• 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.

• Korea journal of population studies
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• v.11 no.1
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• pp.204-229
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• 1988

This paper documents and discusses trends and differentials in youth's participation in the labor force and employment. Youth in this study is defined asthe young aged 15-29. Youth passes through a series of life-course transitions,which include school completion own family formation(marriage and childbirth) .mandatory service in the army (by males) , and their economic activities are affectedby those life-course events. Accordingly we show how and to what extent youth'slabor force participation and employment varies with age and how the age patternhas changed over time.Throughout the 1980's and 1990's, youth's labor force participation showeddifferent trends by age group Labor fDrce participation rate of the 15-19 agedsteeply decreased, while that of the 25-29 steadily increased during the twodecades, the rate fsr the 20-24 aged showing not much variation. The former is dueto the increased rate of school enrollment among the age group, while the lattercould be attributed, in part, to the young women s increased and more steadyparticipation in the labor force over time.While labor force participation could be considered as a result of one's choicesand preferences, employment opportunities are more or less restricted by labormarket structure and institutions . This study documents how the structuralconstraints have interacted with individual and group attributes to differentiateemployment opportunities between individuals (educational background) and groups(especially sex diffrences) . One of the most salient feature of youth's em[ploymentstructure is the recent high unemployment rate of the college graduates. We discusshow that is related to the'credential society'in which one's educational credentials and it's social status play major role in determining who gets what in terms of job opportunities. Also is discussed the discordance between school and labor marketsupply and demand system, which is apparent in the prolonged oversupply of thecollege graduates, which is due to the consistently high rate of college entranceobserved since the early 1980's. Theoretically the job market for college graduates isviewed not as the'neoclassical'wage competition market but as job competition market in which one's (good) job opportunity is determined by one s position in thejob queue, which is in turn heavily dependent on from which college one get shis/her college degree as well as one's sex.

• Journal of Korean Philosophical Society
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• v.145
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• pp.1-43
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• 2018

This article intends to look for the desirable form of Confucian familism in the era of the 4th Industrial Revolution. First of all, the concept of the fourth industrial revolution is a very vague concept. Therefore, it would be more meaningful to analyze the situation of the family in present Korean society and to find an alternative to it in Confucian familism. But the problem is that it is very burdensome to bring out the Confucian familism idea again. Since Confucian Confucianism was criticized in 1915 during the New Cultural Movement, many people have criticized Confucian familism as patriarchal and authoritarian, and thus an anti-democratic value that seriously damaged the equality of men and women. Therefore, the discussion starts with looking at the justification of such an evaluation. I wanted to see if their evaluation of Confucian familism is legitimate or an unjustified evaluation resulting from misunderstanding, and if it is an inappropriate evaluation, where they are based. In addition, I examined whether the cause of such an evaluation was attributed to the subject who made the evaluation, or because the spectrum of significance contained in the Confucian familism thought formed over 2500 years was too wide. I sought to reassess criticism of the existing Confucian familism by looking for answers to these questions. Through such a reevaluation, I has found that the wrong criticism of Confucian familism was because we saw the Confucian scholarship and the Confucian scholarship without distinguishing the ideological Confucianism from the Qin(秦) Dynasty. In the end, I tried to show that Confucian familism can function as an alternative to resolve family problems that are occurring in today's Korean society through the illuminating work of the ideas of Confucian familism.

• 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.