20세기 전반(前半)의 중국 여성작가의 현모양처론(賢母良妻論) 진형철(陳衡哲)과 빙심(氷心)을 중심으로-

김은희 영남중국어문학회 2014 중국어문학 Vol.0 No.66

Among the women writers who started their literary career in the New Culture Movement, Chen Heng-zhe(陳衡哲) and Bing Xin(心氷) are the representative women who embodied ‘Good wife and Wise mother’ and asserted the theory of ‘Good wife and Wise mother’. These two women were influenced by the patriot of reformation who stressed the woman`s active role in the national prosperity and military power in the last day of Qing(淸). Chen Heng-zhe asserted that women`s housekeeping labor has the same value as man`s social labor and it is the most important thing for women is to nurture child and perform the role of wise mother, while Bing Xin put stress on home and ‘Good wife and Wise mother’ consistently and regarded her mother as an ideal ‘Good wife and Wise mother’. Bing Xin`s ideal ‘Good wife and Wise mother’ is the woman who not only has traditional virtue such as diligence, affection and sacrifice, but also is not lazy in developing oneself.

여성잡지에 나타난 어머니상에 관한 연구 동향 분석 - ‘문명개화의 대상’에서 ‘프로슈머 어머니’까지 현모양처상의 변화

김현정,오정아 부산대학교 여성연구소 2014 여성학연구 Vol.24 No.3

This study is about the research trends on the image of mothers in women's magazines and analyzes the changing process of the image of mothers which has been described in the magazines. For this study, 75 papers covering the issues were selected and analyzed. First, summarizing the results of the research trends shows that the number of research papers in field have increased visibly by the 2000's and have been on an upward trend since 2005. The research fields have been focused on literature, education, and the media, and they have been expanded since 2000. The research method was based on a feminism point of view and 93.33% of the analyzed papers indicated the study of the analysis on discussion with the image of mothers. Second, the result from the comparative analysis on the images of mothers during the targeted periods in the study expresses that the representative image of mothers have been imaged a wise mother and good wife until now. The representative images of mothers have changed every period and they were linked to the context of children's education. On the other hand, articles on child education changed each period as well, but it was difficult to thoroughly make sure the content throughout this study. Based on the results of this study, the following is presented as a task for further study. The study on mothers whose roles were emphasized in the field of education, needs to be analyzed variously and deeply in the future through the source of everyday experience such as women's magazines. 이 연구는 여성의 사회화에 중요한 역할을 담당하는 여성잡지에 나타난 어머니상에 관한 연구의 동향을 파악하고 어머니상의 변화과정을 분석하였다. 현대 한국 교육에서 자녀의 교육적 성공을 위한 어머니(부모)의 역할은 점점 더 강조되고 있다. 여성잡지에 나타난 어머니상을 분석하는 일은 각 시기마다 어머니들이 가정 또는 사회의 일원으로서 어떠한 역할과 지위를 가졌는가를 살펴봄과 동시에 자녀의 교육적 성공을 위해 일상적으로 관심을 가졌던 자녀교육 내용을 사회문화적 맥락과 견주어 살펴볼 수 있다. 연구 수행을 위해 여성 잡지에 나타난 어머니상을 대상으로한 논문 75편을 선정하여 분석하였다. 분석 결과 첫째, 여성잡지에 나타난 어머니상 혹은 어머니상을 포함한 여성상에 관한 연구는 1980년대를 시작으로 2000년대 들어 논문 편수가 크게 증가하는 추세이다. 연구 분야는 문학, 교육, 언론분야에 집중되었고 2000년 이후 분야가 확대되고 있다. 연구 방법은 페미니즘에 기초한 담론 분석을 한 연구가 분석대상 논문의 93.33%를 차지하였다. 둘째, 어머니상의 변화과정을 살펴보기 위해 각 연구가 대상으로 했던 시기별 어머니상을 비교 분석한 결과 대표적 어머니상은 최근까지 현모양처로 이미지화해왔다. 하지만 각 시기마다 현모양처상은 당시의 사회문화적 맥락 속에서 변화해왔으며 자녀교육과 밀접히 관련 되어있었으나 자녀교육 내용을 심층적으로 확인하기 어려웠다. 연구 결과를 토대로 교육의 영역에서 그 역할이 강조되고 있는 어머니(부모)에 대한 연구가 향후 여성잡지 등의 일상적인 경험 자료를 통해 보다 다양하고 심층적으로 분석될 필요가 있음을 과제로 제시한다.

