From Ideal Women to Women's Ideal : Evolution of the Female Image in ChineseFeature Films, 1949-2000

CHEN, Yanru Asian Center for Women's Study ; Ewha Womans Unive 2008 Asian Journal of Women's Studies(AJWS) Vol.14 No.3

This study constructs the historical contours of China’s social transformation and the evolution of the female image in films between 1949 and 2000. The period 1949-1966 was the period of ‘The Song of Revolution,’ featuring ideal women; 1966-1976: the period of ‘Cultural Revolution’; 1977-1982: ‘The Recovery Period,’ with the initial awakening of women’s consciousness presented in films; 1983- 1986: ‘The Revival Period,’ when the female image became richer in Chinese films, with women searching for their own ideals; 1987-early 1990s: ‘The Period of Rebellion,’ when women’s image strayed away from mainstream discourse; and mid-1990s to 2000: ‘The Period of Reconstruction’ of the essential women in search of their ideals. Overall, as Chinese cinema witnessed China’s social changes, the image of woman in Chinese feature films underwent a subtle shift from one of ‘ideal woman’ to a ‘pursuer of woman’s ideal’ during the half century covered in this study.

1970년대 한국의 이상적 여성상과 패션

이하나 ( Hana Lee ),이예영 ( Yheyoung Lee ) 한국의류학회 2015 한국의류학회지 Vol.39 No.5

This study examined the ideal image and fashion of Korean women in the 1970s from a socio-cultural context. This study used information on the 1970s politics, economy, and culture provided by『Chosun Ilbo』and 『Yosungjungang』as well as their presentation of the ideal image and fashion for Korean women in the 1970s. The ideal image and fashion of women were considered from the viewpoint of Hamilton``s Meta-theory. The ideal image of women in the 1970s is divided into two aspects. The image from the traditional Confucian perspective was prevalent and restricted the lives of women to housekeeping chores. On the contrary, women have increasingly participated in society vis-a-vis education and employment opportunities to present a progressive image of women. These aspects coexisted during the turmoil of social change. Progressive women had money to buy clothes because they were economically independent. These women embraced styles that included mini, midi, maxi, and bell-bottom pants. Further, pants were developed into different styles such as pant suits. T-shirts and blue jeans as casual wear were very popular among the youth. At the end of the 1970s, the tailored look and the big look (which copied men``s clothing) were in fashion. Masculine styles such as wide shoulders with pads and neckties strengthened gender equality. Other fashions were dominated by feminine styles described as beautiful, sweet, and elegant that reflected Korean society``s tendency to regard women as sex objects. Clothing that exposed the body highlights this sexual objectification aspect. Women wore miniskirts, hot pants, and bikinis because they wanted to enhance their sex appeal, propagating the view of women as sex objects. In conclusion, all aspects of society and culture were closely interrelated with a fashion style that reflected the values of those aspects.

가정소설에서 나타난 이상적 여성상의 형성과정 - 여성작가들의 양가적 태도를 중심으로

김진아 ( Jin A Kim ) 한국영미문학페미니즘학회 2002 영미문학페미니즘 Vol.10 No.1

The late eighteenth and early nineteenth centuries witnessed the cultural construction of the ideal domestic woman in British society in a wide range of discursive practices such as conduct books, novels, magazines, sermons and medical tracts, etc. More specifically, numerous female-authored domestic novels proliferated the doctrine of domestic womanhood by creating heroines who embodied the modest, chaste, and self-sacrificing gender ideal. Many critics have questioned why women writers actively participated in the construction of the sexless and selfless images of women that seemed to serve only the dominant patriarchal power, while others have viewed these women writers as mindless conspirators of patriarchal ideology. In this essay, however, I examine the complex ideological implications surrounding this gender ideal and argue that these women writers were not so much passive bearers of patriarchal ideology but they were active agents, who acted according to their own gendered interest by simultaneously promoting and subverting the image of the ideal domestic woman. The domestic womanhood of the Romantic era constituted a location in which the interests of the British nation, the middle class, and patriarchy, intersected. On one hand, the morally enhanced image of domestic women functioned as symbolic capital in consolidating and naturalizing the middle-class hegemony, British internal colonialism, and British overseas expansion. On the other hand, domestic femininity was also a reflection of male anxiety about the increasingly unstable gender boundary in a rapidly changing society in which middle and upper-class women widely participated in cultural and political activities outside the home. Because the ideal domestic woman reflected disparate interests, the attitude of women writers toward this gender ideal was extremely ambivalent. As members and beneficiaries of an expanding nation and a rising class, they endorsed and promoted this gender ideal; however, as secondary citizens in a male-dominated society, they tried to subvert the separate spheres ideology that prescribed domesticity as women`s only sphere. Focusing on woman-authored domestic novels of the Romantic period, this essay analyzes the ways in which these women writers simultaneously construct and deconstruct the ideology of the domestic woman.

