• 복식문화연구
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• 제10권4호
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• pp.461-472
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• 2002

The purpose of this study was to analyze the expressive style of radical feminism and post-modern feminism appearing on the contemporary denim fashion by examining pictures from professional fashion magazine Vogue. For this study, I investigated documents to study the characteristic of radical feminism and post-modern feminism and classified the contemporary denim fashion into erotic look, endrogynous look and deconstructive look. The results of study on the expression style of feminism reflected on the contemporary denim fashion were as follows: First, radical feminism emphasizes that women's sexual feature is never inferior to men's. Therefore in denim fashion, erotic style which emphasize on women's sexual beauty is represented by making hot pants, mini skirt, halter blouse of denim and by using colored jeans and flower print or beads on denim. Second, post-modern feminism has been represented by disregarding or intergrating the existed rule as refusing sexual discrimination. It has been represented in fashion as an endrogynous style by representing neutral gender image. Today, it is represented in denim fashion by mixing a different fabric with denim and matching womanish design with mannish design. Third, post-modem feminism are classified into unfixed expression of genders and the deconstructive expression of methodology. The deconstructive expression of denim fashion is represented by using the damage of fabric by making a hole or tearing intentionally or fraying edge of denim. Also the unfinished designs and transformed dressing are used to express the deconstructive character in denim.

• 복식
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• 제46권
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• pp.49-66
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• 1999

The bisexuality deconstructivity and diversity that are great characteristics on the comtemporary fashion are showed in the fashion collections. The purpose of this paper is to investigate and analyze the influence of these characteristics made by the post modern-feminism fashion through the cultural pattern analysis. The post modern-feminism was analyzed by dividing the cultural pattern into 1) the deconstructivity of androcentrism -This characteristic was presented in the costume design that breaks the basic from of the line color and quality of the material showing in men's clothes. 2) By rejecting main current fashion -Subculture style appeared in main current fashion the boundary of main and anti-main current fashion was vagued and the phenomena that the identity of subgroup was weakened were showed. 3) In the coexistence of double-sided value -This characteristic was presented in the cross-dressing fashion that cut away women's slender part and men's rough part. 4) In the open-minded thought of gender -This tendency was reached an extreme from excessive exposure to design which gives the sexual stimulus. This paper is expected to be helpful to understand the contemporary fashion by treating the cultural category associated with post-modern feminism in relation to contemporary fashion and to establish the direction of 21 century fashion.

• 한국엔터테인먼트산업학회논문지
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• 제14권7호
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• pp.1-26
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• 2020

본 연구는 국내 화장품 광고에 나타난 여성 이미지가 국내 페미니즘의 도입 및 변화와 관련하여 어떤 특징을 보이는지를 파악하고자 하였다. 이를 위해 1991년~2019년까지 방영된 <마몽드> 화장품 브랜드의 TV광고 총 86편을 양적, 질적으로 분석하였다. 분석결과 1기(1991~1997년)에는 남성과의 평등을 강조하는 급진주의 페미니즘의 경향이 짙었으나, 2기(1998~2005년)에는 다시 전통적인 여성상이 잔존하는 자유주의 페미니즘으로 회귀하는 모습을 보였다. 그리고 3기(2006~2011년)에는 페미니즘과 포스트 페미니즘이 혼재하는 양상을 보이다가 4기(2012~2019년)에 이르러서는 본격적으로 아름다움에 대한 적극적인 주체가 되는 포스트 페미니즘의 경향을 보였다. 이러한 연구결과는 학술적으로는 페미니즘 관점에서 화장품 단일 브랜드의 여성이미지를 수직적으로 조명한 사례연구라는 점에서, 실무적으로는 여성 제품의 마케팅 커뮤니케이션 전략이나 크리에이티브 전략 수립에 시사점을 제공한다는 점에서 의의를 지닌다.

• 한국의류산업학회지
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• 제1권3호
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• pp.218-230
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• 1999

The purpose of this study is -under the post-modem situation- to emphasize the role of women which has various several logic on feminism, to look forward to division of men's consciousness of women, and to reflect a trend to accept the role of sex which is occurring in the system of sex, that is, 'The Third Gender and Homosexuality'. The category of biological and sociocultural on feminism discussed, meantime expressed the sexual logic under post-modern situation, and probed the sexual logic on feminism which was expressed in modem dress and its ornaments by redefining some characters as follows; Imitation-it was to attain masculinity by imitating the body of the opposite sex. Interaction such situations like...... masculinity in women, feminity in men was demonstrated as transvestism of cross-dressing and the symbolic meaning of homosexuality was demonstrated in the shoes of sociocultural on Feminism. Dispersion appeared as a moderation charm and a resistance against the men-ruling culture. Destruction-expressed the fetishism of punk of porny image and maternal affectional image of biological trend as playful satire. Therefore, It is conceived that Feminism would be created true human-phase come true in the men's world as long as the realization of women themselves make the phase of women higher; and further not only propose new image of women but the system of gender.

