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彼は世論調査における、若者の憲法9条擁護率の高さを中心に細かいデータなどを用いながら右傾化はありえないとしています。「普通の有権者は政治に大して興味を持っていないし、保革イデオロギーに拘るのは一部の政治好きであり、首相になる前の安倍晋三は単なる『次の首相になるかもしれないと報道されているらしい人』でしかなかっただろう」という彼の主張は徹底したデータを用いていることからかなりの信憑性を感じられます私自身、一人の「若者」として同年代の政治的関心の無さは常に感じていますので個人的には頷ける点しかありません私の考えとしては「若者の政治的関心は多くない。しかし、政治的関心のある若者は右傾化している。」ですこの要因としては、もちろん小林よしのりさんの「戦争論」や「ゴーマニズム宣言」などの著作に代表されるようなネオ・ナショナリズム的なものが若者層の需要に合致したという、従来から言われている指摘も的を得ていると思います。しかし、なぜそういったものが「若者」を引きつけたか？

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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

Fashion and Gender

KBS ドラマ『ビッグ』で“マリルック”を披露し注目を集めたスジは、ブルーとワインカラーの配色がビンテージな雰囲気を感じさせるニットワンピースに、ニーハイソックスを合わせ、元気ハツラツなファッションを演出した。ここに華やかなコーラルカラーのショルダーバッグをマッチさせキュートなファッションを完成させている彼女たちのラブリールックを完成させたこのショルダーバッグは、ロエベのフラメンココレクションで、軽くて柔らかい革素材が特徴だ。シンプルなデザインでどんなファッションにも合わせやすく、おしゃれな雰囲気を演出してくれる。（翻訳：宮本りさ）社会人二年目にありがちなこと

ビョークがソロデビュー前にやっていたロックバンド、シュガーキューブスのベスト盤。メランコリックな雰囲気のサウンドがちょっとポリスに似ているような気がするが、曲のインパクトは弱い。インディーズとしては良く頑張っているという感じだが、サウンドもリズムもややメリハリに欠ける。ビョークのボーカルは文句なしソロになってからのビョークは、例の低音の効いた打込みの他にもジャズやクラシカルなアレンジの曲もやるが、こういうロックのバンドサウンドだけは全くやっていない。とにかくギターの音を使わないのだ。ロックはインディーズ時代に充分やったということだろうかそう思って、ソロの「POST」なんかと聴き比べてみると、ビョークの声の活かし具合が全然違う。ギターの音があると自分の声とぶつかるから、もうロックはやらない、ということなんではなかろうか。「Uber」めぐるタクシー業界のバトル発生

マイスィートダーリンこてちん、今日はピーター・パンのコスプレで登場。これは『表こてちん』…で、『裏こてちん』がコレ西部察の大門団長、レ☆ザーラ〇ン、時代錯誤の海の男…諸説ありますがこてちん用オーダーメイドではないかと思う位バッチリ似合ってました。ななも惚れなおしたかも

There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

最初は家族で行く予定にしていたのですが『パパは仕事が忙しくて行けない』と言うのでジジと行く事にしました招待券は私とジジで割引券でこっちぃの券を買う事にしていたのですが、昨日ジジがじぃちゃんの前で『公演時間がわからんから俺がチケットをもっとく』と言うので渡しましたじぃちゃんの前で言ってお留守番なんて可哀想だから『じぃちゃんのチケットは私が買うからじぃちゃんも一緒に行こう』と誘いましたするとジジが『あぁ言ってなかったけどじぃちゃん行く予定にしたんよ』

Fashion and Gender

Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

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