‘페미니즘 리부트’와 지역 여성운동: 전주시를 중심으로

김혜경 한국여성학회 2022 한국여성학 Vol.38 No.1

This is the study on the ’new’ feminism called as “the feminism reboot” especially since 2015, in the local area of Jeonju city, South Korea. What brought the feminism reboot to the local area, and what is the difference between activism in the metropolis and that in the local city are analyzed. The main question is how much and how differently the ICT and the radically rising online feminism contributed to the occurrence of feminism in the local area where the personal and theoretical resources of feminism are insufficient. In-depth interviews with eight subjects, many of whom were related with feminism reboot, were used. Findings are as follows: Firstly, the reboot in Jeonju city shows the two ways of being feminists and doing feminism, one of which is the theoretically armed digital feminists who organized the feminist activism. The other majority are the participants at the feminist gatherings who became feminists through doing the feminist reading. The latter course is the result of seeking a safe space from the anti-feminism backlash and the absence of anonymity of the middle-sized city of Jeonju. Secondly, the shortage of people and resources made the solidarity with traditional agents of women’s movement essential than optional. The ‘new’ and ‘young’ feminists of “feminism reboot” tended to be connected with the ‘old’ women’s organizations rather than discontinued. Moreover, they do feminism cooperating with the institutionalized state feminism. Thirdly, the contraposition between the radical separatist feminism and transfeminism is not strong and tends to be made invisible. It is partly caused by the shortage of feminists itself. But it also reflects the civil movements’ tradition in Jeonju City that had used to be organized on the basis of solidarity supplementing the scarcity of resources. 이 글은 메트로폴리스와는 다른 사회경제적 조건과 운동의 역사를 갖는 중규모의 도시에서 페미니즘의 리부트는 어떠한 특성을 가지는지를 발생계기와 활동방식, 운동의 주체와 이념적 특성을 중심으로 살펴보았다. 연구방법은 페미니즘 리부트 참여자 및 그 외 지역여성운동 참여자 등 8명에 대한 심층면접과 이들이 운영하는 인터넷 홈페이지 분석, <전북여성단체연합> 발간물 등에 대한 문헌분석이다. 연구결과는 다음과 같다. 첫째, 전주 지역의 페미니즘 리부트의 발생 계기는 크게 보아 두 가지의 경향을 보 인다. 하나는 서울 등 대도시에서와 마찬가지로 디지털 페미니즘을 매개로, <강남역 여성 살해사건>에 대한 통분을 바탕으로 형성된 공동체와 연결되어 있다. 그러나 다수의 참여자는 스스로를 페미니스트로 여기지 않던 상태에서 독서모임이나 동아리에 참여하 게 되면서 페미니스트로 주체화하게 되고 리부트에 참여하는 경로를 밟은 것으로 나타난다. 둘째, 활동방식과 관련해서 보면, “사람이 부족”한 현실적인 조건은 분리보다는 연대의 운동방식을 발생시켰다. 그리고 이것은 페미니즘 리부트를 이전 시기와의 차별성과 단절성을 중심으로 이해하던 방식과는 다른 결과를 가져온다. 즉, 리부트 참여자들은 <전북여성단체연합> 등 기존 조직운동과의 교류, <성평등전주>와 같은 젠더 거버넌스 제도의 적극적 활용, 젊은 여성만이 아니라 세대적으로 연결된 연대의 방식을 보여주었다. 자원의 부족은 알음알음으로 연결되는 인적 네트워크로 채워졌으며, 전주 구도심을 중심으로 구축된 시민사회운동의 공간적 연결성은 연대활동을 가시화할 수 있는 긍정적 자원이었다. 셋째, 이념적으로 볼 때 페미니즘 리부트 운동 내부에서 보이던 입장의 차이, 즉 분리주의적 급진페미니즘과 성소수자 운동과의 연대를 강조하는 교차성 페미니즘간의 이론적ㆍ실천적 차이가 존재하기는 했으나, 그러한 지점들은 공론화되기보다는 비가시화 되는 경향이 더 컸다.