Debates about ‘A Good Wife and Wise Mother’ and Tradition in Colonial Korea

Hong Yang-hee The Academy of Korean Studies 2008 THE REVIEW OF KOREAN STUDIES Vol.11 No.4

일본 근대 메이지기 인쇄 미술에 나타난 현모양처 이미지

이성례(Lee Sungrye) 한국근현대미술사학회 2010 한국근현대미술사학 Vol.21 No.-

The Meiji Period of Japan can be said to have been a transition period with regard to the formation of the image of modern women. While a modern nation state was being formed, the importance of the education of the next generation was stressed, and the role expected of women may be summarized as that of a “wise mother.” In the mid-Meiji Period and thereafter, when the concept of a modern family first appeared and took root, women were expected to play the role of a “good wife” who strives to maintain the happiness of the family and sacrifices herself for the family. The image of a wise mother and a good wife was formed in step with the rise of nationalism. Such expectations regarding women’s role in society were confined to that of a woman as a mother and housewife rather than any more general role. Images of a wise mother and good wife can be found in diverse forms in the visual culture of the Meiji Period, particularly in connection with the role of printed art, which was recognized as a category of fine art in modern times, of spreading modernism as art that made a foray into people’s everyday lives. It should also be borne in mind that Ukiyo-e (浮世繪), a genre of Japanese woodblock prints that spread among ordinary people during the Edo Period, produced a large quantity of images of women at home, particularly mothers. The media used to express the image of a wise mother and good wife differed from period to period. During the early Meiji Period, Nishiki-e (錦繪) was mainly used. Nishiki-e inherited the tradition of the visual media of the Edo Period and displayed modernity in the universalization and popularization of art. During the late-Meiji Period, lithography was hailed as a new media for visual reproduction.

일본 에도시대 목판화에 나타난 母子像의 이중 표상

이성례(李聖禮) 한국미술연구소 2008 美術史論壇 Vol.- No.27

In the Edo period of Japan, the mother image projected in visual images encompasses several seemingly contradicting images - the benevolent, chaste and wise mother image projected at home, the Yujyo (courtesan) image with sexual attractiveness features focused on physical beauty. and the hybrid image where desexualization and sexualization are mixed together. Women as mothers, give birth to and raise children and naturally do not continue to retain the ideal physical beauty. On the other hand, Yujyo (courtesan) serve an unspecified number of men, freeing themselves from the obligation of child birth and raising. Likewise. the mother image in the paintings of the Edo period was featured in the expression of sexual attractiveness weakened or strengthened. or in the expression of the mixture of those two images. This can be interpreted to mean that such woman image in Japan reflected social and temporal changes and requirements. The image of mother delivers the ideal image that the populace expects from women's body and appearance. Those images, packed in motherhood and child raising scenes, were produced into Ukiyo-e and sold in the market as popular image. Even in the Edo period before full swing modernization began in Japan. Ukiyo-e constitutes the birth of the universalization and population of visual images, and shows a typical example of diverse skills of production reproduced arts. Boys appear mostly next to the image of mother. Child images are varied such as naive child image based on the spirit of Kodakara (valuing children), and the alternate ego of the beings which was supposed to satisfy the desire of the main customer class, men, of Ukiyo-e.

