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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 : 15권 2호 (2007)

Articles : Polygamy in Papua New Guinea: A View from Fiction

( Daniela Cavallaro )
7,100
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In this article, after looking at the custom of polygamy in Papua New Guinea, at its origins, and the reason for its continued existence, I consider the representation of polygamy and its associated violence in several works of fiction: a short story in Tok Pisin and two educational novels and a short story in English. The authors of these works (two PNG men, a PNG woman, and an American woman who grew up in the country with her missionary family) give their readers a portrait of the way polygamy has been practiced both in a pre-Christian and in a contemporary context. They often underline the violence inherent in a relationship in which women have to compete to keep their position in the marriage (and so their status in society) as wife-or the favorite wife-of a big man. Finally, I show how the representation of violence against and among women in these works serves different purposes: while some authors aim to move the readers to compassion toward the victims and denounce polygamy as the cause, others seem more oriented toward discouraging women from becoming involved with polygamous men in the first place, rather than identifying polygamous men as the cause of the violence.
6,700
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In this paper, I read Love as a double female Bildungsroman and argue that, as in Morrison`s second novel Sula, Love is primarily a story about interrupted love between girls. This reading focuses on the narratives of (anti-)Bildung of the two female characters, Christine Cosey and Heed the Night Johnson Cosey, in relation to the emotional conflicts that are associated with love. As readers, we are invited to work with the author to ferry out the why and how of this interruption and to witness the power of love when the two characters are reunited.
6,200
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Sylvia Plath wrote "Bitter Strawberries" and "Three Women" at different stages of her life and career, and the form and style of these poems are quite distinct; however, both poems deal with the tension between women`s gendered space and Cold War society. As the disruption of the boundaries between the foreign and the domestic spheres permitted the intrusion of the repercussions of war on foreign soil into U.S. domestic politics, Cold War containment policy and culture served as a force to redefine and reconstitute the meaning of women`s space. Nevertheless, women`s voices responding to these socio-political environments could not cross the boundaries but remained "contained" in their space. Yet, Plath does not simply politicize or publicize women`s rebellious or challenging positions in confronting the national myth and male-oriented Cold War culture. Instead, the reader will find that the women characters` various stances and struggles, as well as the women themselves, are the main focus in the poems. I argue that these women characters` silenced voices, including even seemingly capitulating ones, should be interpreted as a meaningful allusion to their unarticulated wish for social change that was eventually concretized in the late 1960s. In these early and mature poems, therefore, Plath invites us to pay more attention to the contemporary cultural and socio-political surroundings that crucially shaped women`s conditions and identity.

Articles : Killing the "Phantom in the House" in Mrs. Dalloway

( Hye Jin Kim )
6,600
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In her novel Mrs. Dalloway, Virginia Woolf attacks the oppressive, dominant image of the "Angel in the House" by creating an awakening moment of "new significance" for her heroine, Clarissa Dalloway. Clarissa`s marriage and social life of oppression and abjection comes to a sudden halt when she encounters the meaningful and visionary suicide of a young war veteran, Septimus Warren Smith. Both Septimus and Clarissa are objects of patriarchy`s repression as a monster or an "Angel in the House," respectively, and Clarissa embraces Septimus`s suicide as a visionary plunge that breaks through the oppressive power that imprisons his soul within patriarchy`s social constructs. Through this, she experiences a rebirth of her own soul, which releases Gothic terror and ecstasy in the union of the living and the dead. In this spiritual encounter, Woolf conjures up Gothic sensation to challenge the dominant discourse of the patriarchal status quo by suggesting the possible transgression of the boundaries between the oppressive center and the peripheral others. In this way, she deconstructs the domestic angel and frees herself from its ghostly presence that interferes with her creativity.
6,100
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Malaysian Muslim women`s writing in English is a new literary phenomenon, and hence, there is not much critical literature. This paper examines some samples of writings in English by Malaysian Muslim women. It begins by providing the background of English language and literature in Malaysia in an attempt to address the complexities of writing in English in Malaysia. The paper also raises issues of importance to Malaysian Muslim women writers by focusing on the struggles and conflicts that they encounter, writing as Muslim women. This is because of cultural tensions faced as a result of urbanization and modernization, which bring in new values, very often based on Western mores. The paper examines how identities are fragmented as these women address taboo subjects like sex, sexuality, and illegal abortions. Their writings express the tension between succumbing to the dictates of society and the need to expose reality as it is. Muslim women writers are also at pains to voice their Muslim identity in a world so misinformed on matters relating to Islam and Muslim women. Muslims are expected to be virtuous by their religion, and where the women are concerned, the expectations are often higher than for men as interpretations of "good" behavior are often focused on women. This unbalanced representation of Muslim women, be it by Muslims themselves or Western media, has elicited gross misrepresentations of women in Islam or Muslim women in general. This paper documents the voices of Malaysian Muslim women writers in their attempts to represent themselves and their world but not without conflicts and predicaments. The paper focuses on the women`s ``fragmented selves`` as they struggle to define and redefine what it is like to have multiple roles as Muslim women.