古典文学における理想的な女性像の変化―『源氏物語』に対する認識の変容を中心に―

김선화,Lan Yibo 한국일본어교육학회 2023 日本語敎育 Vol.- No.104

After being introduced to Japan in the late ninth century, The Biographies of Exemplary Women did not receive much attention, but was widely read in the early modern times. By analyzing the changes in the concepts of the Tale of Genji in women’s training books of the Middle Ages and Modern Age, this paper discusses the changes and reasons for the ideal image of women. In women’s training books of the Middle Ages, the portrayal of women in the Tale of Genji was regarded as an ideal female image. While encouraging the learning and recitation of the Tale of Genji, women who were able to learn and recite the Tale of Genji were also portrayed as ideal female figures. However, in the early modern times, Confucianism represented by Tujihara Gennpo, Yamazaki Annsai and Kaibara Ekikenn, the Tale of Genji positioned the Tale of Genji as obscene books for because these books would lead women to the wrong path. As a correct example of etiquette, Chinese women’s training books have become popular which advocated for new ideal female images such as “three obedience and four virtues”, “serving father-in-law”, “serving husband”, and “taking husband as heaven”. Compared to the ideal image of women depicted in women’s training book of the Middle Ages, this has undergone significant changes. It is precisely these changes in perception of the Tale of Genji, or the changes of the ideal image of women, that is one of the reasons why ancient Chinese women’s teaching books became popular in Japan’s early modern times.