윤리로서의 페미니즘 - 김혜순 시론집을 중심으로-

홍정희 한양대학교 동아시아문화연구소 2018 동아시아 문화연구 Vol.74 No.-

This paper looks into the ethical aspect of feminism. Focusing on the two essay books on poetry by Kim Hyesoon titled To Write as a Woman and Women, Doing Poetry, it will discuss how feminism moves beyond gender issues into the level of ethics. Feminism has a long history, but currently in Korea feminism is being newly called for. Theoretical books on feminism are published one after another, feminism has become the center of social controversies, and feminist literature attracts much more attention than ever before. Much attention on feminism seems to be a clear sign implicating that this era invites feminism. Then why feminism again, now and at this point? That is because ethical request of the general society calls for feminism. The scene that a sort of social movement demands feminism has many implications as it once again confirms us in ethical characteristic of feminism. Kim’s redefinition of femininity in her essay books, To Write as a Woman and Women, Doing Poetry, may lead to the redefinition of feminism. Kim identified femininity not in the biological level but in the deeper level of existence; femininity as the womb that has the power of creation and femininity close to death such as being possessed by spirit. Feminism can be reinterpreted in the level of existence, and when doing so, its ethical aspect is revealed. Redefining femininity which was already defined in the male-centered society is an ethical act of embracing horror of the possibility to lose the foundation of its own existence, as it implies the will to deny the system in the established symbolic order and to face the ‘existence’. Therefore, ethical aspect of feminine writing suggested by Kim arises from the ‘femininity’ close to ‘death’. What feminism look for at this point is the ‘existence’ that is the hole, referred to as the exterior of the boundary of the male-centered society, death or darkness. Feminism does not seek to intensify the confrontation between male and female, but to shake off all the boundaries including male and female. For female to ‘do’, not ‘write’, poetry means to renew language or writing which is done by language, the most fundamental system in the symbolic order. ‘Femininity’ which is newly done in this way faces the existence that has always existed in the interior of the world. The ethics whose name is femininity is born. 이 논문은 윤리로서의 페미니즘 대해 고찰한다. 페미니즘이 젠더의 문제를 넘어 어떻게 윤리의 차원으로 이행하는지 김혜순의 시론집 『여성이 글을 쓴다는 것은』과 『여성, 시하다』를 중심으로 살펴본다. 페미니즘의 역사는 오랜 것이지만 대한민국의 현재에서 페미니즘은 새롭게 호출되고 있다. 페미니즘이 사회적 논란의 중심이 되고 있으며, 페미니즘 문학에 대한 관심은 그 어느 때보다 높다. 그렇다면 지금, 여기에서 왜 다시, 페미니즘인가. 사회 전반의 윤리적 요청이 페미니즘을 호출한 것이다. 페미니즘의 긴 역사 속에서 일종의 사회적 운동이 페미니즘을 호출해낸 이 장면은 의미심장하다. 그것은 우리에게 페미니즘의 윤리적 성격을 다시금 확인시켜주기 때문이다. 김혜순이 두 권의 시론집 『여성이 글을 쓴다는 것은』과 『여성, 시하다』를 통해 행하고 있는 ‘여성성’에 대한 재정의는 페미니즘의 재정의로 이어질 수 있다. 김혜순은 ‘여성성’을 생물학적 차원에서 파악하는 것이 아니라 존재의 심층적 차원으로 파악하며, 그것은 생성의 능력을 품은 자궁으로서의 ‘여성성’, 귀신에 들린 것과 같은 죽음에 가까운 ‘여성성’으로 나타난다. 애초부터 남성 중심 사회에서 호명이 끝난 여성성을 다시 정의한다는 것은, 기존의 상징적 질서 내의 체제를 부정하고 ‘실재’를 대면하려는 의지로 그것은 존재의 토대를 잃을지도 모른다는 공포를 감내하는 윤리적 행위다. 그러므로 김혜순이 말하는 여성적 글쓰기의 윤리적 성격은 죽음에 가까운 ‘여성성’에서 비롯된다. 이때 ‘여성성’이 응시하고 있는 것은 남성 중심 사회의 경계의 바깥, 죽음, 어둠으로 불리는 구멍으로서의 ‘실재’ 그 자체다. 페미니즘은 남성 대 여성의 대립을 강화하는 것이 아니라 남성과 여성을 포함한 모든 경계를 풀어헤친다. 모든 경계를 넘어서는 죽음에 가까운 ‘여성성’을 통해 김혜순의 ‘여성성’에 들린 주체가 탄생한다. 남성/여성은 ‘여성성’에 들리며 자신의 유령 주체로의 급진적 변형을 목격한다. 그/그녀는 그 순간 상징질서에서 벗어나며 기존의 언어 체계도 벗어난다. 그/그녀는 타자의 탄생을 가능하게 하는 창조적 존재가 된 것이다. 실재에 대한 욕망을 포기하지 않으면서 자신의 죽음을 통해 새로운 존재로 변형된 ‘여성성’에 들린 주체, 그 주체는 세계의 죽음에 대한 애도의 주체이며 자신의 죽음에 대한 애도의 주체이기도 하다. 이렇게 남성/여성은 두 죽음을 통해 새로운 윤리적 주체로 탄생한다.

