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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 : 16권 1호 (2008)

우리 시대 페미니즘의 곤경과 페미니즘 페다고지의 비전

이영옥 ( Young Ok Kim )
6,200
초록보기
This study focuses on the discourse of the crisis of feminism and feminist pedagogy. It asks what should he on the agenda of contemporary feminism, so that proper strategies and visions of feminist pedagogy can be invented. Based on the awareness of positioned and situated knowledges, feminism goes against mainstream schemes of thinking and evaluating on the one hand, and makes efforts to transform the experiences of women into knowledge on the other, If feminism and feminist pedagogy have recently fallen into crisis, it can he a good opportunity for feminists to re-think the goals and methods of feminism and feminist pedagogy. The classroom is a battlefield of diverse ideologies and experiences, and a place not only for transmission hut also production of knowledge. From this perspective, feminist pedagogy should allow for diverse voices and not he afraid of being partial. What students need in a society of greater risk and competition is nut a compromised feminist theory, which adapts itself to the so-called post-feminist era, hut a sharpened. and more elaborated feminist theory.

펠프스의 『명목상의 동업자』: 계급을 넘어선 여성 유대의 가능성

손정희 ( Jeong Hee Sohn )
6,200
초록보기
This paper examines the possibility of female bonding between two women of different classes in Elizabeth Stuart Phelps`s The Silent Partner. Perley Kelso is a ``leisure class`` woman ensconced in the private sphere, who changes into an active reformer in the public sphere. Her change is fueled by two incidents: the inheritance of a mill partnership upon bet father`s sudden death and an encounter with Sip Garth, a mill girl. Faced with the conditions banning women from taking part in factory management, Kelso decides to adopt an active role in managing the mill. She is also motivated to reform the excruciating factory conditions of the laborers. Meanwhile, Garth, who has been saturated with the idea that she cannot overcome her conditions as a mill girl, decides to embark upon the useful life of a street preacher who spreads soothing words to the laboring classes. The novel espouses a complete reversal of the traditional ending usually reserved for women. Kelso rejects two marriage proposals to continue her work, and Garth too refuses to enter into marriage to avoid bequeathing her status of mill laborer to her children. The relationship of Kelso and Garth reflects the discourse of female bonding that is an important aspect of women`s life in nineteenth century America. However, as members of different classes, their bonding develops into a respect for each other`s work based on a wary acknowledgment of their differences.

여성 시인과 여성 뮤즈: H.D.의 『삼부작』을 중심으로

연점숙 ( Jeom Suk Yeon )
6,200
초록보기
H.D. (Hilda Doolittle) is a unique poet whose life, for the better part of seventy-five years, was multifariously associated with a group of artistic and intellectual luminaries of the early 20th century: Ezra Pound, Richard Aldington, D.H. Lawrence, Cecil Gray, Sigmund Freud, and many others. As protegee, lover, muse, wife, analysand, and disciple of these strong male personalities, her life as a writer was a continuous struggle to find within this male context her own female muse who would lead to her own voice and vision. H. D.`s Trilogy―The Walls Do Not Fall (1942), Tribute to the Angels (1944) and The Flowering of the Rod (1944)―written during the war years of the London Blitz, describes a spiritual quest for rebirth amidst the destruction of war. Writing this epic was also the shifting stage upon which she tried to shed the once-useful but finally limiting description of "imagist" given her by Pound as her poet designator. In Trilogy, the female poet-speaker searches for the presence of her muse in Isis, the Virgin Mary, and Mary Magdalene. Through the linguistic alchemy of her poetry, she revises these traditional figures into transformed ones manifesting female openness and flexibility. Her quest for the female muse, in the end, is a metaphor and a literal source of female creativity.
6,000
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War is the quintessential experience of international military conflict, and twentieth-century U.S. wars not only dispatch American soldiers through the route of U.S. expansionism but also reinscribe the notion of heteronormative domesticity. This essay addresses the complicated intersections of war, domesticity, and gender roles in two Vietnam War novels by comparing them with William Saroyan`s The Human Comedy. The latter exemplifies how the masculine drama of World War II involves the absence and presence of women and home: a faraway home, a women`s sphere protected by men, is a space of longing which can heal the soldiers` traumatized souls. Invoking their own era`s fierce women`s liberation movement, however, Tim O`brien`s and Erica Jong`s works on the Vietnam War demonstrate a more subversive and ambivalent rendering of women`s gender role during wartime. On the one hand, "Sweetheart of the Song Tra Bong" depicts a drastic transformation of an All-American girl who moves away from home into the war zone; on the other, Fear of Flying presents an intricate narrative of a female voice, problematizing the gendered logic of war and marriage, and of the public and the private. In short, both narratives offer a critique of traditional Cold War ideology, manifested within the realm of domesticity in the lives of dependents of U.S. servicemen.

