reader's lives, awareness and imagination have been changing rapidly. As a result, the female utopian fantasy has also changed significantly. Nevertheless, women's lives in the real patriarchal system are still contradictory, and their adventurous imagination is spreading in alternative spaces such as the subculture. In this regard, the question is about the definition of romance and the meanings of romance research are still important task.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• (The) Research of the performance art and culture
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• no.32
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• pp.209-241
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• 2016

"Women's Nong-ak (農樂, Traditional Korean music performed by farmers)" was born together with "Maiden group." This study focuses on the reason why women appeared as principal agents of Nong-ak which was almost exclusive to men previously and especially, on the appearance of women Nong-ak Artists who was previously worked in Traditional Drama Troupe. This study empirically deals with details of activities of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak troupes through newspaper articles. Women Nong-ak Artists enjoyed popularity with their peculiar attractions. Participating in Nong-ak contests and collecting money for their performances, women Nong-ak Artists learned their skills form masters of Woodo Nong-ak and attracted attention with their colorful costumes. Women of Nong-ak circle especially saw through the trend of the time, expanded their arena of activities and exercised flexibility and ability to react quickly to changing situations while mixing with various genres. In particular, young girls were mobilized to show value and marketability of Korean culture as cultural medium who decorated "Pure Nong-ak art stage." They were no different from "Pretty dolls dancing like angels" who could not purse their interest and economic benefit or incite political cause and their patrons were domestic and overseas political figures. Women artists, who put Nong-ak on the stage in the name of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak after the liberation from Japanese colonial rule, contributed to expansion of market base. Women Nong-ak artists, who dominated a century in such troupes as Sadangpae, Hyuprulsa, Maiden's (娘子) Nong-ak troupes, Girls' (少女) Nong-ak troupes and Women Nong-ak troupes, were the very heroines who overturned the conventions of "male predominance (男尊女卑)" which filled Nong-ak arena and cultivated a new tradition of Nong-ak culture.

• Journal of Christian Education in Korea
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• v.62
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• pp.227-255
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• 2020

This paper aims to explore the nature of the making of speaking subject in early Korean Protestantism, focusing on the educational spaces for women. Traditional women could become a speaking subject through various educational programs provided by Protestantism in modern Korea. Especially three kinds of educational space played the crucial role of making women a speaking subject. The first was Bible class established for women in rural areas. Since most Korean women were unable to read and write, Protestant churches taught them Hangul[Korean alphabet] before teaching the Bible. Korean women studied the Bible in Bible class, Women's Bible School, and Women's High Bible School. Through this education, traditional women were liberated from the world of ignorance and obedience, and then become a speaking subject. The second was speeches and discussions that have emerged in institutional spaces such as mission schools for girls and women's organizations. Students at mission school were able to learn how to express their opinions by way of public speaking and discussion classes. Women were able to become speaking subjects in the process of learning such techniques of modern language. At that time, representative discussion spaces were Lee Mun-hoe, Joyce Chapter, and YWCA. The third was testimony and dialect. Unlike sermons and public prayers, which were only allowed to male elites, testimony and dialectics are a form of speech that transcends gender or status constraints. Especially in the space of the revival movement, women confirmed their dignity through active testimony, and their religious identity was strengthened in the process. Dialect also served as the language of liberation for women suffered and alienated from male-dominant culture. Dialect is a device that exercises the right to speak against transcendental authority. Furthermore, in Protestantism of early modern Korea, the speaking subject's act of speech was elevated beyond personal matters to social issues, women's issues, and ethnic issues.

• (The) Research of the performance art and culture
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• no.20
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• pp.129-161
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• 2010

Women's social status is marginal in the patriarchal system, therefore it is not easy to express their's desire. Women's social role are restricted by the Confucian culture in the late of Chosun Dinasty. But women freely expressed their's gamseong(感性) by singing the folk songs. Many researches have focused on the reality of life or the structure and meanings of the women's folk songs. On the contrary, no one has paid attention to the gamseong in the women's folk songs. This is the reason why this thesis focused on the aspects of gamseong in the women's folk songs. The aspect of gamseong expression in women's folk songs can be classfied as follow: HAN(恨) resulting from living with one's husband's parents (Si-jip-sa-ri); LONGING caused by parting with the lover; HOPE due to childbirth and bringing up; SHIN-MYOUNG(神明) through deviation and liberation. In conclusion, We can find out women's gamseong would be formed from the their own roles and relationship with the others. Besides they could offset their sorrow and cure their pain through loving others and selfloving.

