• 전자통신동향분석
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• 제34권3호
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• pp.114-124
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• 2019

The Internet was designed for machines, not humans, and hence, nobody owns a digital identity. Instead, a digital identity is rented from a website and an application. This lack of unique and secure digital identities has resulted in confusion in the online/cyber world. Digital identities pose one of the oldest and most difficult problems with regard to the Internet. There is still no way to use digital credentials to prove, own, and control an online identity, namely a self-sovereign identity, in the same manner we do in the offline world, particularly without a trusted third party. This article discusses the current open standards for digital identities, proposes solutions pertaining to digital identities in the future, and introduces the concept of a blockchain-based self-sovereign digital identity without the need of trusted third parties.

• Asia pacific journal of information systems
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• 제20권1호
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• pp.57-79
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• 2010

In a virtual community, one can possess multiple identities and pretend to be different by creating self-identity in contrast with his or her actual self. Does false identity undermine the qualitative growth of a virtual community by reducing members' accountability? Or does it stimulate their contributive behaviors by ensuring freedom of speech? It is imperative to understand the effects of multi-identity considering the distinct properties of a virtual community in which people easily change their identities at little or no cost. To answer these questions, we adopted the concept of self-discrepancy from the social psychology theory rooted in the concept of the self and developed a theoretical model to predict quality of contribution of the individual member in virtual communities. Based on the self-discrepancy theory, we first identified two different domains of the self: (1) an "actual self" that consists of attributes that the person believes he or she currently possesses in real life and (2) a "cyber self" that consists of attributes the person believes he or she possesses in a virtual community. Next, we derived an index for two different types of self-discrepancy by using the differences between the actual and the cyber identities: Personal Self-discrepancy and Social Self-discrepancy. Personal Self-discrepancy reflects the degree of discrepancy between actual and cyber identity regarding a person's intelligence, education, and expertise. Social Self-discrepancy reflects the degree of discrepancy between actual and cyber identity regarding a person's morality, sociability, and accordance with social norms. Finally, we linked them with sense of virtual community, perceived privacy rights, and quality of contribution to examine how having a multi-identity influences an individual's psychological state and contributive behaviors in a virtual community. The results of the analysis based on 266 respondents showed that Social Self-discrepancy negatively influenced both the Sense of Virtual Community and Perceived Privacy Rights, while Personal Self-discrepancy negatively influenced only Perceived Privacy Rights, thereby resulting in reduced quality of contribution in virtual communities. Based on the results of this analysis, we can explain the dysfunctions of multi-identity in virtual communities. First, people who pretend to be different by engaging in socially undesirable behaviors under their alternative identities are more likely to suffer lower levels of psychological wellbeing and thus experience lower levels of sense of virtual community than others. Second, people do not perceive a high level of privacy rights reflecting catharsis, recovery, or autonomy, even though they create different selves and engage in socially undesirable behaviors in a virtual community. Third, people who pretend to be different persons in terms of their intelligence, education, or expertise also indirectly debase the quality of contribution by decreasing perceived privacy rights. The results suggest that virtual community managers should pay more attention to the negative influences exercised by multi-identity on the quality of contribution, thereby controlling the need to create alternative identities in virtual communities. We hope that more research will be conducted on this underexplored area of multi-identity and that our theoretical framework will serve as a useful conceptual tool for all endeavors.

• 한국언론정보학보
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• 제37권
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• pp.342-376
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• 2007

이 연구는 온라인 롤프레잉 게임 이용자가 현실공간과 가상공간에서 형성하는 자아정체감의 관계를 탐색하고, 그것이 온라인 게임중독과 현실부적응감에 미치는 영향을 경험적으로 검증하고자 했다. 분석결과 현실공간의 자아정체감과 가상공간의 자아정체감은 정적으로 높은 상관성을 보였다. 구체적으로 현실공간의 자아정체감이 높은 사람들은 가상공간에서도 높은 자아정체감을 보였다. 또한 두 공간의 자아정체감은 게임중독과 현실부적응감과도 매우 높은 상관성을 보였는데, 두 공간 모두 자아정체감이 높을수록 게임중독과 현실부적응감 수준은 낮아지는 것으로 나타났다. 그중에서도 현실공간의 자아정체감은 게임의 부정적 효과들, 즉 중독과 현실부적응감 수준을 결정하는 요인으로 나타났다. 가상공간의 자아정체감은 비록 독립적인 영향력을 발휘하지는 못했지만, 현실공간의 그것과 상호보완적으로 영향을 미칠 가능성을 보였다. 이것은 현실공간에서 자아정체감이 낮은 사람들에게 가상공간이 이상적인 자아를 발견하고 자신에 대해 긍정적인 인식을 발전시킬 수 있는 대안적인 공간으로 작용하지 못함을 의미한다. 중독에 이르고 현실부적응감 수준이 높은 사람들은 현실공간과 마찬가지로 가상공간에서의 자신에 대해서도 부정적으로 인식하기 때문이다.

• Journal of Information Technology Applications and Management
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• 제21권3호
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• pp.97-117
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• 2014

People can differently act online than in real-life. Their virtual identities may allow them to express themselves more freely. In this perspective, there is a self-discrepancy between virtual- and real-life. Due to the anonymity, people can feel free to express who actually they are online without considering social pressure. Especially, for those people who live in a repressed society, virtual-selves can play a significant role to achieve their well-being. For this reason, a self-discrepancy between actual- and virtual-self related to well-being was studied. With 183 survey responses, political freedom, extraversion and neuroticism are identified as significant influencers of subjective well-being (SWB). In addition, an increase in self-discrepancy between virtual- and real-life for 'unhappy' people leads to an increased online well-being, which is contradictory to Higgins' self-discrepancy theory.

