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논문검색은 역시 페이퍼서치

영미문학페미니즘검색

Feminist Stidies in English Literature


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-9689
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 14권 1호 (2006)
6,400
초록보기
This article shows how the conception of femininity has been appropriated and manipulated in male-dominated constructions of the female consumer and presents alternative models that can subvert such constructions. Women have always played a key role as major consumers, but their role has traditionally been defined as passive and irrational, with women themselves often degraded to the status of commodity. The female consumer must free herself from the male gaze and discover her own subjective gaze in order to become a true subject of consumption-one who embodies her own narcissistic desire for objects/commodities as well as her own feminine pleasure. Furthermore, women consumers must open up the discourse of consumer culture beyond the current limits of Western consumerism to embrace a more global perspective. Their activities as consumers also need to be viewed from a more materialist and eco-feministic perspective. To counter prevailing Western models of consumerism, they must develop new and subversive strategies such as "sustainable consumption" and "consumer liberation" to give birth to genuine consumer-subjects who can be productive agents as consumers.

도리스 레싱의 『어느 생존자의 비망록』: 차이, 변화, 해방의 모색

민경숙 ( Kyung Sook Minn )
6,200
초록보기
This paper focuses on the strategic deployment of fantasy and science fiction in The Memoirs of a Survivor, "an attempt at autobiography," as described by Doris Lessing herself. The fantasy world embodied as "the realm above the wall" serves as the unconscious of Emily, the narrator, and of the author herself, permitting Lessing to accomplish her search for her true self, her femininity, and her place in the mother-daughter relationship. The "real" world of the narrator is an imaginary one situated in the future where a kind of holocaust is in progress. This paper interprets this world as a world of science fiction, deployed by Lessing to critique and alter her own contemporary reality. The fantasy world of the last scene where the main characters meet a goddess, who functions as an image of salvation, has been interpreted as an escapist or utopian vision. This paper, however, interprets it as a space of liberation, because the narrator remains in her real world and writes this work as a survivor. The change and healing undergone by the narrator indicates a "real" world that is also changed.

존 키츠인가 "조니 키츠"인가?: "조니 키츠" 죽이기

신경숙 ( Kyung Sook Shin )
6,800
초록보기
The critical evaluation of John Keats has almost always involved issues of vulgarity, effeminacy, and puerility. Keats has constantly been re-created in the discourse of literary critics who confronted, interpreted, and negotiated the "effeminate" characteristics that they associated with Keats typified in Byron`s telling reference to him as "Johnny" Keats. The male subjectivity that critics assumed of the true poet and the effeminate traits of Keat`s person and poetry seemed mutually incompatible and had to be resolved. I argue that both the favorable and the hostile evaluations of Keats and his works depended on how successfully one accommodated or repudiated his effeminacy. In contemporary evaluations Keats never escaped references to his "mawkishness" and to the "Cockney," a term dissonant with the normative masculinity of the hegemonic class. Even when Keats`s fame was consolidated in Victorian England, the image of Keats as a poet of sensuality and sensation (not of thoughts), of promises (not of accomplishments), and of effeminacy (not of respectable masculine subjectivity) persisted. Critics had to confront the overwhelming presence of "Johnny Keats" either to denigrate or praise him. Whether they praised or denigrated him, critics wanted to kill the figure of "Johnny Keats" because an effeminate poet could not be part of the tradition of English poetry.
6,000
초록보기
This study pursues the material and the historical embedded in the literary fantasy of Angela Carter`s Wise Children. Despite its magic realism and a narrative which does not follow chronological order, Wise Children can be defined as a meta family history in which the imperial politics and patriarchal culture of Great Britain are exposed through the figure of a marginal woman who seeks her place and significance in the present of the twentieth century in relation to the past of her family history. The heroine deploys her farcical and fantastic imagination to narrate the genealogy of three generations from the middle of the nineteenth century to the late twentieth century. This article contends that fantasy can serve as a meta-narrative for a new historical imagination and material reality. In Carter`s novel, fantasy functions as a space for the "historical uncanny," which is at once a postmodern conception of history as well as the crucial gap in sublime History. Despite its subversive potential, however, Angela Carter`s fantasy is always balanced by a sense of reality and tradition. Fantasy evokes laughter and a spirit of festivity that counters stark reality, but despite its potential for altering reality never completely subverts it.