Articles : Contracts, Coverture, and Women`s Property in Our Mutual Friend

( Hyung Ji Park )
6,400
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What kind of contract is a marriage contract? Under nineteenth-century common law and the principle of "coverture," a woman would, upon marriage, lose her rights to property ownership, to write a will of her own, or to sign contracts. Husband and wife were one under the law, and represented in the male person. Meanwhile, the marriage contract, as a "contract" whose terms could not be stipulated by the contracting parties, and one whose female signatory would consequently lose legal recognition of her signature, was a curious legal document. Charles Dickens`s 1865 novel, Our Mutual Friend, published amidst a public debate over women`s suffrage and married women`s property rights, is a particularly sober meditation on the institution of marriage and its imbrications within the legal and textual spheres. While the plot of the novel is structured around the controlling hand of a dead man`s will, Dickens ultimately deconstructs and delegitimizes "text" by depicting signatures as misleading, education as stifling, and by having the living legatees disregard the "will." The novel`s central romantic pairings, too, are oddly de-textualized, so much so that Bella Wilfer`s and Lizzie Hexam`s marriage contracts are legally problematic.
6,600
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Recent debates in transnational feminism, have examined the different aspects of power and privilege that are interconnected in the issue of sexual labor. Linking sex worker to the New Economy, as some critics do, offers a more stratified look at the women who are "working" in the global sex industry. This shift in emphasis also diverts the interest of investigation away from the women who participate in the global sex industry and focuses on the social and economic circumstances (including global capitalism and militarism) that frame the sex market. Set in a military town in the aftermath of the Korean War, Nora Okja Keller`s novel Fox Girl depicts prostitution from different angles, ranging from forced sexual labor and the anticipated marriage proposal by American GIs that Korean women wish for on the one hand to the claim to power and agency articulated through the subversive use of sexuality on the other. Keller does not depict the women solely as victims of sexual exploitation but as agents within the global interconnectedness of gender and economy. Fox Girl links transnational sexual labor and discourses of American exceptionalism, thereby raising issues about the validity of the American Dream in the US and abroad.
6,800
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Over the last few years, with the publication of books and articles on third wave and post feminisms, there has been on-going debate about how to understand and write the history of feminism since 1968. This essay is concerned with this history and its implications for feminist cultural politics, and literary and cultural analysis. It looks at the cultural politics and analysis that emerged in second wave feminism, outlines the critiques of universalism and ethnocentrism raised by Black and ``Third World`` feminist critics and looks at the moves to develop forms of postcolonial feminist critical practice. The essay outlines how, from the mid 1970s onwards, feminist literary and cultural critics began to engage with new theoretical and critical modes, which offered different ways of conceptualising and analysing patriarchy that complexified understandings of female difference and women`s experience. It traces the emergence of forms of ``third wave`` feminism variously concerned with generational difference and with appropriating poststructuralist and queer theories in productive ways. It looks at the relationship between ``third wave`` and ``postfeminism.`` The essay concludes by re-emphasising the importance of understanding the complexity of feminism since the 1960s, of not seeing one wave as finished and over, but as leaving its traces and shaping the present in different ways in different locations. It argues that it is often more productive to look at how specific issues have been understood in different ways over the past four decades, and that ways forward require knowledge of and respect for different positions combined with supportive on-going debate.
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