and defined their beauty, sexuality, and identity for themselves. It was also thought that women could not simultaneously be New Women and good mothers and wives. The final topic frequently represented in the Modern Girl debate was the issue of female sexuality. In contrast to women in the Joseon dynasty who covered their heads and could not go outside without a male chaperone, changes in fashion and ideology led to more exposed female bodies. New Women argued that the new trends were stylish and comfortable, but male intellectuals criticized Modern Girls for being unvirtuous and bringing inappropriate attention to their sexuality. Furthermore, during the Joseon dynasty, men were the pursuers. However, New Women were shown to be proactive and aggressive in their quest for a husband. New Women and Modern Girls were depicted in art in many different ways. Kim Eun-Ho’s The Gaze features a beautiful woman standing in a field of wildflowers under a weeping willow. She holds a bouquet in her hands and wears Western clothing including a short skirt, long jacket, high heels, and shawl around her shoulders. Kim Eun-Ho’s representation of the New Woman using warm, soft colors and sloping lines portrays her in a romantic light, where she is the passive female being caught unexpectedly in a private moment. This strongly contrasts Na Hye-Seok’s representation of herself in Self-Portrait, which conveys her identity as an artist, a New Woman, and an intellectual. Her facial features, clothing, and Cubism-inspired painting style are also distinctly Western, and her expression is mask-like and masculine. The dark colors and solid representation of her body challenge the stereotypical representation of women in Korean art, for instead of being delicate and submissive, she is serious and powerful. Japan In the early 1900s, the Western concept of the New Woman began to circulate in Japan. The term for New Woman, Atarashii Onna, was first formally used in July 1910 during a lecture by Tokyo Imperial University professor Tsubouchi Shoyo. Atarashii Onna was used with derision by critics to denote a woman who was promiscuous, shallow, and unfilial, the opposite of Meiji Japan's ideals of ryōsai kenbo. Despite this members of Seitō, a woman's magazine which became a symbol of Japan's New Women, such as Hiratsuka Raichō and Itō Noe proudly embraced the term. Educated women who functioned as both literary and political figures embodied the concept of Japan's New Women in the