• 인간행동과 음악연구
• /
• 제15권1호
• /
• pp.69-94
• /
• 2018

본 연구는 여성의 심리정서 지원을 목적으로 진행된 국내 음악중재 연구를 여성주의 관점 음악치료의 특성에 따라 분석하기 위해 실시되었으며, 2002년 이후 게재된 논문 34편을 최종 선정하여 연구의 일반적 특성, 중재 특성 및 여성주의 관점 음악치료의 특성에 따라 연구 대상과 중재 내용의 분석을 진행하였다. 분석 결과, 과거 연구 대상자가 정신질환 여성을 중심으로 이루어졌던 것에 반해 최근에는 현시대의 사회 문제를 반영하여 직장여성, 결혼이주여성, 유학생 등으로 그 범위가 다양해진 것을 볼 수 있다. 또한 여성주의 관점 음악치료의 특성에 따른 내용 분석 결과를 살펴보면 연구 대상은 사회 정치적 관점이 반영된 연구가 가장 많았으며 중재 내용은 여성의 내적 역량 강화를 중요하게 다룬 연구가 가장 많았다. 음악중재에서 여성들의 내적 역량 강화를 통해 심리 문제를 해결하고, 이를 바탕으로 하여 사회 변화를 이끌어 내는 것이 중요하다는 결과이다. 추후 국내 여성 대상 음악중재 연구에서는 사회 내 성차별 및 성역할에 대한 탐색과 치료 안팎의 협력을 통해 여성 개인의 변화에서 나아가 사회 변화를 이룰 수 있는 방향을 모색해야 할 것이다. 본 연구는 여성주의 관점 음악중재가 국내 여성 대상 음악중재 임상 및 연구에 적용되어야 하며, 관련 프로그램의 개발이 필요함을 제안하는 데 의의가 있다.

• 대한가정학회지
• /
• 제32권2호
• /
• pp.145-160
• /
• 1994

This paper reviews the feminist approach in family therapy field as a proper intervention for the sexist problems in Korean family. First this paper identifies the sexist problems according to the traditional family ideology structure and value conflicts due to the change of society in Korean family and analyses those problems referred to the actual situation of family counseling and therapy. Second this paper introduces the background for the emergence of the feminist family therapy. The feminist approach in family therapy had been emerged since the woman's psychology and feminist therapy appeared in psychology by the influence of women's movement in late 1960s Third the critiques to the existed family therapy from the viewpoint of feminist family therapy are raised. this approach which is challenging the existed family therapy and criticizing the main theoretical models especially emphasizes gender as a primary factor in the approaches of family problems and includes all the aspects of feminism an awareness of sexism and attempts to counteract the ways in which family therapy may reinforce women's surbodinate position. Fourth the techniques of feminist family therapy and the training methods for feminist family therapists are explained. this approach attempts to develop the clinical skills teaching tools and techniques to incorporate the feminist perspective into family therapy practices and proposes the various education and training methods. Finally this paper reviews interests in the feminist family therapy in Korea an has good prospects of increase of it.

• 인문언어
• /
• 제6권
• /
• pp.359-380
• /
• 2004

Considering Korean feminist theatre is not successful at all these days, it is needed to find the reasons of its crisis. As two Korean feminist theatre Scholars argued, the crisis owed to the structural problem from the start. That is the Korean feminist theatre started and developed depending on the imported popular feminist plays without social and cultural self-consciousness. Once the imported feminist theatres were flourished, some theatre companies pursued the commercial success blurring the feminist issues. It was resulted into the intentional ignorance in and out of the theatre society. While, some feminist plays were too inclined to the agit-prop without artistic sophistication. This essay tries to examine how the feminist theatres have been developing and what kinds of feminist performances have been made until now. And it intends to emphasize that the play text should be based on the Korean women's past, present, and future reality. Besides, they have to delve into the problem by which the Korean women were trapped in historical, social, and cultural environment. To make the women's matter the social issue at present and fur the future, the Korean feminist theatre should re-find its place as the socio-cultural forum. First, Korean theatre should cooperate with the other women's group crossing the different disciplines of the society, the culture, the politics etc . Secondly, we need to observe and watch where and how the distortion happens in women's matter, and react to correct it. Thirdly, we need to discover, to support, and to protect the women centered perspective of some playwrights as well as the performers. Co-writing or co-performing is also very positive to diversify the women's subjects. Lastly, to protect the feminist theatre against the consumerism, they need to have the financial support from the government or some civil society.

