The Visibility and Vagueness of the 'modern'-- Images of the 'New Woman' in Colonial Korea

국문 초록 (Abstract)

발표 요약문만 탑재

국문 초록 (Abstract)

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다국어 초록 (Multilingual Abstract)

The 'New Woman' phenomenon that appeared during the 1920s to the 1930s in Korea is an exemplary which shows 'hybrid modernities' in colonial society. It was a part of the global trend that emerged under the direct social/cultural influence of Japan and also a negotiated and appropriated phenomenon which produced colonial differences. In this talk, Dr. Kim examines the multi-faceted contradictory meanings of the 'New Woman' and the 'modern' by reading various icons of the New Woman -- covers from <New Woman (新女性)>, a cartoon series, and Aginomodo (味の素) ads. The 'New Woman' signified three archetypes: 'Shinyja' ('新女子'), 'Modern Girl,' and 'Good Wife' ('良妻'). 'Shinyja' was a symbol of the subject of civilization, which carried over-determined meanings, rather than simply implied "feminist." 'Modern Girl' represented an imaginary location where the 'bad' elements of emulation congregated, which shows an ambivalent attitude toward the modern looks and sexuality. They were criticized for embodying capitalistic corruption, but at the same time, they were fascinating to many readers. Lastly, 'Good Wife' referred to a subject who emulated the modern in a desirable way, which revived as a form of the New Woman to represent a 'good side' of the mimicry. In the end, the New Woman in Korea was a space on which the politics of colonial identities were projected.