일제강점기 “신여성” 담론 속에 나타난 여성 주체

한아름 ( Ah Reum Han ) 전북대학교 인문학연구소 2013 건지인문학 Vol.9 No.-

The Meaning of the ‘New Woman’ had not fixed. As time went by, with passionate discourse that meanings had changed. So it is diffi-cult to grasp concepts thoroughly by only one approach. We need to consider the Japanese colonial period that blended colonization with modernization. It is also necessary to see who is the subject in the field of discussion. The discourse of the ‘New Woman’ had been formed in external situations, the meaning of a word was flexible. At first women who took modern education were named ‘New Woman’. Popular culture in the late 1920`s was an exceptionally popular. After 1920`s women who influenced by popular culture and the latest fad were called ‘New Woman’ or ‘Modern girl’ In the late 1930`s, the word ‘New Woman’ turned into ‘Modern Woman’ frequently. In the space of the modernization in colonial period, socio-histor-ical discourse had changed, the symbol of ‘New Woman’ was diverse. Modernized by Japanese colonial rule, colonial space became the con-flicting social structure as development continuing on parallel with oppression. In this field, women could get new educational system and entered the stage in the center of society. Furthermore, women stood out due to the advance of mass media as a main body of spend-ing money. Pressed for following old ideas for women, however, women wav-ered at the public opinion. The hegemony here was exposed, domi-nant surrounding the discourse of the ‘New Woman’ Not only the Japanese colonial period, but also the patriarchal system suppressed women. In this situation, women sometimes had same voice or not. This voice is based on calling women as a modern subject by virtue of engaging in forming the identity of female itself. Under the influ-ence of the agenda-setting conversations of the ‘New Woman’, women could realize the sense of self. Received modern education, women had chance to learn a progressive thought and adopted the products of civilization. Taking this opportunity, women granted a new role in person, forming discussions about ‘New Woman’ and coming on stage as one of the member in society. In conclusion, such social changes are im-portant to find voices about feminist issues with woman`s own. It led to the meaningful creation of the ‘New Woman’ as new members to adapt to the trend of the times.

신여성과 깁슨걸의 비교 분석

박현숙 ( Hyun Sook Park ) 한국서양사학회 2016 서양사론 Vol.0 No.128

This study is to analyze and compare the first generation of New Woman and Gibson Girl, both appeared in the second half of the nineteenth century. The appearance of these new style women is intimately connected with periodic background. In the second half of the nineteenth century Progressive movement appeared to prevent prevailing monopoly capitalism and political corruption. In this Progressive era women entered the public sphere through women’s organizations which were formed, entered college and workforce, including new professions in significant numbers. In this transitional period New Woman, white, independent, educated, athletic, politically and socially progressive, pursuing financial autonomy made an appearance. Refusing to accept True womanhood she fought to engage in professional work instead of marriage, pioneering new role and demanding justified position in a decent world. Simultaneously with the appearance of New Woman Gibson girl made her entrance. The Gibson Girl image appeared for the first time on the cover in an 1890 issue of Life. She was the creation of artist Charles Dana Gibson with his pen-and-ink. Since her first appearance in 1890 she became a national sensation by 1894, and came to dominate standards of beauty in women, which lasted until the World War I. Contemporary feminists considered Gibson girl as a protype of New Woman because her active and affirmative posture and her engagement in athletic activity wearing blouse and skirt casually seemed to resemble New Woman. For this reason Gibson girl was recognized as representing and symbolizing New Woman. In order to clarify this misunderstanding and to examine its reason this article analyzes New Woman and Gibson girl in depth. To understand New Woman her activities and life as a suffragist, a college girl, a professional worker, and a progressive reformer working in women’s clubs, focusing on Woman’s Christian Temperance Union and Hull House were examined. As for Gibson girl various types of Gibson girl such as appearing at balls, the opera, or the Madison Square Garden Horse Show and engaging at bicycling, golfing, playing tennis, and swimming, and also appearing at public sphere and dominating the mating game or posing as college girls and jurors and being presented as a greedy consumer. As a result I reached the conclusion that Gibson girl does not contain various types of New Woman. She never works either in settlement house or in any workshops and rarely appears as a college girl. When Gibson does draw her either a feminist or politically oriented girl he intends to undermine her noble goal. The reason Gibson distorted New Woman in his Gibson Girl is because he wanted to alleviate fears that New Woman might provoke. He also wanted to warn the society that the American Girl, at once demanding and capricious, controls the market in men and consumer goods. Nevertheless, these Gibson’s images influenced a lot on contemporary women to motivate to achieve individual independence and self esteem, and even sexual freedom. (Sogang University / hsppp@hanmail.net)