『박씨전』에 나타난 여성의식 고찰

이연화 ( Yeon Hwa Lee ) 택민국학연구원 2011 국학연구론총 Vol.0 No.8

<박씨전>은 여성의 활동이 극히 제한되었던 조선시대에 여성의식을 통해 현대사회 문학 담론의 핵심인 화합과 조화를 나타내고 있다. 따라서 본고에서는 현대에 이르러 활발하게 논의 되고 있는 여성 문학의 문학적 뿌리로서 <박씨전>에 나타난 화합과 조화의 이상적 인간상에 대하여 논의 하였다. ``박씨``는 당시 수동적 존재였던 여성으로써 자신의 능력을 남편에게 인정 받고, 나아가 국난의 위기상황에서 자신의 능력을 적극적으로 발휘함으로써 여성의 가치를 새롭게 인정받는다. 아내를 외적인 미로 판단하여 모진 학대와 구박을 하는 남편을 인내하면서, 내조를 다하는 현부의 모습을 통해 남존을 치겨세우고 여비를 자랑하던 이조사회의 제도적 모순을 나타낸다. 갈등은 가정에서 그치지 않고 국가로 공간이 확대되는데 이러한 갈등구조는 남자/여자, 지배/피지배의 권력구조로 나타난다. 그리하여 남성의 여성 억압에서 나아가 당대 사회의 신분적 상하질서에 대한 모순으로까지 확대된다. 결과적으로 <박씨전>은 ``무능한 남성과 유능한 여성``의 대립을 넘어 사회 그리고 인간으로서의 화합과 조화의 모습을 극대화 한다. 또한 <박씨전>은 갈등 해결방법이 관념에 그치지 않고 적극적인 해결의지를 나타냄으로써 주체적인 여성성을 획득한다. 사회 체제 안에 여성과 백성의 기본적인 권리마저도 인정 받을 수 없는 현실의 모순을 자각하고 극복하려는 주체적인 여성상은 이로써 근대성을 지닌다. 그런데 <박씨전>은 남성 중심의 지배 논리로써 이성을 중시하는 근대성의 모순, 즉 여성, 감성과 같은 여성성과, 동양의 상호보완적 성격을 배제하는 모순까지도 내재하고 있다. 다른 영웅소설이 지니는 무력투쟁으로서가 아닌 여성 특유의 지혜와 지략으로 문제를 해결한다. 소외되었던 타자, 즉 여성을 주체의 자리로 끌어들여 인간 존재로서의 가치를 찾고자 한다. 남성중심 사회에서의 폭력과 파괴를 벗어난 따뜻함, 포용력, 지혜와 같은 여성적 가치를 새롭게 인식하려는 현대사회의 이념을 이미 고전소설 <박씨전>에서 여성의식을 통해 형상화 하고 있다. 그리하여 <박씨전>에 나타난 여성의식은 가부장제에서 도외시되었던 여성적 관점과 능력을 부각시키고 실천하고자 하는 에코페미니즘 비평의 가능성을 지닌다. 이처럼 <박씨전>에 나타난 여성의식은 근대가 만들어낸 많은 갈등과 차별의 문제를 담고 있다. 그리고 그 대안으로 조화와 화합의 현대 문화적 실천적 움직임을 내재하고 있다는데서 문학적 의의를 지닌다고 할 수 있다. Paksi-jeon talks about union and harmony, which are part of the core discourse of modern social literature, through women``s consciousness in Joseon, where women``s activities were extremely restricted. The work embodies the ideal human image of union and harmony and claims its significance as the root of female literature, which has been subject to active discussions in modern times. In the work, the heroine is recognized by her husband for her own abilities even though she was a passive being. Furthermore, she actively exerts her abilities in the situations of national crisis and renews the recognition of women``s value. She also points the readers`` attention towards the institutional contradictions of Joseon society, which advocated for men``s dignity and boasted the subjection of women, by being a wise wife who endures the brutal abuse and maltreatment of her husband, who belittles her for her lack of beauty, and helps her husband. Those conflicts do not stop at the family level but expand to the national level. The conflict structure starts with between man and woman and extends to between the ruling and the ruled, revealing man``s suppression of woman and further the contradictions involved with the social status hierarchy of the times. Paksi-jeon maximizes the aspects of union and harmony as a whole society and mankind beyond the confrontations between "incapable man" and "competent woman." Paksi-jeon also presents independent femininity through active determination to solve problems beyond just an idea. It presents the image of woman that realizes the contradictions of the reality, in which women and common people cannot have their basic rights recognized in the social regime, and tries to overcome them. It is through the image of independent woman that the novel claims its modernity. However, the novel itself is contradictory as it values reason as the male-centric dominance logic and excludes feminine elements such as woman and sentiment and the mutually complementary nature of the Orient. Unlike other heroic novels, it resorts to women``s unique wisdom and resourcefulness to solve problems rather than armed struggle. It thus attempts to embrace others that have been neglected or women within the realm of subjects and restore their value as human beings. A classical novel Paksi-jeon already embodied the ideology of modern society, which tries to renew its perception of women``s values such as warmness, tolerance, and wisdom by growing out of the violence and destruction of male-dominated society, through women``s consciousness hundreds of years ago. Thus its women``s consciousness has the potential of ecofeminist criticism, which sets out to highlight and practice women``s perspectives and abilities that have been neglected in a patriarchical system. Thus the novel claims its own literary significance in that its women``s consciousness has an intrinsic motivation for the modern literature-based practice of union and harmony, which are part of the alternatives to many conflicts and discriminations in modern times.

인도 신여성의 근대적 정체성: 간디와 사리(Sari)

