자유주의 페미니즘의 선구적 사상가로 불리는 존 스튜어트 밀은 여성 의 종속 현상은 여성에 대한 사회적 억압과 잘못된 교육 때문이라고 보 았다. 여성과 남성은 자라나는 환경이 다르기 때문에 능력에도 차이가 나타나므로 여성에게도 많은 선택의 자유와 남성과 동등한 기회가 주어 진다면 여성도 자신의 잠재적인 능력을 발휘할 수 있다고 보았다. 밀은 말과 행동 사이에 아무런 갈등을 보이지 않는 사상가로서 여성의 지위 향상을 위한 노력을 자신의 저서와 실제 정치를 통해서 전개 시켜 나간 최초의 정치가이기도 하다. 이러한 밀의 주장은 여성만을 위한 것이 아 니라 인류 전체의 발전을 위해서도 필요한 것이다. 그러나 밀의 주장은 선택된 소수의 여성들에게 선거권을 주고 소수의 여성들에 대한 교육의 확대에 관심을 두었기 때문에 중산층 여성을 중심으로 한 엘리트주의라 는 비판을 받기도 한다. 하지만 19세기 서구의 시대적 상황을 고려할 때 밀의 주장은 매우 혁신적인 주장이었고 여성문제에 대한 가장 근본적인 문제를 다루었다는 측면에서 현재의 양성평등 실현에도 지대한 영향을 미쳤다고 평가할 수 있다.

본 논문은 동아프리카 잔지바르계 출신 영국 디아스포라 예술가인 루바이나 히미드의 작품에 관한 것으로, 그녀의 작품에 드러난 아프리카 디아스포라와 식민주의, 인종주의와 노예제도, 폭력과 차별의 역사를 흑인 예술 운동과 흑인 페미니즘의 관점에서 비평적으로 살펴본다. 히미드 는 1980년대 영국 흑인 예술 운동의 선구자인 중 한 명으로, 문화와 미디어에서 유색인종이 타자 화되고, 역사에서 배제되는 흑인의 비가시성에 의문을 제기하며, 주류문화의 전형성에 저항에 왔 다. 이는 흑인의 유산을 부정하는 패권적 문화에 도전하는 일이자 예술계의 배타적 관행을 비판 한 것이기도 하다. 이러한 히미드의 작품에는 몇 가지 중요한 특성이 있다. 히미드는 작품을 통해 백인과 흑인 모두에게 이중의 터부로 작용하는 노예제도에 대해 깊이 있게 성찰하며, 집단의 기억과 망각의 문제를 작품으로 가시화하고자 한다. 또한, 흑인 여성 예술가들의 주체성 회복을 위한 연대를 강조하며, 다양한 전시회와 저술활동을 통해 흑인들에게 덧입힌 고정관념과 열등성과 같은 식민주의적 사고와 태도에 저항한다. 따라서 본 논문에서는 루바이나 히미드의 작업을 통해, 흑인 예술 운동과 흑인 페미니즘을 비평적으로 논해 보고자 한다.

The purpose of this study is to first examine the relationship between appearanceenhancing beauty practices and feminism, and secondly, to analyze public images of contemporary women using this paradigm. Through the lens of this relationship, we present a literature review and empirical research focusing on the evolution of public image trends among girl groups, with special attention to the Refund Sisters, a South Korean supergroup currently drawing mainstream attention as female icons. The scope of analysis includes girl groups dating from the 1990’s to the year 2020 and photos of the Refund Sisters. Our results indicate that firstly, free sexual expression is evident based on active use of sexuality; images contain bold demonstrations of females desire, expressions previously considered taboo. Secondly, we note deviations from more standardized female images, unique adornment of outward appearance, and rejection of normative female images through freer forms of self-presentation. Lastly, there is greater cultural and racial diversity, rejection of modern race and gender binaries, and increased representation of queer identities. However, the relationship between appearance-enhancing beauty practices and feminism is sometimes considered paradoxical, with some arguing that beautifying one’s outward appearance is a compulsory strategy and that it should be rejected in order to resist aesthetic pressure.

일반적으로 여성은 남성에 비해 온라인 커뮤니티 이용과 온·오프라인 정치참여 정도가 적 은 것으로 알려져 있다. 이에 이 연구는 20대 여성 대학(원)생들의 온라인 여성 커뮤니티 이용동기와 효과를 파악함으로써 여성의 온라인 커뮤니티 이용을 촉진하고, 정치참여를 이끌어 내기 위한 전략을 제안하고자 하였다. 구체적으로 온라인 여성 커뮤니티 효과는 지속적 커뮤니 티 이용의도와 페미니즘 성향(양성 평등에 대한 인식, 세부적 정치적 협약)으로 세분화하였다. 연구결과 여성 커뮤니티 이용동기는 ‘소통’, ‘자기표현’, ‘정보추구’, ‘여성 정체성’, ‘현실도피 및 긴장해소’등 5개로 나타났다. 여성 커뮤니티 지속적 이용의도에 영향을 미치는 변인은 정보 추구 동기, 현실도피 및 긴장해소 동기, 여성 커뮤니티 이용빈도, 태도와 인지된 행위통제 변인 으로 나타났다. 아울러 양성 평등에 대한 인식에 영향을 미치는 변인은 정보추구 동기, 여성 정 체성 동기, 태도, 인지된 행위통제 변인이었다. 세부적 정치적 협약에 영향을 미치는 변인은 소 통 동기, 자기표현 동기(-), 정보추구 동기, 여성 정체성 동기, 인지된 행위통제 변인으로 나타 났다. 본 연구는 이상의 결과를 바탕으로 20대 여성이 지속적으로 온라인 커뮤니티를 이용할 수 있도록 하는 캠페인 전략과 여성 정치인식 또는 여성 정치참여를 이끌어 내기 위한 캠페인 전략을 제안하였다.