입센과 동아시아의 신여성 -마쓰이 수마코와 나혜석의 경우-

최성희 ( Sung Hee Choi ) 한국연극학회 2006 한국연극학 Vol.0 No.30

The New Drama was a mold to shape, a mirror to reflect, and a window to observe the New Age called Modern. As the New Drama was introduced to Japan and Korea in the 1910s and 1920s, discussions on the ideal form of modern theatre and the proper role of women in it became increasingly controversial. Just like in Europe several decades ago, theatre people in East Asia tried to find clues for answers to those critical questions in Henrik Ibsen, who was considered as the Father of Modern Drama and the pioneer of Women`s Liberation Movement. This essay attempts to examine how Ibsen, who was imported as a prototype of modern drama, helped shape the New Woman`s subjectivity, and thereby illuminate the intricate relationship between New Drama and New Woman and ultimately the dilemma/aporia of modernity that New Woman of East Asia commonly experienced. Masui Sumako is Japan`s first modern actress who played archetypal New Woman roles in Japanese premieres of A Doll`s House(1911), Heimat(1912), and Salome(1913). Haesuk La, a prominent leader of the first generation of New Women, welcomed Nora`s landing in Korea ardently with her own poem Nora, commemorating the publication of A Doll`s House in Korean translation. In spite of social and political differences between the two countries, the emergence of New Woman and the nation-state`s reaction to it in Japan and Korea shared striking similarities. Male Intellectuals believed that the New Woman`s challenge to traditional patriarchy could damage national root and culture and eventually weaken the nation`s power to consolidate its imperialistic hegemony(Japan) and to stand against Japan`s colonialism(Korea). Thus they imported Ibsen selectively, emphasizing the progressive and educational side of New Drama and New Woman, while oppressing and condemning the surplus/rupture as fake or madness. Ibsen`s New Woman embodied in Nora and Hedda, however, comprises ambivalent and often contradicting identities of feminist and femme fatal, enlightenment and blindness, and progressive logic and destructive sexuality. Sumako and La, as both progressive and disruptive subject, manifest this ambivalence of the New Woman. The ambivalence could be read as regression in the scale of modernization/enlightenment project. Yet the rupture of the New Woman that doesn`t fit into the epistemological/ideological frame of modernity is the very site where transgression can be made, from which the real change that defies any oppressive universalism (either traditional or progressive) can launch.