박금표 ( Park Kyum-pyo ) 인도철학회 2018 印度哲學 Vol.0 No.52

본 논문에서는 여성 영역의 한계, 신여성의 기표인 의상의 변화, 인도의 여성상 등을 중심으로 간디가 인도 신여성들의 근대적 정체성에 미친 영향을 검토했다. 간디는 여성을 민족주의 운동에 동참시켜 여성 영역의 벽을 무너뜨렸지만 이것이 여성들의 자아실현을 위한 것은 아니었다. 그러나 그러한 과정에서 여성 대중들을 각성시켰다는 점에서는 신여성 현상의 확산과 여성의 근대적 정체성에 긍정적인 영향을 미쳤다고 볼 수 있다. 간디는 여성들에게 흰색의 캇다르 사리를 입게 함으로써 여성들의 의복을 변화시켰다. 그러나 이것 역시 여성의 개성이나 활동성을 위한 것이 아니었으며, 개인보다는 민족 문제를 앞세운 것이기 때문에 긍정적 영향을 미쳤다고 할 수는 없다. 그러나 한편으로는 여성들로 하여금 자신들이 민족을 위한 일을 한다는 통일성과 자긍심을 갖게 해주었다는 점에서는 긍정적인 평가를 할 수 있다. 따라서 간디의 물레 운동과 흰색의 캇다르 사리는 신여성의 근대적 정체성에 미친 부정과 긍정의 양면성을 갖고 있었다고 볼 수 있다. 간디는 인도 여성이 롤 모델로 삼아야 할 여성상으로 시따를 제시했다. 간디가 의도한 바는 아니라 하더라도 시따의 이미지는 헌신과 복종의 이미지로 자리 잡고 있었기 때문에, 전통적인 여성상을 재생산 하는 결과를 가져왔다. 뿐만 아니라 여성의 사회활동을 강조하면서도 전통적 관념의 여성의 다르마를 강조했기 때문에 신여성의 근대적 정체성 확립에 긍정적 영향을 미쳤다고 볼 수 없다. 그러므로 여성의 영역 붕괴, 의복의 변화 추구라는 측면에서는, 간디가 여성의 근대적 정체성에 미친 긍정적 영향을 어느 정도 인정할 수 있지만, 사리와 시따 이미지를 통해 전통적 여성상을 재생산함으로써 인도 신여성의 근대적 정체성에 미친 간디의 영향은 부정적이었다고 볼 수 있다. 또한 사리의 확산과 더불어 간디가 등장한 1920년대 이후 ‘신여성 현상’ 이 줄어든 것처럼 보이는 측면도 간과해서는 안 될 것이다. 또한 1920년대에 ‘간디의 등장 그리고 사리의 확산’으로 ‘신여성 현상과 여성담론’이 약화된 것처럼 보이는 측면도 간과해서는 안 될 것이다. This paper examines Gandhi's Impact on the modern identity of New Women in India focusing on the limit for the area of women, the change of clothes as a signifier of New Women, and the images of Indian women, etc. Gandhi destroyed the boundaries of the area of Indian women by involving them in nationalist activities; though it was not aimed at the self-actualization of women. In this process, however, the female public has been awakened; and from this point of view, it can be considered that Gandhi brought positive effects to the spread of the New Women phenomenon and modern identity of women in India. Gandhi changed Indian women's clothes by encouraging them to wear a homespun white khaddar sari. That was neither for women’s personalities nor their activities, but for national issues over individual agendas, thus it cannot be said to have positive impacts. Yet, in a certain sense, it can receive positive reviews for inspiring a strong feeling of uni- ty and self-esteem in India women that they work for the nation. Thus, Gandhi’s spinning wheel movement and white khaddar sari have both negative and positive aspects in respect of the modern identity of New Women. Gandhi proposed Sita as an ideal Indian woman. Since Sita had been regarded as the embodiment of devotion and obedience in India for a long time, it brought about the reproduction of traditional image of ideal women regardless of his intention. Furthermore, because he emphasized the traditional concept of dharma for women as well as their social activities, it cannot be said that this affected the establishment of modern identity of New Women in a positive way. Therefore, on the aspect of the collapse of the area of women and the pursuit of changing women’s clothes, Gandhi’s positive effect on the modern identity of women can be acknowledged up to a certain point; whereas he has a negative effect on it as well by reproducing the traditional image of women through the image of Sita. Also, it should not be overlooked that the New Women phenomenon and women’s discourse seemed weakened in 1920s by the emerge of Gandhi and the spread of Sari.

