• SUVANNABHUMI
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• v.12 no.1
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• pp.49-88
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• 2020

Two utilitarian and symbolic objects associated with womanhood in Cambodian culture are the stove and the pot. The pot is a symbol of both the womb and female sexuality; the stove is a symbol of gendered feminine labor. This article argues that the sexist representations of the Khmer female body by modern Cambodian male artists demonstrate an inherited legacy of Orientalist stereotypes. These images were formed : under French colonialism and often depict Khmer women as erotic/exotic native Others. Starting in the 1970s, however, if not earlier, Cambodian women began to question the gendering of social roles that confined them to domestic space and labor. This form of social questioning was especially present in pop songs. In recent years, contemporary Cambodian woman artists such as Neak Sophal and Tith Kanitha have made use of rice pots and stoves in their art as freighted symbols of femininity. Neak created an installation of rice pots from different households in their village, while Tith rebelled against this gendered role by destroying cooking stoves as an act of defiance against patriarchy in her performance art.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.268-280
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• 2021

This study analysed the narrative strategies in TV drama utilized in order to support the recent feminism movements. The analysis revealed that this TV drama breaks away from the clichéd patriarchal drama series. It portrays the main characters are not the sons but the two daughters-in-law, and represents the women challenging the order of the patriarchy, and resolving the issues. In this drama, men's power was removed and female agents were held up to ridicule. In addition, it eradicates the traditional female conflict structures and creates a strong bond between the females. With this storyline, TV series concludes with two achievements. One, the stepmother and the mother co-parent the child instead of the father, suggests that a non-blood related matriarchal family is possible. Two, the heir to the chaebol family, which is traditionally a patrilineal structure, is not the oldest son or the immoral son, but the lesbian daughter-in-law, overturning the idea of heteronormativity that is dominant in the patriarchal system.

• Korean Journal of Social Welfare
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• v.35
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• pp.453-474
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• 1998

This paper attempts to analyse the patriarchal characteristics of welfare states. Increasingly, debates on welfare states are explicitly focusing on the relationships between state, market and family. How these relationships are structured forms the core parts of the particular welfare states, that is they give shape to different welfare state regimes. Although welfare states have developed incresingly, there are some problems that sustain these states asymmetrical, unequal, even sexist. In this paper, I want to make these problems visible by the terms of gender division of labour, the model of male work and the changing characteristics of patriarchy. Firstly, from the feminist perspective, we can point the fact that the welfare states are structured by gender. Welfare states take it for granted that our socities are based on the assumption of gender division of labour, what is called male breadwinner/ female dependent. And the state takes this gendered family as the stereotype in our societies. Secondly, it is not sufficient condition for men and women to perform satisfactory life of work and family that welfare states provide childcare center on an extensive scale. This is because that our societies are runned by "the model of male work". Thirdly, we can find that the characteristics of patriarchy of welfare state are changing. These changes can be explained from the 'private patriarchy' to the 'public patriarchy', in other words, from the women's dependence to individual man to the dependence to the state/ public sectors. And also under these changes, we can find the potent possibilities for women to take economic activities and independent self-supports.

• Asian review of World Histories
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• v.2 no.2
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• pp.147-167
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• 2014

The urban modernity that became an irresistible model for elites in Asia in the decades before and after 1900 was far from being gender-neutral. It represented an exceptional peak of patriarchy in its exclusion of respectable middle class women from the work force, from ownership and control of property and from politics. Marriage was indissoluble and the wife's role in the male-headed nuclear family was to care for and educate the abundant children she produced. Puritan religious values underlined the perils for women of falling outside this pattern of dependence on the male. Though upheld as modern and civilized, this ideal was in particularly striking contrast with the pre-colonial Southeast Asian pattern of economic autonomy and balance between women and men, and the relative ease of female-initiated divorce. Although attractive to many western-educated Southeast Asian men, including religious reformers determined to 'save' and domesticate women, urban respectability of this type was a poor fit for women accustomed to dominant roles in commerce and marketing, and at least equal ones in production. Southeast Asian relative failure in the high colonial era to adapt to the modern market economy may also have a gendered explanation. We should not be surprised that patriarchy and puritanism became more important in Southeast Asia as it urbanized in the late 20th Century, since this was echoing the European experience a century earlier. The question remains how far Southeast Asia could retain its relatively balanced gender pattern in face of its eventual rapid urbanization and commercial development.