• 수완나부미
• /
• 제16권2호
• /
• pp.147-184
• /
• 2024

At the dawn of the 20^th century, Southeast Asian female poets increasingly delved into introspective reflections on gender, giving rise to a heightened self-awareness in their artistic contemplations. This shift in perspective brought forth numerous crucial topics for discussion, such as the historical role of female poets, women's experiences, feminine language, female voices, and female identity. The exploration of language has empowered female poets to discover a "third space" that allows them to exist and eliminate the pervasive gaps of women in Southeast Asia, creating social changes, fostering concepts of feminine culture, and establishing progressive social institutions. Marjorie Evasco (1953-) and Dư Thị Hoàn (1947 - ) are exemplary representatives of contemporary Southeast Asian women's poetry due to their significant artistic contributions and pivotal roles in promoting feminist literature in their respective countries. This study compares their poetic works, focusing on three crucial aspects: self-awareness of femininity and feminism as an identity autonomy, writing between two languages to express their identities, and constructing the image of mother and motherhood from personal and historical perspectives. Hence, the article highlights that Southeast Asian female poets, throughout different historical contexts, persistently forge their identities and strive for equal footing with men in society. Also, their invaluable contributions have significantly enriched the feminist literary tradition in Asia.

• 영어영문학
• /
• 제58권1호
• /
• pp.163-183
• /
• 2012

This paper is one of those attempts to explore some possibility of agreement between feminist discourse and postcolonial discourses through the approach of postcolonial feminism in the reading of the controversial novel, So Far from the Bamboo Grove and Year of Impossible Goodbyes. So Far from the Bamboo Grove, when read from the perspective of postcolonial feminism, reveals 'domestic nationalism' of imperial narratives in which the violence of imperial history in Korea is hidden behind the picture of every day lives of an ordinary Japanese family and Japanese women. Furthermore, postcolonial feminist's perspective interprets Yoko family's nostalgia for their 'home,' Nanam in Korea, as 'imperialist nostalgia' working as a mask to hide the violent history of colonization of Empire. In this way, postcolonial feminist reading of the story detects the ways the narrative of Empire appropriates women, family image and even nostalgia for childhood. At the same time, this perspective explains the readers' empathy for Yoko family's suffering and the concerning women issues caused by wartime rape and sexual violence by defining Yoko as a woman of Japanese Empire, whose life of interstice between imperial men and colonial men cannot be free from violence of rape during anti colonial wars. Year of Impossible Goodbyes as a counter discourse does not overcome the traditional binary opposition of nationalism which quietens gender and class issues. As an attempt to fill in the interstice between the two perspectives of feminism and postcolonialism. postcolonial feminist reading turns out to be a valid tool for the reading of the two novels chosen here.

• 가정과삶의질연구
• /
• 제11권2호
• /
• pp.147-155
• /
• 1993

This study attemps to rethink assumption that the family can be 'a heaven' to everyone in a harsh world through theoretical review Functionalists insist that people feel emotional secure through family life. However this pers-pective sees only the one side of the family experience ignoring the other side of its tension and conflicts in the family. From marxist perspective the family experiences may not be the same among different social classes due to their economic inequality, It might be that middle class family is more likely to experiences emotional secure than any other social class. Feminists have challenged prevalent assumptions about the family. They see that women are oppressed by the family. These results mean that marxist and feminist perspectives compensate for the limitation of functionalism. I'd like to propose that marxist and feminist perspectives can be used framewrok for the family study.