1990~2010년대 한국 여성시의 페미니즘 전개와 변모 양상 연구 -김언희, 김선우, 문정희의 시를 중심으로-

이병철 한국언어문화학회 2025 한국언어문화 Vol.0 No.86

1980년대 말에서 90년대 초반 한국시에서 ‘여성시’는 사회적으로 강요된 여성의 몸을 부정 및 폐기하고, 그간 사회・역사적으로 소외되어온 여성이 자기 신체의 주체가 되어 젠더를 재구성하려는 열망을 거침없이 표출했다. 오랜 억압에 대한 반작용이 다소 호전적이며 과격한 시적 언어로 형상화되던 1980~90년대를 지나 2000년대에 들어서는 포스트모더니즘의 생태 담론 영향으로 회복과 치유, 화해와 포월(抱越)을 노래하는 에코페미니즘이 활발하게 전개됐으며 2010년대에 들어 ‘페미니즘 리부트’의 자장 안에서 여성시는 급진 페미니즘의 언어적 행동양식이 되거나 오히려 여성을 초월하는 새로운 여성, 섹스와 젠더를 아예 무화시키는 제3의 성을 모색하는 방식으로 분화되었다. 이 논문은 페미니즘 담론이 우리 문학장에 본격적으로 펼쳐진 1980년대 이후 여성시의 흐름에서 김언희, 김선우, 문정희의 시에 주목하고 있다. 이들 세 시인의 시에는 특히 1990년대부터 2010년대까지 이어지는 페미니즘의 전개와 변모의 양상이 확연하게 나타나는데 김언희는 급진 페미니즘, 김선우는 에코페미니즘, 문정희는 자유주의 페미니즘과 포스트페미니즘의 층위에서 각각 발화하고 있다. 이들의 시는 페미니즘이라는 공통된 운동 안에서 여성의 해방과 정체성 확립, 주체적 실존을 주장하면서도 페미니즘 담론이 여성성의 대립항으로 설정하고 있는 남성성을 바라보는 인식에서는 차이를 보인다. 따라서 이 논문은 김언희, 김선우, 문정희의 시가 각 시대적 현실 속에서 다양하게 변모하는 페미니즘을 어떤 언어로 재현하고 있는지, 또 페미니즘이 나아가야 할 방향성을 우리 사회에 어떻게 제시하고 있는지를 중점적으로 살펴본다. With the introduction of Western feminist discourse in Korea in the 1970s, interest in women’s studies has risen significantly in the academic field, and women’s bodies and sexuality have begun to be actively spoken in literary fields. In particular, in Korean poetry in the late 1980s and early 1990s, “Women’s Poetry” denied and abolished the socially forced body of women, and women who had been socially and historically alienated expressed their desire to reconstruct gender as the subject of their bodies. After the 1980s and 90s, when the reaction to long-term oppression was somewhat belligerent and embodied in radical poetic language, in the 2000s, eco-feminism was actively developed to sing recovery, healing, reconciliation, and ‘Po-wall’(抱越) due to the influence of postmodern ecological discourse. In the 2010s, in the lullaby of “feminist reboot,” women’s poetry is being divided into a verbal behavior of radical feminism or rather seeking a third sex that completely neutralizes sex and gender, a new woman who transcends women. This thesis focuses on the poems of Kim Eon-hee, Kim Sun-woo, and Moon Jung-hee in the trend of women’s poetry since the 1980s, when feminist discourse unfolded in earnest in our literary field. In particular, the development and transformation of feminism from the 1990s to the 2010s are evident in the poems of these three poets: Kim Eon-hee speaks of radical feminism, Kim Sun-woo speaks of ecofeminism, and Moon Jung-hee speaks of liberal feminism and postfeminism, respectively. Their poems differ in their perception of masculinity, which is usually set as the opposing point of femininity, while insisting on women’s liberation, identity establishment, and subjective existence within the common movement of feminism. Differentiate feminism in the poems of the three poets in a sectarian way, feminism is not a system that leads to dialectical synthesis through the structure of conformity. Their poems testify that feminism is a complex discourse with various layers and multiple voices by bringing the social and cultural modes of the times into their own realm of women’s poetry amid the tension of mutual antagonism and coordination. Therefore, this thesis focuses on what language Kim Eon-hee, Kim Sun-woo, and Moon Jung-hee’s poems reproduce feminism, which is changing in various ways in the reality of each period, and how they present to our society the direction in which feminism should go.