페미니즘과 영성은 서로 양립하기 힘들다고 여기는 경향이 있다. 오랫동안 페미니즘 담론에서 종교는 여성을 억압하는 사회적 기제로서 작용했다고 믿기 때문이다. 그러나 근래 들어 축적된 역사물로서 제도종교가 아닌 인간의 특정한 내면적 특질로서 영성을 새롭게 정의할 때, 페미니즘과 영성은 양립 가능해진다. 본 논문은 문학비평에서 페미니스트 이론틀로써 자주 차용되는 루스 이리가레, 쥬디스 버틀러, 벨 훅스의 근작들을 살펴보면서, 자신들의 페미니스트 해방이론에 영성을 도입하는 과정을 추적했다. 이리가레의 경우, 여성의 불평등을 조장하는 남성 중심적 종교에 대한 비판으로 시작하였으나, 곧장 이리가레는 남녀의 서로 다른 영성이 어떻게 여성을 해방시키고 궁극적으로 남녀가 평등하고 사랑하는 세상을 만들어낼 수 있는 지 설명한다. 9/11 이후 부쩍 윤리적 관심을 이론화하는 쥬디스 버틀러의 경우도 자신의 유대적 배경에서 체화된, 영성에 기반한 관계이론을 현대 지구촌에 만연한 폭력과 상업주의의 대안으로 제시한다. 흑인 페미니스트인 벨 훅스는 영성과 해방담론을 애초부터 동일한 운동으로 보는 흑인 특유의 견해를 펼친다. 흔히 사적영역의 영성과 정치적인 페미니즘 담론의 짐짓 모순된 관계에 대해서도 훅스는 명쾌한 답변을 제시한다.

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.

본 연구는 제 5세대 중국 영화감독에 의해 표현되고 묘사 된 페미니즘에 대해 검토하였다. 또한 서구 영화와 중국 영화를 비교분석함으로서 페미니즘의 프레임 워크가 영화에 어떻게 반영되는지 연구하였다.

This paper examines the recent exhibitions that reflect feminist global issues initiated and discussed by feminist artists, critics and curators in the U.S. and Korea. While the feminist exhibitions such as <Global Feminisms> and <WACK!> maintain strong western feminist legacies by accepting women artists from other cultures who learn the western feminist idioms, Korean feminist exhibitions attempt to expand its discourse to the feminist artists in the neighboring countries in Asia while respecting Korean traditions and positions. In this new terrain, the emergence of Incheon Women Artists’ Biennale further complicates the meaning of feminist-initiated exhibitions. The biennale, initiated by local women artists untrained by feminism, gradually grows into a large-scale global event and challenges the current status quo of Korean artists who have been divided into feminists and non-feminists, regional artists and global artists, progressives and conservatives, and etc.