• 한국의상디자인학회지
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• 제20권4호
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• pp.17-30
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• 2018

This study discusses the ambivalence and ambiguity in the relationship between the women's body and fashion drawings in respect to post-feminism perspectives. Deconstructivist post-feminists, perceiving the body as a passive subject, asserted that women internalize the male gaze by becoming the object of male desire, then manipulate the body to conform to that ideal. In this perspective, corsets assumed the role of the tool for forcing women's body to be obedient, restraining and suppressing the body. On the other hand, in the essentialist post-feminist perspective, which regards the women's body as an active object, insists that fashion, in its essence, is not necessarily about sex, nor is it devised to attract the male gaze. In such a viewpoint, the women's body functions as a vehicle for empowerment; by wearing corset women gain power and embraces the cultural norms of dominant beauty. As investigated in this study, the corset is both a tool for oppressing the women's body, as well as a vehicle for the voluntary expression of femininity. This ambivalence in the perception of the corset in the post-feminist theory represents the double-sided perspective in fashion as being both a subordinate construction and a powerful tool for self-expression.

• 복식
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• 제53권1호
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• pp.49-66
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• 2003

In the relationship between post-modern feminism and the body. the body of women, which has been taken as 'other' by dominant arguments, has escaped from the fixed idea at post-modern times and the post-modern feminists tried to escape from the taste of the times about body image that was prevalent in the former times.'The taste of the times' here means the fixed physical form of ideal women's body by the educational custom, and it includes the educational prescription which establishes the docile body of women. This kind of educational custom aims at the perfect and permanent restriction on size, shape, desire, attitude and movement as well as on the overall demeanor and each part of the body. And the custom produces 'dependent and trained'. that is, inferiorized women's body. Hence, this paper points out that the feminity as a fixed Physical form should be overcome in order to move forward, and as one part of the effort, it attempts to analyze the designs which deformed and distorted women's body in 1990s. This research indicates that the work, which tries to deviate the fantasized and casted women's mystery, has been closely connected with the expression of 'non-separate bodies' and 'irregular body shapes' in 1990s, which aims at escaping from the fixation of women's body Image. Therefore, it is concluded that the target design trend of this research, which expressed the deformation and perversion of the body, provides the anti-these against the ideal body image of women and the these of feminity. which have been reproduced in various methods and patterns throughout the public and the culture on the whole by expressing the refusal and deviation of the existing women's body image through the post-fixation of the body pattern.

• 미술이론과 현장
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• 제15호
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• pp.111-135
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• 2013

This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.

• 트랜스-
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• 제5권
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• pp.83-111
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• 2018

본 연구는 유럽 현대무용의 여성 안무가인 안느 테레사 드 키어스매커(Anne Teresa De Keersmaeker)의 초창기 작품 <로사스 댄스 로사스 Rosas danst Rosas>, <에레나의 아리아 Elena's Aria>를 페미니즘 관점으로 분석하는 것을 목적으로 한다. 18세기부터 시작된 페미니즘(Feminism)운동은 여성에 대한 시각과 인식을 변화시켰고 이후 예술작품 속 여성은 나약한 이미지보단 강인하고 독립성을 띈 모습들이 많이 보였다. 이러한 시대적 흐름 속 페미니즘의 영향은 현재 여성예술가들의 활동이 두드러지게 변할 수 있는 의의를 제공하였다. 이에 사회 문화적 흐름에서의 페미니즘 시각으로 작품 속 여성 무용수의 이미지와 역할을 조명할 필요성을 느끼며 본 연구를 시작하였다. 안느 테레사 드 키어스매커의 작품에 나타나는 페미니즘을 분석한 결과는 다음과 같다. 두 작품에서 가장 두드러지게 나타나는 페미니즘은 급진주의 페미니즘, 포스트모던 페미니즘이었다. 이러한 결과는 <로사스 댄스 로사스>에서 여성무용수의 신체적 억압을 통해 자유의지의 해방적 요소로 급진주의 페미니즘으로 나타났으며 <에레나의 아리아>에서는 여성의 신체 억압이 자유의지의 해방으로 해석되어 급진주의 페미니즘으로 해석되었다. 이와 같이 안느 테레사의 작품을 페미니즘 관점으로 해석한 결과 1980년대 이후에 대두된 페미니즘 이론들과의 상관성 및 영향이 도출됨을 확인할 수 있었다. 이러한 결과를 통해 그녀의 안무철학과 방향성을 탐색 할 수 있는 또 다른 시각과 영역이 확장 될 수 있는 가능성을 제시하였으며, 국내에는 그녀를 다양한 시각으로 접근한 연구 및 분석 자료가 전무한 실정에서 새로운 관점 및 시각의 필요성을 재차 확인할 수 있었다. 본 연구자는 페미니즘의 시각으로 안느 테레사를 연구함으로서 현 시대 여성과 남성무용가들이 생산하는 다양한 이미지들이 바로 소멸하여 의미를 잃지 않고 상생하며 발전할 수 있는 계기가 되기를 바란다.

• 복식
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• 제65권3호
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• pp.47-61
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• 2015

Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.

• 영어영문학
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• 제60권2호
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• pp.339-363
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• 2014

This essay reconsiders the subject of Romantic self-consciousness in a post-de Manian perspective. Self-consciousness is an attribute of Romantic lyricism whereby the poetic speaker I remains conscious of how (s)he feels or lives here and now. This self-reflective feature of Romantic poetry has been controversially interpreted either as self-centered solipsism or as self-expressive objectivism. The question is stirring more disputes among Romantic critics after the advent of New Historicism and Feminism. These two historicistic approaches reprove Romantic poetry for a lack of the sense of history and ascribes it to Romantic self-consciousness. They argue that Romantic poets in general displace historical materiality into an object of internal consciousness, so negating absurd social realities "merely to gain their own immortal soul." This essay targets to overcome this negative stance on Romantic self-consciousness with a "subversive" return to Paul de Man's criticism of Romantic internality.