윤리로서의 페미니즘-김혜순 시론집을 중심으로-

홍정희 ( Hong Jeong-hee ) 한양대학교 동아시아문화연구소 2018 동아시아 문화연구 Vol.74 No.-

This paper looks into the ethical aspect of feminism. Focusing on the two essay books on poetry by Kim Hyesoon titled To Write as a Woman and Women, Doing Poetry, it will discuss how feminism moves beyond gender issues into the level of ethics. Feminism has a long history, but currently in Korea feminism is being newly called for. Theoretical books on feminism are published one after another, feminism has become the center of social controversies, and feminist literature attracts much more attention than ever before. Much attention on feminism seems to be a clear sign implicating that this era invites feminism. Then why feminism again, now and at this point? That is because ethical request of the general society calls for feminism. The scene that a sort of social movement demands feminism has many implications as it once again confirms us in ethical characteristic of feminism. Kim’s redefinition of femininity in her essay books, To Write as a Woman and Women, Doing Poetry, may lead to the redefinition of feminism. Kim identified femininity not in the biological level but in the deeper level of existence; femininity as the womb that has the power of creation and femininity close to death such as being possessed by spirit. Feminism can be reinterpreted in the level of existence, and when doing so, its ethical aspect is revealed. Redefining femininity which was already defined in the male-centered society is an ethical act of embracing horror of the possibility to lose the foundation of its own existence, as it implies the will to deny the system in the established symbolic order and to face the ‘existence’. Therefore, ethical aspect of feminine writing suggested by Kim arises from the ‘femininity’ close to ‘death’. What feminism look for at this point is the ‘existence’ that is the hole, referred to as the exterior of the boundary of the male-centered society, death or darkness. Feminism does not seek to intensify the confrontation between male and female, but to shake off all the boundaries including male and female. For female to ‘do’, not ‘write’, poetry means to renew language or writing which is done by language, the most fundamental system in the symbolic order. ‘Femininity’ which is newly done in this way faces the existence that has always existed in the interior of the world. The ethics whose name is femininity is born.

