This thesis examines the representation of homosexuality in Korean webtoons, and answers the question: How has homosexuality been represented in Korean Boys’ Love webtoons from 2019-2022? In order...Show moreThis thesis examines the representation of homosexuality in Korean webtoons, and answers the question: How has homosexuality been represented in Korean Boys’ Love webtoons from 2019-2022? In order to answer this question, the thesis uses content- and critical discourse analysis of three Korean webtoons that are part of the Boys' Love genre. Based on this, it concludes that Korean Boys’ Love webtoons largely represent homosexuality in a heteronormative, glorified and sexualized manner.Show less
Zhenmushou (鎮墓獸) are ritual protective tomb sculptures which can be found in multiple notable European museums that house Chinese art. The function, presentation and the impact of these sculptures ...Show moreZhenmushou (鎮墓獸) are ritual protective tomb sculptures which can be found in multiple notable European museums that house Chinese art. The function, presentation and the impact of these sculptures – and that of pre-modern Chinese mortuary objects – on viewer’s perception of China as an object in the 21st century within European museums has, however, not been previously studied in Western scholarship. This study therefore aims to do so by examining the changing functions of zhenmushou over time and place. Firstly, sources and theories on zhenmushou within the context of the Chu state (楚国; 702-221 B.C.E) during the Warring State Period (戰國時期; 481 -221 B.C.E.) were analyzed. The original role of zhenmushou was afterwards put in perspective with its current function within four French and British museums by studying the museums’ display and narrative. Subsequently, critical heritage theory regarding decolonisation, orientalism and provenance theory was applied to deconstruct the narrative and display, and reveal underlying power mechanisms within the discussed museums. Lastly, possible alternative ways of display are briefly discussed. Overall, this study shows that despite the seemingly static materiality, objects displayed in museums do not have a permanent meaning, but are shaped by their context. The function of zhenmushou varied substantially over context and time, and continues to change in museums through new encounters, the juxtapositions with other objects, changed descriptions and other modifications in their environment.Show less