1920-30년대 대중문화와 <신여성> ― 활동사진과 유행가를 중심으로 ―

문경연 한국여성문학학회 2004 여성문학연구 Vol.12 No.-

Constituting a significant series with several concepts of personality, refinement, taste, "culture" based on the colonial capitalism of 1920~30 had an important role to abet and reveal the desire of the new woman. Through scrutinizing The New Woman, most representative popular women magazine, this thesis would unveil the position of the new woman in the realm of popular culture. Focusing on motion pictures and phonograph records, first section of this thesis studies the scene of the new woman's encounter with popular culture. In this assemblage the magazine, The New Woman was a provided text for "reading" motion pictures in another way. And it also promoted young women's consumption of motion pictures and phonograph records. The purpose of second section is to unveil, in the heterogeneous voices echoing in The New Woman, the fact that the masculine rhetoric of the modern suppressed and controled the social position of the new woman, while it continuously made the modern woman main consumers of popular culture. And this thesis argues that though there were prejudiced gazes of masculine society, the new woman tried to overcome the imposed position, the passive consumer of popular culture. In other words, they want to be productive subjects willing to participate in the production process of popular culture. They craved to get such an modern occupation as actress or songstress. Futhermore the new woman successfully represented their identity in some in modern characters like moviegoer, theatergoer, flapper, etc. The new woman's embodiment of modern characters and the change of life style are investigated in section 3 and 4. Popular culture was a positive mechanism for the establishment of modern female subject which made the new woman acquire her existential position in her society. Surely the new woman's consumption of popular culture was sometimes ostentation or a kind of hierarchy to make difference between them and the old woman. However the positive revelation of the new woman's desire and their concrete experience in the realm of popular culture operating inconsistently "social permission and control", "inducement and censure" is meaningful in the sense that it created critical fissures in the adamant patriarchal masculine society. 1920~30년대 식민지적 자본주의의 토대 위에서 ‘문화’라는 키워드는 개성, 교양, 취미라는 개념들과 계열관계를 형성하면서 신여성들의 욕망을 추동하고 발현하도록 도왔다. 본고는 이 시기의 대표적인 여성잡지인 『신여성』을 텍스트로 해서, 당시 대중문화의 장(場) 안에서 신여성이 근거하는 지점을 살펴보고자 한다. 1절에서는 신여성이 대중문화와 조우하는 현장을 활동사진과 유행가 음반을 중심으로 살펴보았다. 그 안에서 잡지 『신여성』은 스크린의 활동사진을 지면상에서 읽는 텍스트로 전환하여 독자에게 제공하기도 했고, 활동사진과 음반의 구매를 유도하기도 했다. 2절에서는 신여성들을 대중문화의 소비자로 호출하는 반면, 한편에서는 끊임없이 신여성들을 억압하고 위험 담론을 재생산했던 남성들의 교묘한 금기의 수사학을『신여성』내의 다양한 목소리들을 통해 드러내고자 했다. 그러나 신여성들은 일면 부정적인 (남성)사회의 시선에도 불구하고 대중문화를 무기력하게 구매하고 즐기기만 한 것이 아니라 심지어 생산 과정에 투신하여 생산주체가 되고자 했다. 여배우, 여가수라는 근대적인 직업을 욕망하기 시작했고, 영화광․극다광(劇多狂), 플랩퍼형 여성 등의 근대적 인간형을 주조해내기도 했다. 이상과 같은 근대적 인간형의 창출과 신여성의 라이프 스타일의 변모는 3․4절에서 고찰하였다. 신여성이 자신들의 존재감을 구체적으로 획득하고, 과거와는 다른 방식의 근대적이고 적극적인 여성 주체를 확립하는데 있어 대중문화는 긍정적인 기제로 작용했다. 그 과정에서 신여성들의 대중문화 소비가 과시적 포즈로만 표출되거나, 구여성과의 위계가 공고해지는 여성 내부의 모순들이 발생한 것도 사실이다. 하지만 사회의 허용과 통제, 권유와 비난이 동시에 작용했던 이중적인 대중문화의 공간 안에서, 신여성들의 적극적인 욕망의 발현과 구체적 체험의 결과는 가부장적 남성사회에 균열을 내는 효과를 발휘했다는 점에서 의미가 있다고 하겠다.

‘소문’에 대응하여 형성되는 ‘신여성’의 기표 -나혜석의 단편 「경희」(1918)를 중심으로

손혜민 국제한국문학문화학회 2009 사이 Vol.7 No.-

This article reads Kyung-Hee, Hye-Suk Na’s first work, as the process of forming ‘the New Woman’ identity and reinterprets the understanding that, during that time, the discussion of ‘the New Woman’ was formed through the motif of ‘rumors’. ‘The New Women’ was the subject of ‘rumors’ and the product of ‘Rumors,’ after it appeared on the stage of discussion in Cho-Sun. However, the important thing is that these ‘rumors’ not only unveiled people’s understanding and desire for ‘the New Woman’, but also acted as the principal axis that formed the conception of ‘the New Woman’. The narration in Kyung-Hee is a good example of the method in which the rhetoric of ‘rumors was used. The narration in Kyung-Hee presents a series of ‘rumors’ in which patriarchal order is reflected and forms the ‘authentic’ conception of ‘the New Woman’ through the denial of this order. However, the virtues of ‘the New Woman’ that are presented by Kyung-Hee are syngeneic with the discussion of male intellectuals in a colony that intended to make themselves the “Others”, and have a confederate relationship with ‘the ideology of a wise mother and good wife’. Within the ignition/ventilation structure, ‘rumors’ are spoken by ‘the old woman’. A problematic point of the novel is that it conceals the view of a male subject and encourages solidarity between ‘the old woman’and ‘male’. Kyung-Hee shows that, through ‘rumors’ relationship with modern systems like the newspaper, ‘rumors’ at that time about ‘female students/the New Woman’ were engaged in confirming public discussion. In Kyung-Hee, the identity of ‘a new women’ is in the process of being formed by the restless denial of others. It is not irrelevant that ‘Kyung-Hee’is spoken for by others and can’t speak for herself, keeping consistent distance from the speaking technique of enlightenment. Therefore, ‘Kyung-Hee’ adopts inner self-reflection to discover the content of ‘the New Woman’ that is suitable for ‘the New Woman’s signifiant. However, ‘Kyung-Hee’s inner agony is sutured by individual’s ethic of duty. It suggests that the discussion of ‘the New Woman’ in those days couldn’t escape the view of a male subject spoken in ‘rumors’. As implied in Kyung-Hee, what encourages the discussion of ‘the New Woman’ was the desire of the male subject that surrounded ‘the New Woman’. However, Kyung-Hee presents the possibility of solidarity between ‘the old woman’-‘the new woman’ under the banner of enlightening. Kyung-Hee, which intends to capture ‘the old woman’ involved in ‘rumors’ following the logic of enlightening, shows the possibility of feminine ignition and shows a difference type of resistance through the new method that appropriates ‘rumors’.