김인숙의 (여성)노동소설에 나타난 ‘냉전 여성주의’의 양상

김복순 숙명여자대학교 아시아여성연구원 2019 아시아여성연구 Vol.58 No.1

The idea of ‘cold war-feminism' refers to feminism under the hegemony of U.S in cold war era. But in case of Korea, which has exceptionality from cold war, it is different from general ‘cold war-feminism'. It was two great streams in western feminism, that was liberal feminism and socialist feminism, while feminism in South Korea was expanded to Marxist feminism and socialist feminism. Characteristics of cold war-feminism in South Korea was well shown in Kim Insook's labor narratives. Connections of woman hakchul - passions for people's liberation - accepting the positivity of the middle class - family frame - characteristics of cold war showed intersectionalties of socialist feminism and Marxist feminism. Kim Insook, who were called as ‘the most typical 80's' woman hakchul writer paradoxically violated, deconstructed woman-labor narratives. Selecting ‘Non-labor', ‘labors who do not work', married housewife as a main character, Kim Insook depicted ‘outside', ‘surroundings' of labor site. A mixture of styles to guarantee the perspectives of labor class was one way of expressing special features of cold war-feminism in South Korea. It was considered that Kim Insook's narratives contribute to proceeding liberation of class to liberation of woman. Kim Insook's narratives were irrelavant to the clicheˊ of ‘woman labor as a scapegoat'. Also, it was different from argument that woman labors were controlled by a metaphor of sexual violence. ‘냉전 여성주의’란 냉전기 미국 헤게모니 하의 여성주의 일반을 일컫는 개념이다. 냉전의 ‘예외’ 상태인 남한의 경우 ‘냉전 여성주의’ 일반론의 내포와 다른 특수성을 지닌다. 남한의 경우 자유주의적 여성주의가 제대로 정착하기도 전에 맑스주의적 여성주의와 사회주의적 여성주의가 전개⋅확장되었으며, 서구처럼 자유주의적 여성주의와 사회주의적 여성주의라는 두 줄기로 분기하지 않은 차이가 있다. 김인숙의 (여성)노동소설은 냉전 여성주의의 남한적 특수성이 확인되는 사례이다. 여성 학출-민중해방에의 열망-중산층의 긍정성 인정-가족프레임-냉전성의 연결고리는 사회주의적 여성주의와 맑스주의적 여성주의의 접합 양상을 보여준다. 민중해방문학적 의미에서 ‘가장 80년대적’이라 불린 김인숙은 역설적이게도 (여성)노동소설의 문법을 위반⋅해체하고 있었다. ‘가정주부-노동자’의 ‘이중 정체성’을 형상화 하여, 반공주의⋅가부장제 하의 억압 및 노동현장의 ‘바깥’ ‘주변’을 더 폭넓게 제시해 보여주었다. 소시민의 부정성을 극복하고 노동계급적 이념을 확보하기 위해 차용한 스타일의 혼합도 냉전 여성주의의 남한적 특수성을 보여 주는 ‘방법’이었다. 여성문제의 특수성과 독자성을 인식한 김인숙의 (여성)노동소설은 부분적 한계에도 불구하고 계급해방을 여성해방의 문제로 진전시키는데 일정정도 기여했다고 평가되었다.

