제국의 ‘부인’ 담론과 식민지 ‘여성’ 담론의 정체성 - <고단샤>의 『부인구락부』와 <개벽사>의 『부인』,『신여성』을 중심으로 -

초록

This paper analyzes the differences in media strategies and the identity of women’s discourse by examining the interrelationship between Fujin Kurabu (婦人倶楽部) published by Kodansha in Japan and Fuin (婦人) and Sin Yeo-seong (新女性) published by Gaebyeoksa in colonial Korea. Fujin Kurabu (1920) presented the image of the “ideal Japanese mother,” embodying loyalty, filial piety, and the virtues of a wise and good wife, and organized its content around tales and novels to pursue both didactic enlightenment and commercial appeal. In particular, the magazine regularly featured Nakajima Tokuzō’s essays on moral cultivation and personal counseling, thereby constructing a model of the “Japanese mother figure.” Furthermore, through serialized novels by Tsurumi Yūsuke, it reinforced maternal norms that were later combined with nationalism and developed into the discourse of the “nationalization of motherhood.” By contrast, Gaebyeoksa’s Fuin (1922) appropriated the title and the consultation section format of the Japanese magazine, focusing on educating women in their roles as wives, daughters-in-law, and mothers within the family. Yet, unlike Japan’s nationalistic orientation, it emphasized a family-centered form of enlightenment. However, due to resistance from female readers, the magazine was renamed Sin Yeo-seong (1923), which actively published discourses on women’s liberation, emphasizing self- awareness, education, economic independence, and social reform. Yet after its 1931 revival, Sinyeoseong largely turned toward critical discourses targeting the “Modern Girl.” In sum, while Japan’s Fujin Kurabu transformed women’s domestic devotion into nationalistic loyalty through “maternal” discourse, Korea’s Buin inherited patriarchal discourse, and Sinyeoseong initially sought women’s subjectivity and social emancipation within the colonial context, only to shift after its revival toward criticizing women oriented toward modernity. Thus, each of these women’s magazines revealed distinctly different discursive identities.

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