• 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.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.465-476
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• 2021

This study considers both causal and control factors for explaining both contact and distribution of sexually explicit material and tests their interaction effects for examining buffering effects of control factors in causal process. This study examines the effect of low self-control, differential association with peers and patriarchy family environmental factor as causal factors. It also considers three control factors such as morality. legal punishment, and lack of opportunity and test interaction effect between causal and control factors in both contact and distribution cases. Using data from college students in Seoul, results show that the effects of all causal factors are significant in both contact and distribution of sexually explicit material and the effect of differential association is the most significant. However, their interaction effects between causal and control factors are different across contact and distribution cases. In the contact case, all interaction effects are not significant. It means that causal factors have independent effects and control factors have no buffering effects. However, in the distribution case, the interaction effects between low self-control and morality, between differential association and morality, between patriarchy family and punishment, and between patriarchy family and lack of opportunity are significant. Empirical implications are discussed.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.395-402
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• 2022

The film House of Hummingbird intersects Korean modern history and personal history through the eyes of a teenage girl, and closely explores how patriarchy and Korean capitalism leave traces and internal impressions on the growing up of the female subject. This film is a meaningful text in terms of showing what changes can occur when the subject is transformed from a boy to a girl in the narrative of growth and when a feminist point of view is entered. House of Hummingbird reveals the weakness of the patriarchal symbolic order through the gaze of a teenage girl in the episodic narrative composition, and also discovers the possibility of close relationships and bonds between women in the gaps. In particular, Yeong-ji, the main character girl Eun-hee's Chinese language school lecturer, is a new female character that has never been seen in Korean teenage films. As a result, in House of Hummingbird, we meet a new female subject who negotiates the pain of growth in a 'good enough' condition.

• Journal of the Korean Home Economics Association
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• v.41 no.2
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• pp.155-170
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• 2003

By analysing women's identity rooted in Korean families and welfare policies related to families, this research aims to explore more gender-equal family welfare policies for the future. This research examines the change of families along with social changes, women's identity in families, the present family welfare policies, and women's identity in the family welfare policies. Social changes and the demand of market make influence on function and form of families. However, the broad social format of patriarchy persists and women's gender identity and gender role in families make little differences as ever. These women's gender role and gender identity are found in welfare policies related to families as they are. The women is regulated as dependent on male partner with the primary responsibilities on child rearing and elderly care. In addition, only focusing on families in need, Korean family policies are not generally established. Therefore, now, it is strongly suggested that Korean family policies concerning more diverse families should be launched with the gender-sensitive perspective.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.39-51
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• 1992

Eating was done on a respective one-man dining table, which reflect the esteem for the individual. The family eating place was generally An-bang of the house, The eating space of Yang-ban housing with its hierarchical, spatial method of tabling and eating around the head of the family served as a synchronically meaningful space which was to strengthen the solidarity of patriarchy beyond the mere funtioning place of eating. That meaning seems to reveal itself more conspicuously when we consider that the eating place is An-bang, the center of the main house. The basic space for cooking was Bu-oak (Chung-ji). Thre was no water-supply system or drainage in the kitchen, so all the water needed for cooking was drawn from outdoor well with a bucket. The traditional eating habits, the entertainment for the bustling guests, and the frequent sacrificial rites required many store rooms for the subasidiary food and wide space for putting food into order.

• English & American cultural studies
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• v.14 no.1
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• pp.269-286
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• 2014

The Pre-Raphaelite oeuvre abounds in the image of women, which indicates the impact of gender question on contemporary visual culture. The representation of women in their art tends to evince the entrenched myth of womanhood, marked by a stereotyped dichotomy in the apprehension of femininity. Yet there are a significant number of pictures which attest to the point that their iconography of womanhood cannot be fully elucidated by exploring the dichotomy alone. They falsify the dyadic model, defying the attempt to accommodate them in a clean-cut category. The curious blend of the mystical, the sensual, and the domestic that characterizes these images suggests that they are open to multiple interpretations. In sum, the Pre-Raphaelite representation of women both endorses and challenges the ideal of femininity, indicating that it was shaped by and shaped contemporary perceptions of women at a time when gender relations were shifting and the traditional institution of patriarchy revealed a sign of strain.