지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
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In this study, I analyzed how the make-up of female gender rules in modern Japan is metaphorized and allerized through the works of female writers. Among them, Toshiko and her works, which created their own writing style in a male-centered literary context, were used as specific texts. In addition, the status of female writers born in modern times and the subject of gender norms were identified.
『Akirame』 is frequently described mainly through Tsumako, a full-time housewife, and Kie, an apprentice geisha. Their desire for beauty is more focused on being aware of the other person (male) who evaluates their beauty rather than self-satisfaction. They are shaped as traditional and passive female figures. On the other hand, Atarashiionna (Tomie, Miwa, etc.), who received modern education and entered public society, emphasized their ability and beauty, so they emerged as independent female figures.
On the other hand, the make-up of OnnaSakusha was something modern ‘female writers’ did like a military commander. In a male-centered culture, the femininity of makeup was accepted as a survival strategy. As such, ‘makeup’ in Toshiko’s literature was recognized as one of the female rules in the modern patriarchal social culture. Toshiko rejected the ‘zoryu’ defined by men. And she referred to herself as a ‘onnnasakusya.’ She transformed the ‘femininity’ defined by men into ‘self-ness.’ In other words, she accepted the femininity represented by makeup as a strategic survival technique in a male-centered culture.
It was also expressed as an allegorical device for the traditional female image. It also functions as a social persona to embellish femininity and survive as one’s own gender.
『Akirame』 is frequently described mainly through Tsumako, a full-time housewife, and Kie, an apprentice geisha. Their desire for beauty is more focused on being aware of the other person (male) who evaluates their beauty rather than self-satisfaction. They are shaped as traditional and passive female figures. On the other hand, Atarashiionna (Tomie, Miwa, etc.), who received modern education and entered public society, emphasized their ability and beauty, so they emerged as independent female figures.
On the other hand, the make-up of OnnaSakusha was something modern ‘female writers’ did like a military commander. In a male-centered culture, the femininity of makeup was accepted as a survival strategy. As such, ‘makeup’ in Toshiko’s literature was recognized as one of the female rules in the modern patriarchal social culture. Toshiko rejected the ‘zoryu’ defined by men. And she referred to herself as a ‘onnnasakusya.’ She transformed the ‘femininity’ defined by men into ‘self-ness.’ In other words, she accepted the femininity represented by makeup as a strategic survival technique in a male-centered culture.
It was also expressed as an allegorical device for the traditional female image. It also functions as a social persona to embellish femininity and survive as one’s own gender.
목차
Ⅰ. 들어가는 말
Ⅱ. 선행연구 검토
Ⅲ. 『단념』을 중심으로
Ⅳ. 『여작자』를 중심으로
Ⅴ. 나오는 말
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