증언의 화자와 청자: 『눈먼 암살자』의 아이리스와 사브리나

이귀우 ( Gui Woo Lee )
6,200
초록보기
The Blind Assassin has received contradictory responses, ranging from praise to strong criticism. The criticism is mostly directed against the long and complicated narrative, further burdened by an unreliable narrator and a profusion of historical detail. This paper focuses on the hitherto unnoticed addressee, Sabrina, and examines the transmission of the narrator Iris`s spiritual awakening to her granddaughter. Critics have raised the question as to who discovers the materials at the close of the novel, where Iris dies at the age of 83 after spending almost a year writing her memoir. There are sufficient clues that it is Sabrina who edits and publishes the materials she has received from her grandmother in the form of The Blind Assassin. The tragic events of Iris`s life, such as the suicides of her father, husband, and daughter, and especially her sister Laura, took place so unexpectedly that Iris was unable to properly comprehend them. The very process of bearing witness to the trauma she has lived through helps her to come to understand the events belatedly. Iris writes the memoir for Sabrina, and it is this sympathetic addressee who comes to share her trauma. Sabrina does not reject Iris`s gift but edits the materials (which incorporates various genres such as memoir, sci-fi romance, magazine and newspaper clippings) in a mode that best suits Iris`s subversive narrative, suggesting that Iris`s feminist awakening has been transmitted to Sabrina.

게이, 여장남자 『아킬레스』, 젠더 수행성

이시연 ( Si Yeon Lee )
6,500
초록보기
John Gay`s Achilles(1733) fruitfully illustrates what Judith Butler terms `gender as performativity.` Textual evidence, and not merely circumstantial speculation regarding the author`s `gayness` or the age-old controversy regarding Achilles` homosexuality, strongly suggests that Gay questions normative gender and sexuality in Achilles. Borrowing from various classical texts that incorporate the Achilles-in-Scyros episode, Gay centers the plot on the `drag` Achilles, re-named Pyrhha and entrusted to King Lycomedes of Scyros by his mother Thetis, who fears his death in battle. Gay entirely subverts the original story by adding the episode of Lycomedes` infatuation with Pyrhha/Achilles alongside the relationship between Pyrhha/Achilles and Deidemia, Lycomedes` daughter. The mere act of putting on "woman`s habit" `genders` Pyrhha/Achilles as female object of male(-gendered) desire, and Pyrhha/Achilles` gender is in turn dependent on the object of her/his desire. The play implies that gender identity is not an a priori trait located within a person but rather an `inscription` on the body, and that sexual normativity, based on ideas of innate gender identity, must also be questioned. Even the celebrated finale undermines, not celebrates, Achilles` recovered manhood by surreptitiously gendering him as a female cat and thereby underscores the essential fictitiousness of gender.

"영성", 에코페미니즘, 「사냥」

태혜숙 ( Hea Sook Tae )
5,800
초록보기
This paper has two aims. The first is to build an ecofeminist position as a politics of resistance against the overwhelming ecological crisis of the present. The second is to demonstrate the theoretical-practical significance of the spirituality-nature-labor continuum through a reading of "The Hunt"(1994) by the Bengali female activist Mahasweta Devi. D. H. Lawrence`s conception of `spirituality` as the realization that all things are interrelated suffers from his obsession with the dark phallic principle, which is chained to a masculinist idealism that ignores everyday subsistence and productive labor. Unlike Lawrence, Vandana Shiva locates her concept of `spirituality` in nature and labor. Shiva interprets spirituality as the feminince principle of life and subsistence and then tries to expand it to all working men and minorities. This paper argues that Shiva`s conceptualization of spirituality must be further specified to focus on the position of women as subjects of nature and labor intersected by race, class, and sexuality. Reading "The Hunt" from this perspective allows us to hear the resistant spiritual voice of a tribal Indian woman who struggles in today`s capitalist patriarchal society, which can serve as a crucial resource for resolving the ecological crisis through counter-globalization.
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