조양보(朝陽報)의 여성계몽 전략

전지원 한국고전여성문학회 2023 한국고전여성문학연구 Vol.- No.47

본고는 조양보(朝陽報) 가 여성교육을 강조하고 현모담론을 유포하는 방식을 전근대 여성담론의 구성방식과 비교하여 분석했다. 조양보 가 다양한 지면 구성을 활용하여 여성에 대한 기사를 지속적으로 제공하고, 일정 정도의 한문 지식을 갖춘 남성 독자를 주요 독자로 설정하고 있는 잡지임에도 불구하고 여성에 대한 근대지(近代知)를 장기 연재했던 것은 사회교육 차원에서 여성담론을 유포하려는 전략으로 파악했다. 여성담론을 형성할 때, 담론을 구성하는 지식에 대해 남성이 먼저 내면화 과정을 거치는 방식, 즉 남성이 여성에 대한 지식을 선점하여 여성담론을 주도한다는 점은 전근대시기에 남성사족이 유교적 가부장제의 원리를 내포하는 텍스트인 소학 을 선제적으로 깊이 내면화하여 주도적으로 여성담론을 형성하고 유포해 나갔던 방식과 유사하다고 보았다. 여성의 지적 열등함을 근거로 여성교육의 필요성을 강조하는 방식 또한 전근대시기에 음란함, 투기, 사치와 같은 부정적인 이미지를 여성의 본성으로 파악하여 열(烈)ㆍ노동 담론을 개진하는 방식과 유사했다. 조양보 에서 수록하고 있는 근대지로서 가정학(家政學)은 중역(重譯)된 자료이면서 모본이 된 자료의 극히 일부만 수록하고 있다. 중역의 과정은 모본에서 변화된 구성과 추가된 내용을 수용한 것이었다. 이때 자녀의 의식주와 교육을 담당하는 어머니로서의 역할에 대한 극히 일부의 내용만 수록한 까닭은 유교적 가부장제의 성 역할을 견지하면서 특히 어머니 역할을 강조한 근대지를 수용하고자 했기 때문이다. 이것은 전근대시기에 여성에게 요구된 어머니의 역할과도 흡사했다. 다만 전근대시기에는 가문을 위한 자녀를 양육하는 어머니로서의 모성이 유효했다면 근대계몽기에는 국가를 위한 국민 양성자로서의 모성이 강조되었고, 그 역할을 수행하는 방법을 기술할 때 조양보 에서는 구체적인 방법을 제시하는 데 반해 전근대시기에는 피상적으로 당위성만 강조하는 형태로 서술되었다. 그리고 전근대시기에는 여성을 교화의 대상으로 보고 가내에서 가장과 어머니에 의해 여성담론을 내면화했다면 조양보 에서는 여성을 교육의 대상으로 보고 있다. 이를 통해 여성에 대한 지식이 전문적인 분과학문의 가치를 가지게 되었고 여성이 교육의 장으로 나올 수 있었다. 조양보 의 여성계몽의 전략과 전근대 여성담론의 비교에서 발견되는 이러한 연속과 변화의 지점이 여성의 근대적 정체성을 만들어가는 과정을 살피는 기준이 될 수 있을 것이다. It compared and analyzed the way the magazine emphasized women's education and distributed modern women's discourse and the composition of pre-modern women's discourse. The Joyanbo continued to provide articles about women using a variety of composition. Although it was a magazine for male readers who could read Chinese characters, it continued to serialize modern knowledge about women, the reason was a strategy to spread female discourse to men and women. It was a way for men to preempt knowledge about women and lead women's discourse, and the same method was used in the pre-modern period. The Joyanbo emphasized the need for women's education based on women's intellectual inferiority. It is the same as creating a ‘Yeol(烈)’ and ‘labor’ discourse in the pre-modern period because women's nature is obscene and luxurious. The Joyanbo contains a newly edited collection of home economics. The new editing changed the configuration and added content. The reason why the magazine includes the newly edited home economics is that the mother's role is particularly emphasized. This was similar to the role of mothers required of women in the pre-modern period. The role of the mother included in the Joyanbo is different from the role of the mother in the premodern period. The Joyanbo emphasized the mother who raises the people for the country, but in the premodern period, mothers raising children for the family were emphasized. The way the mother's role is described was also different. The Joyanbo described specific methods for performing the mother's role. In the pre-modern period, he only emphasized the justification for playing the role of a mother. The Joyanbo emphasized educating women, which means that knowledge about women is a professional discipline, and women were now allowed out of the house for education. By comparing the Joyanbo's women's enlightenment strategy with the pre-modern women's discourse, we found continuity and change. This will be a criterion for examining the process of creating a woman's modern identity.

