• International Journal of Human Ecology
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• v.15 no.2
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• pp.23-31
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• 2014

Neo-Confucianism was the dominant ideology of the Joseon Dynasty Korea. Male and female costumes reflected a clear distinction in male and female sex roles. This study analyzes cross-dressing in sword dance performances. The research method examines relics, paintings, pictures, and documents relevant to sword dance costumes as well as for the military. The results are: First, the composition of sword dance costume was jeogori (upper garment), skirt, and shoes with military costume of jeollip (hat), jeonbok (long vest), and jeondae (belt). Second, the sword dance costume and military costume are very similar except for the basic inner wear, shoes, some details and methods of wearing. Third, the sword dance costume gradually adopted military items and features. The sword dance costume was basically female, with overall additions of a male costume, to express an androgynous image; however, the cross-dressing phenomena in the sword dance were not intended for the pursuit of sexual pleasure.

• Journal of Science and Technology Studies
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• v.8 no.1
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• pp.131-158
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• 2008

With the intention of revealing that biological determinism is not the truth verified as scientific facts but ideology which conceals or reproduces the white male-centered social order of western capitalism, this article considered the peculiarities of human being from a perspective of cultural anthropology and examined the social contexts of biological determinism. From these studies, it found that the human is not born, but rather become, that biological determinism, from phrenology and social evolutionism to social biology and IQ determinism, emerged for the breakthrough of crisis in which a number of disclosed social contradictions drove the established ruling order into a collapse, and that it cannot but function as dominant ideology rationalizing racial, ethnic, class and gender discriminations. Hence, bioscience must overcome biological determinism in order to be the hope of both all people and all sort of life. But it is without the transformation of unequal structures that the problem of biological determinism cannot be surmountable at all.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.931-946
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• 2010

This paper examines the role of gender ideology in early British and American detective fiction focusing on the female detectives. Since a detective's attributes honor and idealize such traditionally masculine qualities as independence, intelligence, heroism, and bravery, the woman detective fiction has potentiality to operate against the established gender norms. The narratives about women in pursuit of justice and order through their criminal investigation can allow women to possess the masculine rationality and power. The subversive possibility inherent in the woman detective fiction is, however, contained by the representation of the female detectives and the negotiation through narratives. A female detective is represented either as unfeminine and thus unattractive and unlikeable or as desperate for survival. Her threatening potentiality is easily dismissed as that of an inadequate woman or a desperate one. The compromise in narratives is effected by the following three ways: first, a female detective is assigned to investigate crimes as an assistant to the male detectives; second, staying within the domestic sphere, she solves crimes by using her expert knowledge of the domestic service; and third, her detective narrative ends with the conventional marriage plot. Confining the female detectives within the conventional feminine roles and domains, the woman detective fiction supports and reestablishes the dominant gender ideology.

• Journal of English Language & Literature
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• v.53 no.2
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• pp.261-280
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• 2007

This paper attempts to examine how woman's role defined by the public discourse took issue with private desires of an individual woman in Tabitha Gilman Tenney's Female Quixotism (1801). Tenney borrows and transforms the ideas of quixotism and picaresque from Don Quixote, which involve an inherent paradox in the post-Revolutionary America. The Republican Ideology emphasized women's crucial role as guardians of family virtue and molders of republican citizens. Therefore, women were not allowed to travel outside of the domestic space as freely as a male picaro could do. In fact, the"adventures"depicted in the novel are constituted of a series of courtship in which Dorcasina, the heroine, unceasingly tries but fails to find a husband fit for her romantic idea about love and marriage formed by novel reading. However, the process shows that a variety of socially disadvantaged groups as well as women were excluded from the public space of the post-Revolutionary America. This half-a-century quest does not end with a conventional happy marriage, but Dorcasina finds herself a disillusioned old maid, resigned to a life of charity. Yet the ending exposes social contradictions inherent in early Republic of America, by showing how an individual woman's life was prescribed and limited by the dominant public discourse.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.232-251
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• 2007

The purpose of this study was to understand sexuality expressed in fashion in a discursive view and reinterpret sexuality represented in fashion in the 19th century in Foucauldian post-structural perspective. As for methodology, at first the conception of sexuality was examined from structural feminism to post-structural pluralism by a literature review and discussed in relation with the matters of body and fashion on the basis of Foucault's discourse. Then, sexuality represented in the 19C fashion as a case study was re-estimated in terms of power relationship between dominant and oppositional discourses and mainstream fashion and anti-fashion as well. The conception of sexuality in Foucauldian post-structuralism maintains the view of plural sexuality, which floats by discourse and power produced in a specific historical context. In the Foucauldian perspective sexuality expressed in the mainstream fashion and anti-fashion in the nineteenth century shows the following aspects. The mainstream fashion in the middle and latter of the 19C made the clear sexual difference in dress of plain and functional male suit and extravagant and decorative female dress on the center of bourgeois masculinity in the context of modernity and capitalism. Although anti-fashion was also co-existed with the mainstream fashion, it was criticized by the Victorian people. It codifies sexual ideology of the binary opposition of male domination and female subordination. Therefore, the traditional sexual ideology in the 19C is a capitalist value, which gives a priority to bourgeois man's profits, and the Victorian discourses of sexuality constructs the clear sexual difference in dress in the period.