『박씨전』에 나타난 여성의식 고찰

이연화 택민국학연구원 2011 국학연구론총 Vol.0 No.8

<박씨전>은 여성의 활동이 극히 제한되었던 조선시대에 여성의식을 통해 현대사회 문학 담론의 핵심인 화합과 조화를 나타내고 있다. 따라서 본고에서는 현대에 이르러 활발하게 논의 되고 있는 여성 문학의 문학적 뿌리로서 <박씨전>에 나타난 화합과 조화의 이상적 인간상에 대하여 논의 하였다. '박씨'는 당시 수동적 존재였던 여성으로써 자신의 능력을 남편에게 인정 받고, 나아가 국난의 위기상황에서 자신의 능력을 적극적으로 발휘함으로써 여성의 가치를 새롭게 인정받는다. 아내를 외적인 미로 판단하여 모진 학대와 구박을 하는 남편을 인내하면서, 내조를 다하는 현부의 모습을 통해 남존을 치겨세우고 여비를 자랑하던 이조사회의 제도적 모순을 나타낸다. 갈등은 가정에서 그치지 않고 국가로 공간이 확대되는데 이러한 갈등구조는 남자/여자, 지배/피지배의 권력구조로 나타난다. 그리하여 남성의 여성 억압에서 나아가 당대 사회의 신분적 상하질서에 대한 모순으로까지 확대된다. 결과적으로 <박씨전>은 '무능한 남성과 유능한 여성'의 대립을 넘어 사회 그리고 인간으로서의 화합과 조화의 모습을 극대화 한다. 또한 <박씨전>은 갈등 해결방법이 관념에 그치지 않고 적극적인 해결의지를 나타냄으로써 주체적인 여성성을 획득한다. 사회 체제 안에 여성과 백성의 기본적인 권리마저도 인정 받을 수 없는 현실의 모순을 자각하고 극복하려는 주체적인 여성상은 이로써 근대성을 지닌다. 그런데 <박씨전>은 남성 중심의 지배 논리로써 이성을 중시하는 근대성의 모순, 즉 여성, 감성과 같은 여성성과, 동양의 상호보완적 성격을 배제하는 모순까지도 내재하고 있다. 다른 영웅소설이 지니는 무력 투쟁으로서가 아닌 여성 특유의 지혜와 지략으로 문제를 해결한다. 소외되었던 타자, 즉 여성을 주체의 자리로 끌어들여 인간 존재로서의 가치를 찾고자 한다. 남성중심 사회에서의 폭력과 파괴를 벗어난 따뜻함, 포용력, 지혜와 같은 여성적 가치를 새롭게 인식하려는 현대사회의 이념을 이미 고전소설 <박씨전>에서 여성의식을 통해 형상화 하고 있다. 그리하여 <박씨전>에 나타난 여성의식은 가부장제에서 도외시되었던 여성적 관점과 능력을 부각시키고 실천하고자 하는 에코페미니즘 비평의 가능성을 지닌다. 이처럼 <박씨전>에 나타난 여성의식은 근대가 만들어낸 많은 갈등과 차별의 문제를 담고 있다. 그리고 그 대안으로 조화와 화합의 현대 문화적 실천적 움직임을 내재하고 있다는데서 문학적 의의를 지닌다고 할 수 있다. Paksi-jeon talks about union and harmony, which are part of the core discourse of modern social literature, through women's consciousness in Joseon, where women's activities were extremely restricted. The work embodies the ideal human image of union and harmony and claims its significance as the root of female literature, which has been subject to active discussions in modern times. In the work, the heroine is recognized by her husband for her own abilities even though she was a passive being. Furthermore, she actively exerts her abilities in the situations of national crisis and renews the recognition of women's value. She also points the readers' attention towards the institutional contradictions of Joseon society, which advocated for men's dignity and boasted the subjection of women, by being a wise wife who endures the brutal abuse and maltreatment of her husband, who belittles her for her lack of beauty, and helps her husband. Those conflicts do not stop at the family level but expand to the national level. The conflict structure starts with between man and woman and extends to between the ruling and the ruled, revealing man's suppression of woman and further the contradictions involved with the social status hierarchy of the times. Paksi-jeon maximizes the aspects of union and harmony as a whole society and mankind beyond the confrontations between "incapable man" and "competent woman."Paksi-jeon also presents independent femininity through active determination to solve problems beyond just an idea. It presents the image of woman that realizes the contradictions of the reality, in which women and common people cannot have their basic rights recognized in the social regime, and tries to overcome them. It is through the image of independent woman that the novel claims its modernity. However, the novel itself is contradictory as it values reason as the male-centric dominance logic and excludes feminine elements such as woman and sentiment and the mutually complementary nature of the Orient. Unlike other heroic novels, it resorts to women's unique wisdom and resourcefulness to solve problems rather than armed struggle. It thus attempts to embrace others that have been neglected or women within the realm of subjects and restore their value as human beings. A classical novel Paksi-jeon already embodied the ideology of modern society, which tries to renew its perception of women's values such as warmness, tolerance, and wisdom by growing out of the violence and destruction of male-dominated society, through women's consciousness hundreds of years ago. Thus its women's consciousness has the potential of ecofeminist criticism, which sets out to highlight and practice women's perspectives and abilities that have been neglected in a patriarchical system. Thus the novel claims its own literary significance in that its women's consciousness has an intrinsic motivation for the modern literature-based practice of union and harmony, which are part of the alternatives to many conflicts and discriminations in modern times.