'신사임당' 이미지 형성과 소비에 대한 통시대적 접근

박경 한국역사연구회 2019 역사와 현실 Vol.- No.111

Sin Saimdang, who was a female born from a Yangban household of the 16th century, was already famous for her exceptional drawing and painting skills in her own time. And after her son Yi I grew to become a renowned scholar, she was praised for raising such an outstanding talent and a wise. Her legacy was also embraced by modern era Koreans especially in the 1960s and ‘70s, as she was recognized as an ideal female model for a wise mother and good wife. However, female social activities have recently been increasing rather exponentially, and the aforementioned image of herself is now being referred to as one that should be overcome and left in the past. Saimdang’s image that we know of today was started formed in the late Joseon period, when intellectuals of the time chose to promote her artistic skills as her virtues, and considered those virtues as a testament to her nature as a fantastic and ideal mother. In the Korean modern period such perspective was even employed in historical education, and Saimdang was hailed as the icon of a wise mother and good wife. In the 1960s and ’70s Saimdang’s such image also served as a template for ideal female features called for and spreaded by political and social leaders. And born in the process was a particular image of Saimdang which was very different from her real nature. Researching on how her image has been formed, changed and consumed could offer the chance to reevaluate her personality as well as her nature. And in this research we can see how people viewed women across time.

한 엄마의 가정교육 경험에 관한 연구

손연아 ( Yeon A Son ),손은령 ( Eun Young Son ) 충남대학교 교육연구소 2013 교육연구논총 Vol.34 No.1

본 연구는 엄마가 자신이 중요하게 생각하는 가르침이 어떻게 자신에게 형성되었는지를 생각해보고, 내 자녀에게 어떻게 반영하고 있는지를 스스로 성찰하여 자신을 더 깊이 이해함으로서 자녀의 가정교육을 수행하는데 도움이 되고자 하는데 목적을 둔다. 이를 위한 연구 질문은 ``엄마의 가정교육 경험은 어떠한가? 이고, 연구 참여자인 한 엄마의 가정교육 경험 이야기를 여성주의 관점에서 내러티브 연구방법인 이야기형식으로 접근 하였다. 연구 결과 엄마의 가정교육경험은 자녀에게 영향을 주고 반영되고 있다는 것을 확인하였다. 더불어 엄마의 가정교육경험이 자녀에게 반영되고 있다는 것을 인식하고 있다면, 엄마의 가정교육 경험이 그대로 반영되지 않을 수도 있다는 것을 시사하고 있다. The purpose of this study was to help mothers to perform children`s home education better by identifying how the lessons that she thought important were composed, reviewing how the lessons were reflected on their children`s education and understanding themselves better. For the purpose of this study, research question was set as ``What is a mother`s home education experience like?’ The story of a mother`s home education who was the study participant was approached in the form of a story, a narrative study method from the perspective of feminism. From the study, it was confirmed that home education experience of mothers influenced their children and was reflected on their children`s home education. Additionally, if we perceive that home education experience of a mother is reflected to her children, it may suggest that mother`s home education experience may not be reflected intact.

1950년대 이호철 소설 연구

구재진 명지대학교(서울캠퍼스) 인문과학연구소 2017 인문과학연구논총 Vol.38 No.1

The novels by Lee Ho-cheol in 1950s are complexly represented immaturity, instability and isolation of youth, caused by loss of hometown and by separation from family. This study analyzed Escaping Home and sequel-like novels of Escaping Home among his novels in 1950s, focusing on issue of mourning or melancholy on ‘lost hometown,’ and aspects of male and female characters. The lost hometown exist excessively as melancholic object in these novels. In addition, such an excessive existence lasts by calling on mother. In this situation, male characters prefer being content with present immaturity and delaying to being subject. Also male characters reveal self-pity and tears by insisting on seeing themselves only through the eyes of their mothers. Meanwhile, female characters stand on their own feet, by leveraging prostitution and entertainment. The female characters are the images of pseudo- mother in that they take care of the poor male characters in the novels. Especially the female north Korean refugee, who was a girl student in North Korea, shows woman’s epic about war and separation and she is re-created as a figure maintaining ‘dignity’ despite her corruption. In Lee Ho-cheol’s novels, immature man and corrupted woman become subjects as members of society and family by marriage. It is the result of man’s desire to realize hegemonic masculinity within patriarchal system and woman’s desire to wash off previous decadence by realizing the ideal of good wife and wise mother. Moreover, such a marriage between immature man and corrupted woman let them escape from the instability and symbolically belong to new nation, the Republic of Korea, and new living place out of North Korea.

