현대복식에 나타난 여성성, 페미니즘, 포스트모던 페미니즘에 관한 연

목차

1.서론

2.복식에 표현된 여성성

3. 전통적 여성성과 패션

4. 페미니즘 여성성과 패션

5. 포스트 모던 페미니즘과 패션

6.종합적논의 및 결론

본문내용

n adopted tailored jackets and pants in imitation of men’s fashion, to visibly show that they too possessed the qualities befitting the status they had won for themselves in competition with men. In Korea, also, many of the young women workers whose numbers grew following industrialization, began spending a substantial amount of their disposable income on clothes, and as efforts to raise the level of female workers’and university students’social consciousness were made, traditional perceptions about gender difference changed. Accordingly unisex blue jeans became the prevailing fashion of the period.
After the 1980s, post-modern feminism emerged, as feminism became closely allied with post-modernism with which it shared a theoretical basis, resistance against modernism as logocentric debate and established power structures and concern for marginalized groups including women. Post-modern feminists divided into essentialists who emphasized femininity, and deconstructionists who deconstruct femininity itself, prososing androgyny as an alternative to traditional notions of femininity. The expression with which the essentialists sympathized, re-introduced the sensuality of traditional femininity in fashion, while the style of fashion that represents the deconstructionists view was distinguished by the dual-use of masculine and feminine codes and an androgynous quality that excluded all sexual codes. Following the spread of the concept of global village and the development of the electronic media, Korea is, like the West, seeing the rise of a post-modern phenomenon in which a variety of different modes of fashion are allowed to co-exist.
In conclusion, the notions of femininity that are expressed in fashion differ according to the cultural milieu and consensus of each age. This research into the phenomenon of fashion, linked to the study of feminism, presents an understanding of the immense, global history of power relations embodied in fashion, as well as the potential for women to actively counter-appropriate fashion’s signifiers to escape from repressive relations. Further, with the aim of enabling people to recognize the fashion’s positive aspects once more, this paper provides insight, based upon the positive recognition of women, into an art that allows them to discover pleasure again in their appearance without loss to their individual identity.
*key words : dress, fashion, feminism, femininity, gender, sexuality
감사의 글
부족한 저를 늘 자애로 이끌어 주시고 학문의 길로 들어서게 도와주신 임원자 교수님, 논문의 세세한 부분에 이르기까지 열성적인 지도와 자상한 충고를 아끼지 않으신 지도교수 김민자 선생님, 전체적인 틀과 논리적 시야에 대해 항상 주의를 환기시켜 주신 심사위원장 이은영 교수님, 수년에 걸쳐 변함없는 조언과 따뜻한 격려를 보내주신 정흥숙 교수님, 부드러우면서 예리한 지적들로 논문이 올바른 방향으로 가는지 확인해 주신 박명희 교수님...., 그리고 2000년을 맞는 오늘까지 긴 세월동안 언제나 격려의 눈길만으로 보아주신 의류학과 모든 교수님들...., 진심으로 사의를 표합니다.
기도와 정성으로 그동안 애쓰는 제모습을 안타깝게 지켜보아 주신 두 어머님, 정말 고맙습니다.
작업대로 변한 식탁에도 불평 않고 아내의 역할, 엄마의 역할을 제대로 못하면서 힘겨워 하는 나를 한 여자로 보다는 한 인간으로 신뢰하고 각자 자기의 자리에서 말없이 든든하게 도와준 남편 오성환님, 아들 오세원군, 마음 깊은 곳으로부터의 사랑과 감사를 보냅니다.
2000년 2월
최 현 숙

키워드

현대복식,   여성,   페미니즘,   포스트모던,   복식에 표현된 여성성,   전통적 여성성과 패션