제국주의적 영국사회와 여성문제: 버지니아 울프의 『댈러웨이 부인』

김금주 ( Kum Joo Kim ) 영미문학연구회 2004 영미문학연구 Vol.6 No.-

This paper aims to explore women`s condition in the imperial England of the 1920s embodied in Mrs Dalloway. English women were permitted and encouraged to participate in the public works during World War I, and women over thirty were given the vote in 1918. But the post-war British society tended to constrict women`s public activities and called for women to return to their traditional role in the home. This traditional women`s role had been promoted by male-centered imperial ideology from the pre-war days. The scientific and cultural discourses about independent or single women reinforced the discrimination against women. Thus the ideal femaleness became a social and ideological fantasy, and controlled women through its material violence as well as symbolic violence in England of the 1920s. Mrs Dalloway represents the question of women as the social minoritaran. It reveals that the male-centered Symbolic oppresses ideal women as well as single and independent women. This British society drives women into the state of spiritual death. Clarissa, the heroine of Mrs Dalloway tries to overcome her condition of death in life through offering party and promoting real alliance and communication between people. But people in her days can not communicate with each other. They are merely influenced and controlled by imperial power, and alienated from the aim of national power. I think the real communication between people will be achieved only when people practice transversal communications between heterogeneous populations by a block of becoming, alliance, and eventually a becoming-minoritarian.