현대 프랑스 페미니즘이 직면한 현실 (1) -미국산 프랑스 페미니즘의 탄생과 확산을 중심으로

강초롱 ( Cho Rong Kang ) 국제비교한국학회 2015 비교한국학 Comparative Korean Studies Vol.23 No.3

In the history of feminism, french feminism takes an important status. What is interesting however is that, for most french feminists, this reality can not be accepted uncritically. Moreover, they do not hesitate to affirm that the french feminism, which deals with importance in the feminist discourse today is not their own feminism. According to them, the concept of french feminism, which is recognized everywhere in the world, is only a result produced by the anglophone feminists, which does not take at all into account the full context of feminism in France. In this context, they claim forcefully the need to distinguish the french feminism developed by themselves of the feminism invented by the anglophone feminist, that is to say, of the ``french feminism``. Our study, based on the basic agreement with questioning of this reality of french feminists, is primarily to examine the process in which the french feminism came to deform, revive and spread by anglophone feminists, and, moreover, to understand the reasons for this situation. It is for us to question how they ``represent`` the french feminism; well, we will suspend the judgment on the rightness of their perspective on feminism or concrete context of their discourse. The first occasion of this situation is given by an internal crisis of the french feminist society: the conflict between the participants in the MLF, which refers to the collective political struggle of french women in 1970 whose claim is truly to deconstruct the patriarchal system. The conflict stemmed from the fundamental difference in the positions about the priority to lead the struggle, between a group called ≪Psych and Po≫ and other participants of MLF. ≪Psych and Po≫ differs mainly clear from other participants in his major way to struggle against patriarchal system : for the latter, the women`s movement must concentrate in a struggle against the social system, because the subordination of women is essentially the result of social condition. On the other side, ≪Psych and Po≫ claimed that the symbolic system must be subverted first, since it is the most responsible for the oppression of woman. In this position, the group developed the necessary theories for discourses on the subversion of symbolic system of patriarchy. However, it is not this difference itself that caused the conflict in MLF; one can find the determining factor in the mistaken ambition of this group, who wanted to present itself as the political and intellectual center of the MLF by appropriating the history and struggles of MLF. Indeed, he put this ambition into practice by appropriating the right to speak of MLF through his organizational strength and influence on publishing market. Finally, this attempt has arrived with the result that the groupe has succeeded to legally gain the exclusive property on the name MLF in 1979. The alteration of french feminism, started by this inner conflict, arrives to worsen in the process where it was introduced in the United States. The american feminist academy, interested in the new french feminism since 1968, began to introduce it to american readers, but under the perspective of ≪Psych and Po≫. Therefore, in the United States, the prospect that the new french feminism is not anything other than the idea of ?this group was installed. It was defined as an idea that prefers the theory to practice, the Lacan`s psychoanalysis to materialism, literary and philosophical discourses to the social and historical. And in this context, they confered the title of representative of the french feminism on ≪Psych et Po≫ and the trio, Julia Kristeva, Helene Cixous and Luce Irigaray, who in that time in France, were not even considered as feminist. When we consider that they knew already the conflict between french feminists and that a certain regularity was revealed in their way to deform the french feminism, this situation must be considered as a result produced by their intention to remake the french feminism according their own need. If it was, why did they invent the french feminism? We can answer this question according to three factors. First, the hegemony of literature who took the lead in american women`s studies, second, the imperialism of american feminists who wanted to appropriate a part of french culture for their purpose, and, finally, their desire to escape criticism on their choice for a return to essentialism by using the french feminism. And today, through this process, the diversity of discourses developed by french feminist happens to hardly be noticed in the international intellectual society.

女性主义的陶艺作品研究

梁华凤 한국도자학회 2018 한국도자학연구 Vol.15 No.1

This study investigated how feminism is expressed in pottery works. Feminism has evolved into a number of meanings for women's emancipation and equality over the years. The thinkers of the 17th and 18th centuries emphasized the equality of human reason and opportunity. However, the rights were limited only to men, a certain group of men, except women. The first people who thought of liberalism were men, who wrote for men for men, and women for humans who were considered humans. In Chapter II, I examined feminism and studied feminism. I studied about the concept of feminism and the theoretical background, and studied about expression style and eroticism through feminism. In the early and the middle of the European period, I searched for related works of art feminism, feminism expressive style and eroticism evaluation. Feminism The art of pottery, which expanded the art of pottery, was developed by breaking the limits of the old age, and pottery artworks were increasingly recognized for its potential for further development in the arts field. Ⅳ. Analysis of Modernist Expressive Feminism in Works through Johnson Tsang (China), Han Ae Gyu (Korea), Wei Hua (China) and Jenny Saville who express human emotions to feminist ceramic artists . In order to study the expression form of feminism's art works, I refer to various materials (painting, sculpture, design, eroticism of feminism) through these. As a result, we were able to understand the formation process and result of art development of feminism. I evaluated the works of feminism by their writers and confirmed their influence on society and their influence on present-day feminist artists. 本文是在陶器造型中对如何表现女权主义进行了研究,女权主义在女性的解放和平等多年,成为 了很多意义,17,18世纪当时的思想家强调了人类的理性和机会的均等,但是,只局限于除了女性 以外的人类的特定集团男性。最初,认为自由主义的人是男性,他们为男性使用男性,而女性则视 为没有理性的生物体。 Ⅱ,Ⅲ章考察了女权主义女权主义对作品进行了研究。对女权主义的概念和产生的理论背景进 行了考察,并对通过女权主义的作品表达方式进行了研究。在欧洲初期,在中期发现了艺术的女权 主义的相关作品,并寻找了女权主义的作品性表现形式和色情主义的评价。“女权主义”打破了扩 大为陶瓷艺术的旧时代的局限性,并得到了“陶瓷艺术”的艺术作品在艺术领域的发展潜力。 Ⅳ章是女权主义性也方造型作家们为对象的人类的情感表达了曾章成(中国),韩爱奎(韩国),魏 华(中国),jenny saville(英国)等, 通过作品中,首次与敌人和女权运动敌,分析。通过这些人,为研究 女权主义艺术作品的表现形式,参考了各种资料(绘画、雕塑、设计)等。其结果可以理解女权主义 艺术发展的形态过程和结果。评价作者的女权主义艺术作品,他们的作品对社会产生了多大的影响 力,并确认了对现在的女权主义艺术作家们的进取性的影响力。