• 한국의상디자인학회지
• /
• 제20권4호
• /
• pp.17-30
• /
• 2018

This study discusses the ambivalence and ambiguity in the relationship between the women's body and fashion drawings in respect to post-feminism perspectives. Deconstructivist post-feminists, perceiving the body as a passive subject, asserted that women internalize the male gaze by becoming the object of male desire, then manipulate the body to conform to that ideal. In this perspective, corsets assumed the role of the tool for forcing women's body to be obedient, restraining and suppressing the body. On the other hand, in the essentialist post-feminist perspective, which regards the women's body as an active object, insists that fashion, in its essence, is not necessarily about sex, nor is it devised to attract the male gaze. In such a viewpoint, the women's body functions as a vehicle for empowerment; by wearing corset women gain power and embraces the cultural norms of dominant beauty. As investigated in this study, the corset is both a tool for oppressing the women's body, as well as a vehicle for the voluntary expression of femininity. This ambivalence in the perception of the corset in the post-feminist theory represents the double-sided perspective in fashion as being both a subordinate construction and a powerful tool for self-expression.

• 여성학논집
• /
• 제28권1호
• /
• pp.79-120
• /
• 2011

본 연구는 그동안 '공식적' 역사 속에서 부재, 혹은 침묵되어 왔던 '양공주'의 경험을 자기재현의 서사로 재구성하면서, 재현과 사회적 편견, '듣는 자'와 '말하는 자' 사이의 긴장을 드러내고 '타자 만나기'라는 인식론적 질문을 던짐으로써, 여성주의 구술생애사의 방법론적 함의를 찾고자 한다. 기지촌 여성노인의 내러티브는 필연/우연, 강제/자발, 매춘/사랑, 양갈보/색시의 경계에 서 있는 여성이 어떻게 '정상적 한국 여성', '한민족', '정상 가족'에 관한 신화들과 충돌하고 협상하며 비/순응적으로 살아왔는지를 보여준다. 무엇보다 새로운 자기정체화 가능성을 보여주는 구술과정의 만남은 '양공주'가 누구인가에 관한 질문을, 침묵과 드러냄을 강요하는 '듣는' '우리(나)는 누구인가'의 문제로 되돌린다는 점에서 의미가 있다. 결론적으로, '타자'에 대해 연구하는 '우리'는 '서발턴이 말할 수 있는가'라는 질문에 선행해서 '우리는 과연 들을 수 있는가, 무엇을 진정으로 듣고 싶은가'에 대한 문제의식으로부터 출발해야 할 것이다.

• 비교문화연구
• /
• 제25권
• /
• pp.363-389
• /
• 2011

Modern Chinese Literature, the so-called 'feminist' is a very modern and the traditional criticism and took an important position in the double action. Because a woman's freedom from the bondage of traditional ethics of restoring the social status equal to men but to women does not give, that compared to men and women just the dimension of the problem of isolation is not just. It is dominated by yugajeok worldview by streamlining the whole Chinese society to build a modern society and the country was a critical task. However, multi-cultural life of Lin, Hui-yin and Ling, Shu-hua in the history of the world's attention to the shrine was worried attention to soils, rather than East-West dualism law by taking a mixture of both women in modern Chinese literature and Western literature from the center of efforts to overcome the traditional point hayeotdaneun feminist literature that may be different. Lin, Hui-yin and Ling, Shu-hua to overcome the Western-oriented culture really the true dream of China's globalization and localization could be regarded. She naesewotdeon the banner of feminist literature in the traditional 'anti feudal', 'free personality' silcheondoen under such slogans as well as women's liberation from traditional, male-oriented perspective away from the women's unique experiences and new understanding of the value of the superiority the concept of a woman, and was to create. In particular, the femininity of these women who traditionally associated with women and the unique culture - the creation of a new consciousness, a re-evaluation of traditional feminine skills and talents was to try to.

• 인문언어
• /
• 제6권
• /
• pp.33-48
• /
• 2004

Luce Irigaray, a French feminist psychoanalyst, criticizes the Lacanian psychoanalytic theory for its patriarchical basis on the masculine power and authority. In the article, we examine Lacanian psychoanalytic sexual differences at the standpoint of Irigaray's psychoanalytic theory. In contrast, we defend Lacanian theory from the perspective of semiotics.