This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.

이 연구는 현재 각 방송사에 근무하는 방송작가들을 대상으로 한 설문조사 결과 를 바탕으로 방송작가 교육 실태를 파악하고, 방송작가의 역량강화를 위해 필요한 교육 프로그램에는 어떠한 것이 있는지 고찰하였다. 또한 방송작가 및 방송사 PD 들과의 심층인터뷰를 통해 작가들의 교육 프로그램 이수를 독려하기 위해 필요한 제도적 지원 방안이 무엇인지에 대해 파악하였다. 총 474명의 방송작가들을 대상으 로 웹 설문지를 통한 온라인 서베이를 실시하였는데, 조사내용은 방송작가 입문 전 그리고 입문 후 받은 교육 프로그램, 방송작가에게 필요하다고 생각하는 교육 프로 그램, 방송작가 교육의 필요성에 대한 인식, 방송작가 교육을 제도화하기 위한 방 안 등이었다. 조사결과, 설문에 응답한 방송작가들 중 약 70%가 작가 입문 전에 ‘프로그램 기 획 및 구성법’에 대한 기본 교육을 받은 것으로 나타났다. 이외에도 ‘프로그램 분 석 및 비평’, ‘표준어 및 맞춤법 등 문장 교육’, ‘방송의 사회적 영향력’에 대한 교 육 등을 이수한 것으로 나타났다. 한편, 방송작가들이 필요로 하는 재교육 프로그 램으로는 ‘표준어, 맞춤법 등 문장교육’, ‘기획, 구성법, 드라마 작법’, ‘방송의 윤리 적 문제에 대한 소양교육’ 등이 포함되었다. 방송작가와 PD들과의 심층인터뷰 결 과 교육 프로그램 이수를 장려하기 위해 방송작가 협회 가입 자격요건에 교육이수 포함, 작가 인센티브 제공 등 다양한 의견이 제시되었다. 한편, 방송작가와 PD들의 의견을 종합하여 작가 재교육을 위한 제도적 장치의 현실성에 대해 논의하였다.

The Sociolinguistic Journal of Korea 14(2). This paper explores the characteristics of feminine and masculine language use through an examination of word frequency in modern Korean novels. Through several blind tests of sample paragraphs from sixteen novels by Kong Seon-ok, Kim So-jin, Shin Kyeong-suk, and Yun Dae-nyeong, subjects were required to identify the gender of the author. The most striking result of the blind tests involved the unanimous identification of two paragraphs from the same novel as feminine. Applying the monoconc program to this novel by Shin Kyeong-suk, an analysis was conducted on word frequency. The result showed that there was a high frequency of words that functioned as hedges, mitigators, and positive back-channel cues. Taking these words that apparently led the blind test subjects to deem the author of Shin's novel to be feminine, a word search was conducted for the other fifteen novels. Though certain words in Shin's novels showed a similar rate of frequency, it was discovered that they involved different collocations. Hence, it may be speculated that this brought about a more mixed response from the blind test subjects. Such explorations show that the perception of feminine/masculine language use involves not only individual words but more importantly, their collocation within sentences.