무용예술에서의 페미니즘

하혜석,한아람 한국체육철학회 2018 움직임의철학 : 한국체육철학회지 Vol.26 No.1

Under the circumstances of implicit sexual discrimination many women have joined the feminist movement to seek their justified rights. While there are different approaches to the history of feminism, feminism is usually classified as ‘liberal feminism,’ which is centered on Europe and the United States during the late 19th to the early 20th century, and ‘radical feminism,’ which is centered mainly on the United States during the 1960s. During its progression, cultural feminism in relation with the art of dance and post-modern feminism came into being. Cultural feminism applied to the art of dance altered the sexual stereotype images reflected on female dancers. During this process, male chauvinism in the male-dominated western dance culture has been torn down. On top of that, representative female modern dancers in the early 20thcentury, such as Isadora Duncan, Loie Fuller, Mary Wigman, and Martha Graham, suggested that dance is for women only. They stressed that female dancers should lead more active and aggressive lives, which eventually led to greater rights and benefits for female dancers. In the Korean scene of the art of dance, various dance performances, which reflect feministic views, have been created and performed on stages. Consequently, the social status of female dancers has greatly improved compared to the past. However, a lot of dance performances are still projecting the image that male dancers are the “lead” and female dancers the “followers.” Moreover, female dancers are under intolerable pressure in taking good care of their appearance, compared to their male counterparts. This study suggests that female dancers’ utmost efforts are greatly needed to improve the current situation in the field, and they are urged to raise awareness of feminism by seriously contemplating the meaning and value of feminism. Female dancers are also strongly advised to strive in taking leading roles as central figures by enhancing their professional capabilities as dancers. 암묵적으로 행해진 성차별에 대해 여성들은 그들의 권리를 찾고자 하는 움직임이 있었고 이러한 움직임은 일반적으로 여권주의라 알려져 있는 페미니즘 운동이라 볼 수 있다. 페미니즘의 역사에 대한 접근은 학자마다 다양하나 통상적으로 볼 때 19세기 말부터 20세기 초까지 유럽과 미국을 중심으로 진행된 자유주의 페미니즘과 1960년대 미국을 중심으로 진행된 급진주의 페미니즘으로 분류된다. 그리고 페미니즘이 진행되는 과정 속에서 무용예술과 관련된 문화적 페미니즘 및 포스트모던 페미니즘 시각도 발생하였다. 무용예술에 페미니즘이 적용됨으로써 오랫동안 남성 위주의 문화가 이루어져 왔던 서양무용에서는 여성 무용수에 대한 성적 이미지가 파괴되고, 남성 우월주의가 해체되었다. 또 무엇보다 20세기 초 현대무용을 대표하는 이사도라 던컨, 로이 풀러, 마리 뷔그만, 마샤 그라함 등이 여성만을 무용을 제시하고, 여성 무용수들에게 적극적이고 능동적인 삶을 살 것을 강조하면서 여성 무용수의 권익을 향상시킬 수 있었다. 우리나라 무용예술 분야에도 페미니즘의 흐름이 영향을 미쳐 페미니즘이 반영된 작품이 제작 및 공연되고 있고, 여성 무용수의 지위도 과거에 비해서는 크게 향상되고 있다. 그럼에도 아직까지 많은 작품에서 남성 무용수는 ‘리드’, 여성 무용수는 ‘팔로우’라는 이미지가 반영되고 있고, 남성 무용수에 비해 여성 무용수에게는 혹독한 외모 관리가 강요되고 있다. 무용예술계의 상황을 개선하기 위해서는 무엇보다 여성 무용수들의 노력이 필요하다고 볼 것이므로, 여성 무용수들은 스스로 페미니즘의 의미와 가치를 고찰하여 페미니즘에 대한 인식수준을 향상시키고, 무용가로서 갖추어야 할 전문성을 향상시킴으로써 작품 속에서 중심인물이 될 수 있도록 해야 할 것이다.

