an "educated, unmarried woman and supporting herself with an independent career". Xi was viewed as a New Woman who through her job, was able to obtain economic independence but through her actions of suicide, demonstrated a very long tradition in Chinese history of female suicide for the sake of virtue. Germany After women gained the right to vote and be elected in the wake of World War I in Germany, the Neue Frau became a trope in German popular culture, representing new discourses about sexuality, reproduction and urban mass society. This German New Woman was portrayed by authors such as Elsa Herrmann (So ist die neue Frau, 1929) and Irmgard Keun (Das kunstseidene Mädchen, 1932, translated as The Artificial Silk Girl, 1933). These urbane, sexually liberated working women wore androgynous clothes, cut their hair short, and were widely seen as apolitical. The New Women in Germany was closely connected to the lesbian subculture in Weimar Republic. Korea In Korea in the 1920s, the New Woman's Movement arose among educated Korean women who protested the Confucian patriarchal tradition. During a period of Japanese imperialism, Christianity was seen as an impetus for Korean nationalism and had been involved in events such as the March 1st Movement of 1919 for independence. Hence, in contrast to many Western contexts, Christianity informed the ideals of Western feminism and women's education, especially through the Ewha Womans University. The New Woman's Movement is often seen to be connected with the Korean magazine New Women (), founded in 1920 by Kim Iryŏp, which included other key figures such as Na Hye-sŏk. Originally, the term ‘New Woman’ was associated with education, enlightenment, and social consciousness, while the term ‘Modern Girl’ carried connotations of frivolity and excess. While these terms continue to carry some of these original meanings, they eventually came to be used interchangeably. New Women included female students and workers, and as women started working, they formed a new urban working class, endowing them with economic power, the ability to participate in modern consumerism, independence from their families, and the opportunity to engage in more social contact with men. While these changes led to greater female freedom, Modern Girls and New Women drew severe criticism from male intellectuals who argued that these modern women were consumed with Western capitalism, were consumer-oriented and hypersensitive to trends and fads, morally depraved, and sexually promiscuous. However, more moderate authors like Yu