• 대한가정학회지
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• 제40권6호
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• pp.21-37
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• 2002

The third sex implying a mismatch between sex and gender has been regarded as an extreme socio-cultural violation. In its earlier version, such a violation was expressed by cross-dressing; Women's cross-dressing was thought to invoke eroticism, while men's cross-dressing was considered comic or delinquent. However, as feminism developed more with the homosexual identity expressed openly, the third sex began to be visual. Thus, in 1990's, some homosexual monies began to develop to be pluralized enough to suggest the third sex and thereby, change the negative sex into a positive one. In this study, such a pluralization is discussed in terms of invisibility, dichotomy and androgyny. The cross-dressing movies show females in male attire or males in female attire to reflect the third sex. The cross-dressing may be divided into men's playful cross-dressing, women's political cross-dressing and homosexuals'cross-dressing or 'drag'. Gender identity is not an attribute fixed by some physical characteristics, but it tends to be changed or expanded by some social factors over time. In short, it may be a flexible, plural, individual and self-introspective attribute. Movies present diverse types of gender identities, and in particular, the movie costumes specify them. In other words, the costumes may be model means expressing the gender identities, and the gender identities shown in the movies tend to be imitated, re-created or assumed by the audience.

• 대한가정학회지
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• 제40권5호
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• pp.63-78
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• 2002

The movie costumes may serve to change individuals'ego identity, shift a gender identity to another one and make multiple and plural gender identities shared. The unique identities shown in movies can influence the audience to the extent that they will imitate characters's costumes or appearance in their real life, replacing their inner, unrealizable and private fantasy with real one. The purpose of this study is to review the movies produced in 1930's and thereafter by categorizing the socio-cultural gender concepts into masculinity and feminity. Masculinity and Feminity are not attributions fixed by some physical characteristics, but it tends to be changed or expended by some social factors over time. In short, it may be a flexible, plural, individual and self-introspecive attribute. Movies present diverse types of masculinity and feminity, and in particular, the movie costumes specify them. In other words, the costumes may be model means expressing the masculinity and feminity, and the gender identities shown in the movies tend to be imitated, re-created or assumed by the audience. All in all, the movie costumes serve to take on the confrontation of masculinity and feminity between inner, unrealizable and private fantasy and external reality and thereby, expand it from internal to external issue and thus, change or reform masculinity and feminity.

• 복식문화연구
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• 제26권3호
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• pp.471-484
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• 2018

This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study's data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study's results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals' physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women's social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women's physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.

• 수완나부미
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• 제16권2호
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• pp.147-184
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• 2024

At the dawn of the 20^th century, Southeast Asian female poets increasingly delved into introspective reflections on gender, giving rise to a heightened self-awareness in their artistic contemplations. This shift in perspective brought forth numerous crucial topics for discussion, such as the historical role of female poets, women's experiences, feminine language, female voices, and female identity. The exploration of language has empowered female poets to discover a "third space" that allows them to exist and eliminate the pervasive gaps of women in Southeast Asia, creating social changes, fostering concepts of feminine culture, and establishing progressive social institutions. Marjorie Evasco (1953-) and Dư Thị Hoàn (1947 - ) are exemplary representatives of contemporary Southeast Asian women's poetry due to their significant artistic contributions and pivotal roles in promoting feminist literature in their respective countries. This study compares their poetic works, focusing on three crucial aspects: self-awareness of femininity and feminism as an identity autonomy, writing between two languages to express their identities, and constructing the image of mother and motherhood from personal and historical perspectives. Hence, the article highlights that Southeast Asian female poets, throughout different historical contexts, persistently forge their identities and strive for equal footing with men in society. Also, their invaluable contributions have significantly enriched the feminist literary tradition in Asia.

• 대한가정학회지
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• 제41권9호
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• pp.149-161
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• 2003

The purpose of this study is to investigate the subjective experiences of female college students about how they accept, resist, and interpret their gender identities and roles. The research data were autobiographic essays reflecting research participants' gender identities internalization process. Thirty essays were chosen, and carried by qualitative content analysis. It turned out that most of these female students were not blessed their birth among their family members only because of their sexes. On the one hand, these female students were restricted their behaviors by their sexes in their daily lives such as responsibility on household work, not permitting drinking, late returning home, and sexual behavior before marriage. On the other hand, they sometimes took advantage of their sexes for self-rationalization. But they were proud of the fact that they will be mothers someday. It seemed that motherhood was center for their female identity.

• 수완나부미
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• 제5권2호
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• pp.81-99
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• 2013

Đoạn tuyệt is the representative of not only Nhất Linh's literary life but also of the Tự Lực Văn Đoàn [Self-Strength Literary Group]. Đoạn tuyệt's contributions are emphasized in the following aspects: 1) critique of the feudal family model, 2) an advocate of female and individual liberation, 3) nationalistic content, though rather vague. Based on analysis of gender power relations in the masculinization of femininity exemplified in the character Loan of the novel, this paper addresses the following points: - In Đoạn tuyệt, the woman is eager to free herself from feudalist ties not to construct her own identity but to identify her with men's identities. - The construction of new feminine identities was conditioned in new rising discourses of Western modernity-based nationalisms in pre-revolutionary Vietnam. - The feminization of masculinity echoes the crisis of Vietnamese masculine in facing colonial power.