• Journal of the Korean Society of Costume
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• v.39
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• pp.139-166
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• 1998

This dissertation is to help understanding about the emergence of active children's clothes in the latter part of the 18th century in England. In previous ages children had not been look-ed upon as children, but as incomplete and in-ferior men and women, the costume of children had not been distinguishable from that of their elders. The early eighteenth-century chil-d could not play in comfort because they dressed like their parents. But in the third quarther of the eighteenth century children became free from their con-comfortable and became active. English chil-dren's clothes was prevailing even in Europe as well. In the background of this liberation, there were many enlightened ideas, such as philosophers of enlightenment, doctors, writers, educators. Among these John Locke and Jean Jacque Rousseau criticized openly about rampant fashion which was distorting the body by corset and hoop. Rousseau was the one who wrote$\boxDr$Emile$\boxUl$and played the most important role to free children from an old fashioned idea, and emphasized to bring up children by the natural process of mental and physical development as human beings are a part of nature. Fashion reflects politic, economic, social, ideology, culture of the days and these factor function to create fashion which shows“Time Spirit”.Children's clothes, like those of their parents, follow the fashion, but with a difference, the form of which varies with the attitude to the child. Thus this dissertation was to study in relation with the background of the times in the latter part of 18th century in England and Rousseau's Naturalism in connection with the emergence of active children's clothes. The result is that diffusion of the idea of freedom and equality, the growth of bourgeoisie, the development of clothing and tex-tile industry have influenced to the emergence of active children's clothes. Also a great deal of middle and high class parents devoted to their children's education and was influenced by Rousseau's Naturalism. Specially the bourgeoisie who made their fortune by their own effort were eager to educate their achievement and business by their children through education. This factor influenced to the children's clothes as well.

• Asian review of World Histories
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• v.3 no.1
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• pp.81-112
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• 2015

This essay interrogates the category of the 'global' in the emerging domain of 'global intellectual history'. Through a case study of the Indian social-religious reformer Rammohun Roy (1772/4-1833), I argue that notions of global selfhood and rights-consciousness (which have been preoccupying concerns of recent debates in intellectual history) have multiple conceptual and practical points of origin. Thus in early colonial India a person like Rammohun Roy could invoke centuries-old Indic terms of globality (vishva, jagat, sarva, sarvabhuta, etc.), selfhood (atman/brahman), and notions of right (adhikara) to liberation/salvation (mukti/moksha) as well as late precolonial discourses on 'worldly' rights consciousness (to life, property, religious toleration) and models of participatory governance present in an Indo-Islamic society, and hybridize these with Western-origin notions of rights and liberties. Thereby Rammohun could challenge the racial and confessional assumptions of colonial authority and produce a more deterritorialized and non-sectarian idea of selfhood and governance. However, Rammohun's comparativist world-historical notions excluded other models of selfhood and globality, such as those produced by devotional Vaishnava, Shaiva, and Shakta-Tantric discourses under the influence of non-Brahmanical communities and women. Rammohun's puritan condemnation of non-Brahmanical sexual and gender relations created a homogenized and hierarchical model of globality, obscuring alternate subaltern-inflected notions of selfhood. Class, caste, and gender biases rendered Rammohun supportive of British colonial rule and distanced him from popular anti-colonial revolts and social mobility movements in India. This article argues that today's intellectual historians run the risk of repeating Rammohun's biases (or those of Hegel's Weltgeschichte) if they privilege the historicity and value of certain models of global selfhood and rights-consciousness (such as those derived from a constructed notion of the 'West' or from constructed notions of various 'elite' classicized 'cultures'), to the exclusion of models produced by disenfranchised actors across the world. Instead of operating through hierarchical assumptions about local/global polarity, intellectual historians should remain sensitive to and learn from the universalizable models of selfhood, rights, and justice produced by actors in different spatio-temporal locations and intersections.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.168-171
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• 2006

