현대 중국 新女性 형상의 변천
Transformations in Cultural Consumption of the New Woman Images in Modern China
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Abstract
The discourses of the new woman (xin nüxing) in modern China articulate the deep-seated problematics that underlie social perceptions of (educated) modern women. This essay examines the changing social images of the new woman and the different ways in which they were produced and consumed, according to socio-historical changes and to the medium used, such as the printed media and film in modern China. Approaching the New Woman as a significant cultural phenomenon of global modernity, it also compares the new woman images from other parts of the world such as England, Germany, Japan, the US and Korea. If the sustaining representative image of the New Woman throughout the Republican period was the woman writer, this essay also deals with its implicit and explicit associations with other images suchas the college student, the teacher, the actress and the prostitute. This essay is also based on my illumination of the conceptual relationship between xin nüxing and xin qingnian. While xin qingnian were the direct producers of discourses in the sphere of ideology and culture, xin nüxing were under the intensive control of these intellectual discourses. The primary marker of a xin nüxing was her lifestyle or, more often than not, simply her fashion and hairstyle. This implies that public interest in the new women was directed towards their private lives and bodies. This conceptual history of xin nüxing implies that educated modern women were the privileged object of the commercial gaze and the mass media, which is also vividly demonstrated in the recent media fever for the Shin Jung-Ah incident in Korea. Finally, this essay points out the relationship between the new woman’s image in contemporary China with the Neo Liberalist ideology.
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