• 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.

• Cross-Cultural Studies
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• v.51
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• pp.193-212
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• 2018

This paper attempts to explore how Ang Lee depicts Asian and Western women in his films. We focus on two parts of his consciousness First, Ang Lee does not consider himself a feminist, he understands the world in terms of women who play societal roles. Second, Ang Lee's films reflect his identity in a juxtaposition model, in which he is a member of mainstream American society and also holds an onlooker's viewpoint at the same time. He depicts women, who are often marginalized or considered the minority, and their feminist ideals, as means that break down the authority of the father and the man, the traditional ideology, and the male dominant nationalism. Chinese women in movies divide apart traditional Chinese patriarchal ideology and male-dominated anti-Japanese sentiments. Also, the Western women in his films reveal the non-stereotypical appearance of Western society in the 1970s and 1980s, with daily tension, anxiety, abdominal pain and anger, silence and anxiety about homosexual husbands, and excessive obsession. The director's portrayal of women not only separates the male-centered and Western-centered discourse, but also reveals a self-division of internalized masculine patriarchal Asian thought consciousness.

• Korean journal of communication and information
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• v.51
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• pp.156-173
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• 2010

This study analysed the narrative of and , two history documentary broadcasted on KBS, in terms of story-telling and discourse. And it also examined whether TV as mass media could provide an alternative interpretation against the dominant historical awareness. As a result, both programmes showed limitations on representing subversive point of view to the dominant ideology. At the story-telling level, firstly, they represented in a way of male-hero narrative though they were describing the history of woman, and while representing woman as a public figure they eliminated her feminity and individuality. Secondly, before evaluating woman as a historic figure they previously appreciated her appearance in a male-point of view. Thirdly, although they were telling the story of woman in a political view, they focused on love triangle, therefore failed to make her as a public figure. The discourses of both programmes were anchoring the existing historical interpretation instead of offering an alternative historical imagination. The narrator who were telling history at the studio in a omniscient viewpoint took a role as a meaning definer, placed at the highest rank in the hierarchy of discourse structure. Especially in , the dramatized images to cover lack of visual data helped anchor the patriarchal narrative and reduced the possibility of subversive interpretation on historic figure.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.215-240
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• 2009

This paper focuses on how Younghill Kang internalizes whiteness ideology through interracial romance to build himself as an oriental Yankee and recover his masculinity in his autobiographical novel East Goes West. This paper also focuses on Kang's strategy of racial and cultural hybridity presented in this novel. The theoretical basis of my argument is a mixture of Fanon's psychoanalysis in his Black Skin, White Masks, Bhabha's notion of mimicry in The Location of Culture, and notions related to race and gender of some Asian critics such as Patricia Chu, Jinqi Ling, and Lisa Lowe. In East Goes West, white women appear as "ladder of success" of successful assimilation and serve as cultural mediators and instructors and sometimes adversaries who Korean male immigrants have to win to establish identities in which Americanness, ethnicity, and masculinity are integrated. However, three Korean men, Chungpa Han, To Wan Kim, George Jum, who fall in love with white women fail to win their beloveds in marriage. George Jum fails to sustain a white dancer, Jun' interest. Kim wins the affection of Helen Hancock, a New England lady, but Kim commits suicide when he knows Helen killed herself because her family doesn't approve their relationship. Han's love for Trip remains vague, but Kang implies Han will continue his quest for "the spiritual home" as the name of "Trip." In East Goes West, Kang also attempts to challenge the imagining of a pure, monolithic, and naturalized white dominant U.S. Culture by exploring the cultural and racial hybridity shown by June and the various scenes of Halem in the 1920s. June who works for a Harlem cabaret is a white woman but she wears dark makeup. Kang questions the white face of America's self-understanding and racial constitution of a unified white American culture through June's racial masquerade. Kang shows that like Asian and black Americans, the white American also has an ambivalent racial identity through June's black mimicry and there is no natural and unchanging essence behind one's gender and race identity constitution.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.