The Haenyeo of Jeju exists as a unique human resource only in Korea and Japan in the world. Especially, the anti-Japan opposition movement of the Haenyeo of Jeju, which had started to get the right to live on their own in 1931, had developed as the national liberation movement by struggling against a colonial of Japan and the official regulation association that was a plundering organization of Japan. Accordingly, there is making an effort to register Jeju's women divers as The National Treasure in UNESCO's Memory of the world. In this research, we are going to make stuff like a digital storytelling, characters, animation movies, games, and hompage to let our children understand and succeed the spirit and culture of the Haenyeo. We'll also use these contents for the education. We examine ways to recreate the culture resources related to the Haenyeo who gradually vanishes.

• Archives of design research
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• v.19 no.2 s.64
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• pp.293-300
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• 2006

Mr. Miyazaki's heroines tend to be plucky young women who combine guileless decency with tough-mindedness. However, in his the latest film the female character often change herself into wise older women who sometimes serve as foils, sometimes as mother figures. His heroine, Sophie, starts out as a shy girl, but then a curse transforms her into 90-year-old. Her partner is Howl who supports and is supported by Sophie their mutual drawbacks. At first horrified by the change, she comes to embrace it as a liberation from anxiety, fear and self-consciousness, and discovers in herself a new zest for adventure. The castle is surely one of the most extraordinary contraptions to appear on screen recently, more ingenious in its way than the intergalactic armada. It ranges freely from place to place and is also, somehow, in several places at once, its magical front door opening onto different landscapes with the flip of a knob. It is not exactly haunted, but it is nonetheless infused with whimsical and sometimes somber spirits. Sophie, in both her incarnations, joins an impressive sisterhood of Miyazaki heroines, whose version of girl power presents a potent alternative to the mini-machismo that dominates American juvenile entertainment.

• The Korean Journal of Physiology and Pharmacology
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• v.13 no.5
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• pp.401-408
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• 2009

$K^+$-$Cl^-$-cotransport (KCC) has been reported to have various cellular functions, including proliferation and apoptosis of human cancer cells. However, the signal transduction pathways that control the activity of KCC are currently not well understood. In this study we investigated the possible role of phospholipase $A_2$ ($PLA_2$)-arachidonic acid (AA) signal in the regulatory mechanism of KCC activity. Exogenous application of AA significantly induced $K^+$ efflux in a dose-dependent manner, which was completely blocked by R-(+)-[2-n-butyl-6,7 -dichloro-2-cyclopentyl-2,3-dihydro-1-oxo-1Hinden-5-yl]oxy]acetic acid (DIOA), a specific KCC inhibitor. N-Ethylmaleimide (NEM), a KCC activatorinduced $K^+$ efflux was significantly suppressed by bromoenol lactone (BEL), an inhibitor of the calciumindependent $PLA_2$ ($iPLA_2$), whereas it was not significantly altered by arachidonyl trifluoromethylketone ($AACOCF_3$) and p-bromophenacyl bromide (BPB), inhibitors of the calcium-dependent cytosolic $PLA_2$ ($cPLA_2$) and the secretory $PLA_2$ ($sPLA_2$), respectively. NEM increased AA liberation in a doseand time-dependent manner, which was markedly prevented only by BEL. In addition, the NEM-induced ROS generation was significantly reduced by DPI and BEL, whereas $AACOCF_3$ and BPB did not have an influence. The NEM-induced KCC activation and ROS production was not significantly affected by treatment with indomethacin (Indo) and nordihydroguaiaretic acid (NDGA), selective inhibitors of cyclooxygenase (COX) and lipoxygenase (LOX), respectively. Treatment with 5,8,11,14-eicosatetraynoic acid (ETYA), a non-metabolizable analogue of AA, markedly produced ROS and activated the KCC. Collectively, these results suggest that $iPLA_2$-AA signal may be essentially involved in the mechanism of ROS-mediated KCC activation in HepG2 cells.