• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.222-229
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• 2010

I study how the deviation of strong women clashes with patriarchism and the clash is represented in the films. Women of Spirit's in 1960's narrative deals with the generational conflicts and the older's defeat, and that reflects the changes of the times. The narrative of Horse-year Bride in 1960's deals with changes of housewives' status, deviation and return of the strong-willed women, and becoming 'a wise mother and good wife'. The Daughter-in-Law Born in the Year of Horse in 1970's has two meanings - rejecting the active women and reinforcing patriarchism. The narratives of these films mean the obedience to patriarchism and the punishment women for their activity. But, these films also show the pleasure of resistance by revealing the gap and the contradiction of patriarchism.

• (The) Research of the performance art and culture
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• no.20
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• pp.129-161
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• 2010

Women's social status is marginal in the patriarchal system, therefore it is not easy to express their's desire. Women's social role are restricted by the Confucian culture in the late of Chosun Dinasty. But women freely expressed their's gamseong(感性) by singing the folk songs. Many researches have focused on the reality of life or the structure and meanings of the women's folk songs. On the contrary, no one has paid attention to the gamseong in the women's folk songs. This is the reason why this thesis focused on the aspects of gamseong in the women's folk songs. The aspect of gamseong expression in women's folk songs can be classfied as follow: HAN(恨) resulting from living with one's husband's parents (Si-jip-sa-ri); LONGING caused by parting with the lover; HOPE due to childbirth and bringing up; SHIN-MYOUNG(神明) through deviation and liberation. In conclusion, We can find out women's gamseong would be formed from the their own roles and relationship with the others. Besides they could offset their sorrow and cure their pain through loving others and selfloving.