전도부인(Bible Woman), 한국 근대소설 속 신여성(New Woman) 이전의 여자들

김예람(Ye-ram Kim) 구보학회 2023 구보학보 Vol.- No.34

본 논문은 개화기 신소설부터 일제 식민지기 근대소설에 이르기까지 신여성(New Woman)에 앞서 기독교를 통해 근대성을 내면화하기 시작한 전도부인(Bible Woman)에 착안하여 전도부인이 구여성과 신여성을 매개하는 과도기적 여성 인물이자, 근대작가들로 하여금 한국 여성과 일상화된 기독교 사이에 존재했던 여성주제들에 대한 탐색을 심화시킨 문학적 제재였음을 밝혔다. 신여성 작가의 소설과 신여성 모델소설이 창작되기 이전 전도부인은 석진형, 김일엽, 전영택의 소설에서 구여성에게 전통적 여성의 삶과 획기적으로 구분되는 새로운 삶의 가능성을 제시하고, 여성계를 대표하는 직업여성으로 부각된다. 나아가 전도부인은 신여성 인물이 정착한 이후에도 여러 장편소설에서 기독교 농촌계몽운동, 기독교적 혼인율, 여성해방과 기독교에 관한 다양한 여성주제를 탐색하도록 만든 유용한 소재였다. 전도부인 최용신(崔容信)을 모델로 한 심훈의 『상록수』는 채영신을 세속화된 전도부인으로 형상화하여 종교적 열정을 농촌계몽운동에 수렴시킨 소설이고, 김말봉의 『밀림』은 전도부인 삽화를 통해 신자 간의 결혼만을 허용하는 기독교적 혼인율에 대한 윤리적 문제를 제기한 작품이며, 채만식의 『인형의 집을 나와서』는 봉건적 부덕을 상징하는 소재로서 전도부인을 설정하여 그와 대립하는 여성해방의 주제를 전달한 소설이다. 전도부인은 근대적 여성 인물의 모색이라는 소설사적 과제에 과도기적 역할을 담당한 문학적 전형이자, 신여성에 편중된 근대적 여성상의 한 측면을 새롭게 드러내는 역사적 존재다. This article focuses on the Bible Woman(傳道婦人), who began to internalize modernity through Christianity before the New Woman(新女性), from the New Novels of the enlightenment period to the modern novels of the Japanese colonial period. Bible Women were transitional female characters that mediated between old women and New Women. By the Bible Women as subject matters, modern writers deepened their literary exploration on feminist themes existed between Korean women and generalized Christianity. Before modern novels by New Women writers and roman à clefs on real New Women, Bible Women presented old women with new life possibilities that were radically different from traditional women's lives as well as stood out as career women representing the women's world in the novels of Jin-hyeong Seok, Il-yeop Kim, Young-taek Jeon. Even after New Woman characters were settled in Korean modern novels, Bible Women, in addition, proved to be useful matters for a number of novels to explore a variety of feminist themes; Christian v narod movement, Christian marriage law, women's liberation. Modeled on Bible Woman Yong-shin Choi(崔容信), Hoon Shim's Evergreen Tree is a novel that concentrates religious fervor on v narod movement by characterizing Young-shin Chae as a secularized Bible Woman. Mal-bong Kim's Jungle raises ethical questions about the Christian marriage law, which only allows marriages between believers by means of the episode of the Bible Woman character. Man-sik Chae's After Leaving A Doll's House is a novel that conveys the theme of women's liberation by characterizing the Bible Woman as a symbol of the virtues of feudal women. To conclude, the Bible Woman is a literary type that played a transitional role in the Korean modern novel's historical task of finding a modern female character, and a historical being that reinforced an aspect of the modern female figure that was biased toward the New Woman.