1910∼20년대 재일본 조선유학생 친목회지에 나타난 신여성 담론

이경수(Lee Kyung-soo) 고려대학교 한국학연구소 2009 한국학연구 Vol.31 No.-

이 논문의 목적은 1910년대에서 1920년대 사이에 출간된 재일본 조선유학생 친목회지에 나타난 신여성 담론의 성격을 살펴보는 데 있다. 그중에서도 이 논문에서는 1914년 4월 2일에 창간해서 1930년 4월에 종간한 『학지광』과 1917년 12월 22일에 창간하여 1921년 1월에 종간한 『여자계』를 중심으로 1910∼20년대 재일본 조선유학생 친목회지에 나타난 신여성 담론의 성격을 비교 고찰하고자 한다. 이 논문에서는 신여성의 의미를 근대적 교육을 받은 여성, 그 중에서도 ‘고등교육을 받거나 해외유학을 한 각계각층의 지도적 신여성’의 범위에 한정하고자 한다. 2장과 3장에서는 『학지광』과 『여자계』의 신여성 담론을 구체적으로 살펴보았다. 특히 결혼관과 현모양처 담론을 통해 당시 신여성 담론의 특징이 잘 드러난다는 판단에 따라 결혼관과 현모양처 담론을 중심으로 『학지광』과 『여자계』의 신여성 담론을 살펴보았다. 『학지광』은 민족주의 담론을 전개하면서 그 일부로서 신여성 담론을 구축했다. 『학지광』에서 주창되는 결혼관은 대개 국가관에 종속되는 것으로서 생산담론에 동원될 가능성을 지니고 있었다. 또한 근대교육을 받은 여성이 가정의 근대적이고 합리적인 개조에 기여할 것이라는 판단 아래 가정을 위해 봉사하는 여성을 양성하는 현모양처 담론을 주장했다. 특히 모성을 여성의 본질로 규정하는 시각을 곳곳에서 드러냈다. 『여자계』는 주요 편집진과 필진이 남성지식층이긴 했지만 일부 신여성 지식층이 편집진 및 필자로 참여하고 있었고 무엇보다도 재일본 여자 유학생이 주요 독자층을 형성하고 있었던 잡지였다. 이러한 매체적 특성은 『여자계』에 실린 글의 문체와 논조에 차이를 가져왔다. 『여자계』는 『학지광』에 비해 상대적으로 신여성 담론이 주축을 이룬 잡지였는데, 결혼관과 현모양처 담론에서도 차이를 보인다. 남성 중심의 여성 계몽이라는 담론으로부터 『여자계』도 본질적으로 자유롭지는 못했지만, ‘여자도 사람’이라는 자각을 좀 더 분명히 드러냈다. ‘여자해방’이라는 용어도 종종 발견된다. 연애와 결혼을 통해 ‘이상적 가정’을 이루는 꿈을 좀 더 솔직히 드러내기도 한다. 『여자계』 역시 현모양처의 담론에서 궁극적으로 자유롭지는 못했지만 여성 필자의 글에서는 여성의 자아 각성과 행복 추구라는 문제에 좀 더 관심을 드러냄으로써 현모양처 담론으로 수렴되지 않는 균열을 드러냈다. 또한 당위적인 글보다는 실질적으로 육아에 도움을 줄 만한 정보를 제공하는 글을 통해 현모양처 담론을 구축하고 있었던 점도 『학지광』과 다른 점이다. This paper aims to examine the characteristics of the discourses on new women in reunion magazines of Joseon students studying in Japan published in the 1910s to 1920s. Expecially, it comparatively studies the features of the discourses on new women presented in H'akjogwang founded on April 2, 1914 and ceased publication on April 1930 and Yojagye founded on December 22, 1917 and ceased on January 1921. This paper limits the meaning of new women as women who received modern education, specially those leading women of all social standings who received higher education or studied abroad. In chapter 2 and 3, this paper concretely looked into the discourses on new women in H'akjogwang and Yojagye. Particularly it focused on an outlook on marriage and the discourse of wise mother and good wife because they seemed to present the characteristics of the discourse on new women of that period very well. H'akjigwang unfolded the discourse of nationalism and as a part of it, constructed the discourse on new women. An idea of marriage advocated by H'akjigwang were mostly subjected to the view of nation and had the possibility of being mobilized by the discourse on reproduction. In addition, H'akjigwang supported the discourse of wise mother and good wife to train women who served for the family, judging that women who received modern education would contribute to the modern and rational reconstruction of their home. It expressed its viewpoint of defining motherhood as an essence of women. Though major editors and writers were male intellectuals, some intellectuals among new women worked as editors and writers of Yojagye and more than all, female students studying in Japan formed the main class of readers. This brought the differences in literary styles and the tone of an argument of writings published in Yojagye. Comparing to H'akjigwang, the discourse on new women was the main axis of Yojagye and therefore, the discourses on an outlook on marriage and the discourse of wise mother and good wife were different from H'akjigwang. Though Yojagye were also not free from the criticism of male-dominated women's enlightenment discourse, however, it expressed the self-consciousness that women were also human being more clearly. The term 'emancipation of women' was often used in the magazine. It sometimes presented its dream of making a happy home through love and marriage in a more straight-out way. Though it was also fundamentally not free from the discourse of wise mother and good wife, by expressing its concern on the matter over women's awakening of self and pursuit of happiness in writings of female, it revealed the rupture which could not be converged into the discourse of wise mother and good wife. Yojagye was different from H'akjigwang in that it constructed the discourse of wise mother and good wife with writings providing useful informations for childcare rather than just asserting the necessity.