‘현모양처’의 상징, 신사임당

홍양희(Hong, Yang-Hee) 한국사학회 2016 史學硏究 Vol.0 No.122

이 논문은 식민지시기 신사임당이 재현되는 방식과 그 변화를 추적함으로써, 신사임당 담론에 작동하는 젠더 정치학을 고찰하였다. 러일전쟁 후부터 식민지시기에 이르는 근 40여 년간 신사임당은 무려 3번에 걸쳐 이미지 변신을 한다. 먼저 여성교육의 필요를 강변하기 위해 이율곡의 어머니로서 자녀교육을 잘한 ‘교육받은 여성’으로 의미화 되기 시작하였다. 이어 1930년대에는 근대 비판, 전통에 대한 향수, 신여성 혐오 등 일련의 정치학이 작동되는 과정 속에서 ‘현모양처’가 ‘전통’으로 재구성되고, ‘신사임당’은 현모양처의 대표적 여성이 되어갔다. 나아가 식민지 말기 신사임당은 ‘군국의 어머니’, ‘총후부인’의 이미지로 소비되기 시작하였다. 현모양처라는 젠더 모델이 처음부터 국가 / 민족의 여성 젠더에 대한 호명으로부터 출발하였다는 점에서 이의 식민주의적 전유는 처음부터 예정된 길이기도 했다. 결국 신사임당에 대한 담론적 재현은 당대의 사회적 정치적 맥락에 따라 연동되고 있었으며, 이는 여성들에게 젠더 역할을 강화하는 정치학이었다. 신사임당은 국가/민족 및 사회가 여성 젠더를 호명하는 방식에 따라 동일한 인물이 어떻게 다르게 재현될 수 있는지를 명확하게 드러내는 인물이었다. 더욱이 식민지시기 신사임당 담론은 ‘신여성’에 대한 혐오의 시선과 동전의 양면을 이루며 여성들에게 현모양처라는 젠더 역할을 강화하였다. 신여성 담론은 이후 1950년대 ‘아프레걸’ / ‘자유부인’ 담론, 그리고 현대의 ‘된장녀’ 담론으로 이어지며 지속적으로 여성의 성별 역할분담을 강화하고 섹슈얼리티를 통제하는 기능을 수행해 왔던 것이다. This paper examined the gender politics operating on Shin, Saimdang discourses through searching for variability of representation on her. The Image of Saimdang had undergone the transformation three times for about forty years from 1905 to 1945. Firstly, She was called the ‘educated woman’ who well trained her children at home as Lee, Yulgok’s mother in order to argue the necessity of education of women. Secondly, Saimdang encountered the discourses on ‘a wise mother and good wife’ and was invented as a traditional and ideal woman, that is a wise mother and good wife in 1930s. There were historical contexts regarding the critiques of western modernity, nostalgic moods of past, and disgust of so-called ‘new woman’. Lastly, She was spent as the symbol of ‘militaristic mother’ and ‘woman in the rear ground’(銃後婦人). It was naturally colonialistic appropriation which stems from national demanding of women. These discoursive representations of Shin, Saimdang were connected with political context at that time and Those were the politics reinforcing gender roles. In short, the images of Shin, Saimdang were reconstructed according to national or colonialist demanding. Futhermore, Shin, Saimdang dicourses together with ‘new women’ discourses have reinforced gender identities in colonial Korea. In particular, the discourses on ‘new women’ continued to ‘après-girl’ or ‘Madame Freedom’ dicourses in 1950s and ‘Doenjang girls’[soy bean paste girls] dicourses in contemporary days.