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EntityQ16001941· pop 13· linked from 23 articles

Also known as winsomeness

() in Korean is a normalized gendered performance that involves a cute display of affection often expressed through a cute voice, changes to speech, facial expressions, or gestures. A similar expression is (; ). literally means behaving in a flirtatious, coquettish manner and it is commonly expected for both male and female K-pop idols and also expected or demanded from exclusively younger females in Korean society in a way which reinforces or reflects Korea's traditional gender roles. However, it is not uncommon for everyday people to behave in such a way, and is widely used as an expression

Key facts

Korean name/auto.hangul
애교
Korean name/auto.hanja
愛嬌

via Wikipedia infobox

~3 min read

Article

5 sections
Contents
  • Use
  • Linguistics
  • Relation to gender roles and sexism
  • See also
  • References

() in Korean is a normalized gendered performance that involves a cute display of affection often expressed through a cute voice, changes to speech, facial expressions, or gestures. A similar expression is (; ). literally means behaving in a flirtatious, coquettish manner and it is commonly expected for both male and female K-pop idols and also expected or demanded from exclusively younger females in Korean society in a way which reinforces or reflects Korea's traditional gender roles. However, it is not uncommon for everyday people to behave in such a way, and is widely used as an expression of affection towards loved ones, family, and friends, and also as a hyper-sexualized form of seduction. can also display closeness with others, which is possible to bring people together. The word is often translated as "cuteness" in English, and can be compared to the Chinese concept of (), or the Japanese concepts of and amae.

==Use== In their study, scholar Aljosa Puzar and Hong Yewon argue that " is almost certainly a strong contributing element to the discursive organisation of the 'ideal Korean woman', repeatedly reinforced by narratives and images produced and reproduced throughout everyday lives and mediatic representations." Puzar and Hong additionally conclude that is essentially in the end how Korean women navigate what "amounts to societal oppression" and that aegyo is essentially a reflection of an unequal power distribution in South Korea.

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