현대 중국 新女性 형상의 변천

홍지순 한국중국현대문학학회 2007 中國現代文學 Vol.0 No.43

The discourses of the new woman (xin nüxing) in modern China articulate the deep-seated problematics that underlie social perceptions of (educated) modern women. This essay examines the changing social images of the new woman and the different ways in which they were produced and consumed, according to socio-historical changes and to the medium used, such as the printed media and film in modern China. Approaching the New Woman as a significant cultural phenomenon of global modernity, it also compares the new woman images from other parts of the world such as England, Germany, Japan, the US and Korea. If the sustaining representative image of the New Woman throughout the Republican period was the woman writer, this essay also deals with its implicit and explicit associations with other images suchas the college student, the teacher, the actress and the prostitute. This essay is also based on my illumination of the conceptual relationship between xin nüxing and xin qingnian. While xin qingnian were the direct producers of discourses in the sphere of ideology and culture, xin nüxing were under the intensive control of these intellectual discourses. The primary marker of a xin nüxing was her lifestyle or, more often than not, simply her fashion and hairstyle. This implies that public interest in the new women was directed towards their private lives and bodies. This conceptual history of xin nüxing implies that educated modern women were the privileged object of the commercial gaze and the mass media, which is also vividly demonstrated in the recent media fever for the Shin Jung-Ah incident in Korea. Finally, this essay points out the relationship between the new woman’s image in contemporary China with the Neo Liberalist ideology.

1920-30년대 한국의 이상적 “신여성” 이미지와 패션

이재윤(Jae Yoon Yi) 한국복식학회 2014 服飾(복식) Vol.64 No.7

The term “new woman” (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these “modern girls” were also referred to as modan (毛斷), or “cut-hair”, reflecting changes in appearances that rejected the traditional value system in favor of “the new” in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this “new woman” was constantly changing during this early modern period in East Asia, ranging from male-driven women’s movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women’s domestic roles and enlightened views on housekeeping, yet in most cases the “new woman” was also expected to be a good wife and mother as well as a successful career woman. The concept of the “new woman” was also accompanied by an upheaval in women’s social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the “new woman” through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women’s appearances and the images they pursued reflected the ideal image of the “new woman.” Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the “new woman” was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

蒙的快到主分裂的痛苦―中二十年代女性小的新女性形象比

오경희 한국중국현대문학학회 2006 中國現代文學 Vol.0 No.37

The purpose of this paper is to compare the aspects of the modern New Woman in women's novels published in Korea and China in the 1920s. First, it examines the background and cause of the emergence of the New Woman. Next, through women's novels, it studies the internal and external style of the New Woman as a builder of modern culture and contrasts various aspects of the New Woman's life: the aspect of a ‘girl student' as enlightening intellectual, a ‘modern wife' with modern married life and a ‘modern woman' with gender consciousness and desire. The study reveals that the New Woman fluctuated between expectations of progressive paradigms of the New Woman and identity confusion captured by traditional norms even though modern education and culture made women's life and consciousness change. Especially, in modern China, the New Woman was supported by Chinese intellectuals under the influenced of the May Fourth Movement. On the contrary, the New Woman was an object of hatred and a cause of conflict in Chosun dominated by a patriarchal system, a feudalistic idea and colonialism. The social environment had great influence on construction of gender and an unhappy life of the New Woman.

신여성의 새역사 만들기: 올리브 슈라이너의 『아프리카 농장 이야기』

전승혜 ( Seung Hei Chun ) 한국근대영미소설학회 2004 근대영미소설 Vol.11 No.2

Critical discussions of The Story of an African Farm(the Story) often fail to locate the feminist theme in the context of Schreiner`s ideas of evolutionary development of Humanity, paying little attention to its diverse narrative strategies Schreiner adopts in order to explore her ideas of New Woman, New Man, and New History. The aim of this paper is to propose that the Story should be read as the making of new history by New Woman rather than a feminist propaganda novel or a precursor of a modernist formal experiment. Schreiner has a vision of future utopia which a perfect union of free man and free woman will make possible, and which is in the far distant, toward which the New Woman and the New Man should strive to move in the present. Schreiner presents her New Woman and New Man through Lyndall and Waldo making first steps separately in different ways toward a new world using her diverse narrative strategies. The Story has a disruptive unlinear narrative form with reversed conventional plot construction, dual protagonists, intruding discursive discourses, dreams or allegories. These are the means by which Schreiner makes Lyndall and Waldo represent her ideas of New Woman and New Man in The Story since the gap created by the theoretical discourses and the narrated story provides the field in which New Woman and New Man in the present can work.