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.

汉字发展有数千年的历史，如此漫长的发展过程中，人们在力图让汉字有效地记录汉语的同时，始终没有忘记对其进行美化加工。本文力图通过对历代汉字资料的分析、比对，并结合文献中的相关论述，从汉字字体典型的确立、社会用字中权威规范以及异写字大量产生等方面，证明先贤对美化的不懈追求对汉字字符形体所产生的影响。 举例来说，我们认为，章草是隶草整理加工的结果，与隶草相比，章草显然对其进行了优化选择，而形体美观是一个重要优选标准。从笔形上来看，皇本《急》的笔形交代得非常清晰、分明。单就波磔而言，我们知道，这是隶草的一个典型的笔形，有时写得非常夸张。但实际上，汉代草书中也有一部分字形是没有波磔笔形的，尤其到了汉末，随着汉代草书向今草的过渡，笔形之间，甚至字与字之间联系的日益紧密，波挑笔形越来越少。但在皇本《急》中，这个笔形不仅存在，而且还有被强化的迹象，如（將）、（必）、（去）、（卜）等字就是如此。所以，这显然都是本着美化的目的经过人为加工的缘故，波磔已经成了权威在对隶草进行整理时一个装饰性的美化符号了。也正是由于这一点，波磔成了章草体的典型特征。

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does “art on the street” refer to “Street Art” such as street performance, happening, graffiti, or wall-painting, or does it refer to “Street Furniture” which is related to “City Design” or “Environmental Design”? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, “the street” is a metaphor of “environment.” Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and “city beautification.” Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliché, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to ‘embellish’ the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.