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직장여성의 Self Image Making 인식정도에 관한 연구
조기년,최정숙 한국패션뷰티학회 2004 한국패션뷰티학회지 Vol.2 No.3
In order to investigate female workers' recognition of image making, this study conducted a survey of female workers in Daegu and obtained results as follows. First, according to the result of analyzing recognition of image making, many of female workers, 82.3% of whom were between 20s and 40s, replied that they were 'pure and lively'(41.8%) or 'elegant and womanly'(32.3%) but what they sought for in their mind was an elegant and womanly image. However, the image that a majority of female workers wanted to have in the future was 'elegant and womanly' (53.3%) and 'sexy and attractive'(27.4%). This suggests that our society still demand women to be womanly as well as sexy and attractive. Second, with regard to outward image by age, most female workers regardless of age thought that outward image is important for social life. This suggests that younger women recognize more the influence of image and, consequently, the necessity of image making. Thus, the recognition of the importance of outward image appears to result in the proportional enhancement of the consciousness of image management. Third, younger women have a great difference between their current image and the image they seek for and such a difference may be related to mental immaturity between ideal and reality. Fourth, as for the relationship between image making and occupation, those who engaged in service and beauty art highly recognized the importance of image making as they were greatly influenced by their outward image in their social life.
채금석(Keum Seok Chae),이화정(Hwa Jung Lee) 한국복식학회 2002 服飾 Vol.52 No.1
The purpose of this study is understanding modern woman`s various aesthetic values and aesthetic sense through observing expression aspects of gender images in the 1990s military fashion and analyzing their aesthetic characteristics and formative factors. Gender images in military fashion have expressed the masculine image of authoritative image and offensive image, and the feminine image of conservative image and ostentatious image, sensual image. The authoritative image showed authority and dignity of military uniform by using the classic military uniform`s image. This spoke for desire of women to rise their position. Heroism and androcentrism affected as its formation factor. The offensive image destroyed original dignified image of military uniform by that resistance to authoritative image and existing gender identity appeared as way-out form and deconstructive expression. Anti-establishment spirit, resistance to gender identity, and deconstructionism affected as its formation factor. The conservative image expressed military fashion only with slim and soft silhouette, curved line, color, and simple details by magnifying feminity. Fallen man`s authority affected as its formation factor. The ostentatious image expressed military fashion with magnifying accessories such as gold button and belt by women who wanted to display ostentatiously their social position and charm. The aspiration for class of elite affected as its formation factor. The sensual image intended to show erotic voluptuous beauty of woman`s body by indirect and direct body exposure. Narcissism, desire to show, and sexual amusement affected as its formation factor.
Photographs, Memmories, and Self-identity: The Formation of Self-image by a Female Graduate Student
Ju-Chun Cheng,Ching-Fang Lee,신창호 한국국제미술교육학회 2009 미술과 교육 Vol.10 No.1
Many memories are associated with photographs that serve as concrete objects on the surface for witnessing a vanished moment. For the viewers, a photograph not only grasps the moment they want to keep but also freezes the time to be still and embody the memory inside the frame by pressing the shutter. Since photographs each have a unique pattern to represent part of the viewers’ past, they should be interpreted them from various viewpoints. In this paper, we explore how a particular viewer, Weian, who has a college art background, interpreted the self-portrait photographs she selected from her childhood till her college period to participate in this study. Through a process of interpretation and meaning-making of her selected visual images, we inquired how Weian’s self-identity is constructed and analyze how she shapes how she looks at and analyzed the elements that affect her interpretation of the photographs. Many memories are associated with photographs that serve as concrete objects on the surface for witnessing a vanished moment. For the viewers, a photograph not only grasps the moment they want to keep but also freezes the time to be still and embody the memory inside the frame by pressing the shutter. Since photographs each have a unique pattern to represent part of the viewers’ past, they should be interpreted them from various viewpoints. In this paper, we explore how a particular viewer, Weian, who has a college art background, interpreted the self-portrait photographs she selected from her childhood till her college period to participate in this study. Through a process of interpretation and meaning-making of her selected visual images, we inquired how Weian’s self-identity is constructed and analyze how she shapes how she looks at and analyzed the elements that affect her interpretation of the photographs.