포스트모던 페미니즘에 표현된 헤어디자인 염색 연구

권미윤,정임전 한국뷰티경영학회 2023 한국뷰티경영학회지 Vol.11 No.1

This study examines the theory of feminism and postmodern feminism, and analyzes how postmodern feminism is expressed in modern hairstyles. The results are as follows. First, in feminism, the factors that change hairstyles in the current era are in various social phenomena, and the biggest factor that can change women's clothes or hairstyles is the change in women's consciousness. It can be understood that feminism, which demands women's freedom and rights as human beings, originally started from the gender equality movement and aims to counter stereotypes about women that have been formed by male-dominated societies and to establish women's subjectivity. Second, postmodernism visually shares with feminism in that it turns its attention to the suppressed culture that does not become mainstream culture, such as third country's cultural style, resistance culture, and others, and is reborn as a new idea called postmodern feminism. The characteristics of postmodern feminism hair design can be seen as a social and cultural formation, not the essence of femininity, and the cultural value norms can be understood. Third, postmodern feminism hair style is not a dichotomous style of men and women, but humane and free from stereotypes. It is expressed in retro style, grunge look, cross over look, duo color, and contrast coloring, and various dyeing and lightening were used. Fourth, looking at the postmodern feminism expressed in the hair design, it is expressed in a neutral style excluding the characteristics of dark or dark hair, straight hair, voluminous hair, and formalized short hair. Soft C-curls, short, dark colors, and bright colors are mixed, and the difference in hair length and changes in hair color using atypical asymmetry were intended to express an integrated image of women and men.

A Comparative Study of English Feminism and Korean Feminism on Twitter with N-Gram Analysis

Sidney Numberger,조은경 연세대학교 언어정보연구원 2023 언어사실과 관점 Vol.58 No.-

This paper analyzes ‘feminism’ and ‘페미니즘’ on Twitter as social media in English and in Korean to discover spectral differences in two cultural societies utilizing N-gram analysis of texts, i.e. in unigrams, bigrams and trigrams. There are limited studies done questioning the two keywords on social media platforms, thus this study will stress its precedence in a quantitative way. From the experimental findings in this study, the English and the Korean data’s most frequent bigrams and trigrams in general show the use of the word feminism with varied contexts. As for comparative results, the English bigrams have ‘intersectional, feminism’ and ‘white, feminism’ which have been popularized in the West and it is interpreted as multi-factional rather than gender-polarizational, but in the Korean bigrams, which top bigrams are ‘여성, 페미니즘’ (women, feminism) and ‘래디컬, 페미니즘’ (radical, feminism), are interepreted as bi-polarizational and gender-polarizational. The English trigrams have ‘saudi, arabia, feminism’ and ‘like, rule, feminism’ displaying more or less big social movements in society, but the Korean trigrams ‘정리, 뉴스, 페미니즘’ (adjustment, news, feminism) and ‘오빠, 허락, 페미니즘’ (male friend, permission, feminism), display specific events in society and still centered in gender-polarization.