In this study, I trace out the influence of woman’s images on Yeats in biographical and feministic point of view. For Yeats, woman was the major poetic motif and source of inspiration; meeting, interacting, and parting with women gave him a motive for poems and deepened philosophy as well as his literary view. As Yeats said in his Essays and Introductions, he "writes of his personal life, in his finest work out of its tragedy, whatever it be, remorse, lost love, or mere loneliness,” and "would die of loneliness but for women.” Indeed, woman for Yeats is the focal point of various themes such as praise of heroic and ideal beauty, despair caused by unrequited love, friendship, maternal love etc. Among many women who influenced Yeats, Maud Gonne was the most important figure. It seems that she was a real feminist who tried to seek a dignified life and ideal as a woman, cultivating her identity and soul rather than being a common woman who is financially and physically subject to man and to cultivate outward appearance to draw man's attention. Even though not accepting Yeats's love, she was not an extreme feminist who denied the entire role and realm of man and supported just woman's opinion and benefits. Instead she seemed to be a moderate feminist who tried to find the real freedom and hope for the Irish women and children who suffered from the dignity and violence of a patriarchal husband as well as chronic poverty. Yeats’s painful but productive relationship with Maud Gonne determined his favor for certain type of women with masculinity rather than with a passive, complaisant, and traditional beauty. As in his fascination of Niam suggested, Yeats liked to praise beautiful women who have masculinity, and he took a courtly love attitude to receive their love. Therefore, he tried to write poems which needed great labour like a woman’s childbirth and praise women of a masculine spirit. Yet Maud Gonne’s constant decline of his suit and radical political inclination, and his depressed Libido made him deeply feel the pain caused by such a mannish woman. Especially, the sudden confession of her past love with Millevoye and her marriage with MacBride gave him a great shock and changed his view of woman. Now he instead dreamed of living a comfortable life with a woman who has traditional feminine nature. At last, Yeats got married to Hyde-Lees with such feminine factors, only to find that her charm and sexual satisfaction didn’t last long. After the conflict with Maud Gonne in 1919, Yeats came to emphasize conservative view of woman, insisting that woman should live in a pure blessing and give up her opinionated mind. He asserted that woman with perfect beauty could be happy only when she made herself beautiful and played a faithful role as man’s supporter. In this period, Maud Gonne’s images was painted dark in his poems; ‘intellectual hatred’, ‘opinionated mind’, and ‘a woman who lost the Horn of Plenty’. But such dark images soon disappeared. Yeats again longed for his lost love, Maud Gonne. However he could not escape from the conflicts between body and soul, ideal and reality. Such a dilemma made him pay attention to Unity of Being, the harmonious union of body and soul, and create his persona, Crazy Jane. Yeats's views of woman suffer many changes through his earlier, middle and later poems. It can be said that his views of woman are expressed according to the increase or decrease in femininity or masculinity inherent within Yeats’s self, the influence of his suppressed libido, and his attitude toward Irish politics. However it can’t be denied that woman was the continuous motif and inspiration of his poems.

In this thesis I discussed feministic attitudes in the works of three writers: William Blake’s Visions of the Daughters of Albion, William Butler Yeats’ A Woman Young and Old, and Lao Tzu’s Tao Te Ching(道德經). Blake and Yeats were English visionary poets and Lao Tzu was an Old Master who lived in the 2nd century B.C. in Han Dynasty China. In Visions of the Daughters of Albion Blake is not only concerned with the rights of women but also with the slavery systems and freedom. The heroine is called ‘soft soul of America.’ Blake knew the first radical feminist Mary Wollstonecraft and may be responding to her enthusiasm for the emancipation of women. Moreover, the oppression of Oothoon is bound up with the campaign of the early 1790s against both the slave trade and the nearer cruelties in the exploitation of child labour. The heroine Oothoon is raped by Bromion and abandoned by her lover, Theotormon. Theotormon’s jealousy binds them, back to back in a cave. Bromion’s violence and Theotomon’s jealousy and oppression cause her woe. She is trying to justify the innocence of love, the joy in the making of love and delight in life, the beautiful in every life. Her long outburst against hypocrisy in marriage and restraint in love in the third section of the poem is for women repressed by men in traditional and Christian society. She wants to be a human, not a servant of man. In A Woman Young and Old the woman speaks first in youth, then in age. This series of poems are companion poems to those of A Man Young and Old. These poetic sequences have an identical structure of eleven poems, ending with a section from Yeats’ translation of the Oedipus cycle. The first poem, “Father and Child” opens with an image of a young woman leaving the conventional world and the judgment of other people for an attractive life and her own opinions. In the sixth poem in the central position, “Chosen” the woman takes for her theme the theme of the poem. The young woman compares the peace and feeling of completeness after lovemaking to the perfect moment when the “Zodiac is changed into a sphere,” the Thirteenth Cycle or Thirteenth Cone in A Vision. It is that cycle which may deliver us from the twelve cycles of time and space. In the last poem, “From the ‘Antigone’” the old woman, now a tragic heroine, narrates her descent “into the loveless dust.” The heroine in A Woman Young and Old tries to find her own voice and life. In the first chapter of Tao Te Ching the nameless Tao is the origin of heaven and earth which grows the myriad things. Thus these two are the same. Upon appearing, they are named differently. Their sameness is the mystery, mystery within mystery. Heaven is the symbol of man; earth is the symbol of woman. Man and woman have the same root, and their union makes the myriad things. In the sixth chapter of the book Lao Tzu praises feminity, called ‘the valley spirit,’ the root of heaven and earth. The valley is used metaphorically as a symbol of ‘emptiness’ or ‘vacancy;’ ‘the spirit of the valley’ is something invisible, yet almost personal, belonging to the Tao. ‘The female mystery’ is the name of chapter 1, or the Tao which is ‘the Mother of all things.’ All living beings have a father and a mother. Lao Tzu’s Tao Te Ching could be translated as The Law (or Canon) of Virtue and its Way. He thought that all straining, all striving is not only vain but counterproductive. One should endeavor to do nothing (wu-wei). It means not to do anything literally, but to discern and follow the natural forces-to flow with events and not to pit oneself against the natural order of things. In this way Taoist philosophy reached out to council rulers and advised them how to govern their domains. Blake and Yeats insist women’s human rights and the union of man and woman can give us the perfect moment in this life. Lao Tzu teaches us feministic Tao and the harmony of man and woman. The three share great wisdom about the order of the nature and can elucidate the way of Feminism.