Despite the importance of the EPS-TOPIK(Employment Permit System-Test of Proficiency in Korean) exam for those who aim to work in Korea under the EPS system, not enough studies have been done on the subject of EPS-TOPIK exam and the official Textbook. In addition, studies on representation of nationality and skin color in textbooks are rare compared to such studies on gender representation. This study investigates the Textbook which hasn't been researched enough, on the matter of representation not only based on gender but also on nationality and skin color. This study analyzes the Textbook quantitatively with the focus on the 20 main characters and qualitatively on the illustrations and texts, and suggests that the Textbook should properly represent its users who intend to work in Korea under the EPS system. Stereotypes based on nationality, preference of so-called ‘Korean’ skin tone and gender inequality should be rejected. The chapter on sexual harrassment in workplace should be revised to go against victim-shaming and to contain helpful contents for sexual harrassment survivors.

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.