19세기 후반 일본 여자교육의 모델이 된 여성들 ― 수신 교과서 『婦女鑑』의 인물 구성 연구

朴利鎭 ( Park Lee-jin ) 성균관대학교 대동문화연구원 2022 大東文化硏究 Vol.117 No.-

본고에서는 일본 여자 수신 교과서 『婦女鑑』에 등장한 인물 구성이 갖는 특징을 살펴보았다. 연구방법은 주요 메신저로 등장하는 여성 124명의 출신 국가별 분포, 활약 시기의 편차, 그리고 신분 및 사회적 지위 요소를 구체적으로 수치화해 그 특징을 분석했다. 기원전 11세기부터 19세기에 걸쳐 총 12개국 124명의 여성이 등장하는 『婦女鑑』은 19세기 후반 일본의 근대 전환기적 양상을 잘 보여준다. 특히 서양 국가의 다양한 편재나 낯선 지역명과 함께 장거리 이동을 하는 인물의 경험이 결합하면서 국경, 인종, 민족 등 다양한 경계를 넘나드는 여성상을 담고 있다. 이를 통해 일본의 중국과 서양에 대한 대국의식의 변화도 알 수 있었다. 이는 일본이 문명국으로서의 자부심을 서양 인물들과 오버랩하고 나아가 일본 여성과 서양 여성을 대등하게 이해하고 평가하는 태도로 이어졌다. 또 여성들은 주로 남성의 계급, 출신에 의해 그 사회적 지위가 소개되고 있었다. 이는 여성의 직분을 딸, 아내, 어머니로 범주화하는 형태로 당시 아내라는 지위가 사회적으로 중요하게 인지되고 있는 상황을 알 수 있다. 물론 남편을 보조하거나 남성의 자리(역할)를 대체하는 형태가 아니라 온전히 여성만의 능력으로 도덕적 가치를 구현하는 여성상도 등장한다. 이러한 인물의 제시는 당시 기존과 다른 여성성을 재구성하는 것과 함께 새로운 도덕관의 재편과 확장을 의미한다. 예를 들어 아내라는 직위의 재발견과 마찬가지로 자선이 문명화된 도덕률처럼 여겨지는데, 이상적인 여성이 갖추어야 할 자질로 개발된 것이다. 이렇게 범주화된 존재로서가 아니라 여성의 자아실현에 가까운 도전적이고 주체적인 여성상은 그 당시까지 개념화되어 있지 않던 자립성을 새로운 여성성으로 포섭해 가는 것이기도 했다. 『婦女鑑』은 유교 사회의, 혹은 근대 전환기의 모범적 여성상을 제시하고 이를 내면화하고 있다. 그러나 독자는 학습 과정에서 모범적 여성상을 모방(수행)하는 차원을 넘어서게 된다. 모범적 행적만을 따라가는 것이 아니라, 그 안에서 펼쳐지는 다양한 인간관계를 추체험하고 나아가 타자와의 공감 능력을 형성한다. 수신 교과서인『婦女鑑』을 반복과 모방의 세계가 아니라 재배치와 재의미화와 같은 표상 체계 속에서 파악해야 할 이유이다. In this paper, the characteristics of the character composition appearing in the moral textbook Hujokagami in Japan were examined. The research method specifically quantified the distribution of 124 women who appeared as major messengers by country of origin, the variation in their activities, and the factors of status and social status.Hujokagami, featuring 124 women from 12 countries from the 11th century BC to the 19th century AD, showed Japan’s modern transitional aspects well in the late 19th century. In particular, readers of this book were able to indirectly experience the image of women crossing borders, races, and ethnicities by combining the experiences of various Western countries, unfamiliar local names, and long-distance travelers. There is also a change in Japan’s perception of China and the West. In particular, it can be seen that Japan’s pride as a civilized country overlaps with Western figures. This led to an attitude of understanding and evaluating Japanese and Western women on an equal basis. Lastly, the social status of women is mainly introduced by men’s class and origin. This is a form of categorizing women’s positions as daughter, wife, and mother. In particular, it was found that the status of wife at the time was socially important. Of course, there are also images of women who embody moral values through women’s unique abilities rather than subsidizing husbands or substituting men’s positions (roles). The presentation of such a character reconstructs the existing femininity and also means the reorganization and expansion of a new moral view. With the rediscovery of the position of wife, charity was regarded as a civilized moral code and developed as a quality that an ideal woman should possess. The challenging and subjective image of a woman who achieved such self-realization was also to embrace independence, which had not been conceptualized up to that time, as a new femininity. Hujokagami presents an exemplary image of a woman in Confucian society and the transition period to the modern era, and internalizes it. However, the reader goes beyond imitating (performing) the exemplary female figure in the learning process. The reader not only follows exemplary behavior, but also forms the ability to empathize with others by indirectly experiencing various human relationships appearing in the story. This means that the moral textbook Hujokagami should be grasped not in the world of repetition and imitation, but in a system of representation such as rearrangement and re-meaning.