스위프트의 "배설적 상상"에 나타난 여성, 몸, 소비

이시연 ( Si Yeon Lee )
6,500
초록보기
Jonathan Swift`s "excremental vision," the hallmark of his critique of the metropolitan chain of consumption and its excrements, is materialized through and onto the body of the low Other: women, in particular London prostitutes, and the urban poor. Swift at once repeats and repeals contemporary misogynist and anti-capitalist discourse on consumer economy, which typically posits the female body as the agent of consumption of goods, food, and sexuality and thereby places it in a metonymic relation to its wastes. He pushes this metonymy to the extreme in "A Beautiful Young Nymph Going to Bed" and "The Progress of Beauty," where the body of a diseased London prostitute is seen literally being transmuted into excrement. However, this is less to inveigh against (over-)consuming females, than to lay bare the greater chain of consumption in which the diseased and poor are being "consumed," rather than consuming. The London prostitute`s body is the "historicized" body of the low Other, situated in parallel with those of the Irish poor in Swift`s Irish pamphlets and A Modest Proposal. By literalizing the metropolitan chain of consumption, Swift accuses the English body politic of preying on female, diseased and poor bodies and reducing them to its excrements.
6,700
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Brian Friel`s Molly Sweeney is a play about the psychological wounds inflicted upon Molly Sweeney by her father, husband, and doctor. This article begins by examining how the three men exert their powers of knowledge and education negatively on Molly Sweeney`s mind, and how they gradually transform the blind, but peaceful Molly into a mentally disturbed woman. I then argue that Molly in the mental hospital discovers her own feminine art and ethics by creating an imaginative world in which she can not only be herself but also welcome the Other or the wounded as they are. I maintain that Molly is not a neurotic woman but an artist of withdrawal and resignation, who can appreciate both her world of fantasy and her ability to speak to the sorrowful Other as valid ways of living. Through her simple fantasy life in the narrow confines of the hospital, Molly, like Emily Dickinson confined in her room, can throw into relief the three men`s reasonable, worthy, ingenious, but ultimately selfish pursuits. Emmanuel Levinas` ethical philosophy is employed to illuminate and explore the men`s influence upon Molly and her rebirth as an ethical woman artist. This article also draws upon Friel`s other plays and Dickinson`s poems to navigate Molly`s mental biography and her commitment to artistic concerns in a broader context.

"중간지대"에서의 마리나 카의 탈주적 글쓰기-더 마이

정문영 ( Moon Young Chung )
6,200
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Marina Carr, one of the foremost contemporary Irish woman playwrights, came to create her own distinctive dramatic world with her second phase of writing known as the midlands plays. The Mai (1994), the first play of the trilogy of "the midlands plays," marks a complete change from her first plays of playful satirical feminism strongly influenced by Beckettian absurd theatre. Carr`s midlands are created through a re-appropriation of patriarchal tragedy. The Mai is Carr`s subversive retelling of Electra. Her recasting of Greek tragedy in terms of contemporary Ireland marks her strategy to appropriate traditional tragedy for her own writing as a challenge and alternative to the male-dominated dramatic world of Irish playwriting. The midlands of her dramatic world can be understood in terms of Deleuze`s theorization of the middle (milieu) where becomings or writing for lines of flight, are taking place. This essay reads The Mai as Carr`s attempt to write for lines of flight for a new Irish theatre through re-writing traditional tragedy, by becoming-woman [playwright] in her own created dramatic world of the midlands.

페미니스트 페다고지의 정치, 윤리, 미학

최성희 ( Sung Hee Choi )
6,200
초록보기
The purpose of this paper is to share and to analyze problems and issues discussed by major scholars of feminist pedagogy. I review their criticism of traditional approaches (including critical pedagogy) that over-emphasize reason/theory while neglecting (women`s) emotion/experience. Martindale``s critique of so-called "nurturing" pedagogy, Middleton`s "life history pedagogy," Jung`s "conflict pedagogy," and Orner and Ellsworth`s criticism of moral superiority of paternalistic critical pedagogy all reject superficial compromise and harmony and call for more active confrontations with ambiguities and conflicts that are embedded in women`s experience and desire. Lastly, drawing upon recent works that endeavor to recuperate the power of ``eros`` in the classroom as a transgressing, expanding, and combining life force, I argue for an ``erotic feminist pedagogy`` and its aesthetical power that could counter the logocentric which ironically dominates even the most anti-phallogocentric discourses such as feminism. Rather than insisting that we abandon all prescriptions for objectivity in knowledge, however, I attempt to reclaim the importance of embodied pleasure in pedagogical work. The forces of eros, which I dub the "desire to dance," must be mobilized in the classroom as a counter-hegemonic force to stand against the ever increasing institutionalization of scholarship and education. In sum, this paper attempts to introduce into Korean feminist scholarship ways of theorizing feminist pedagogy that have been developing in the humanities since the 1980s.

서평 : 낯설음과의 조우에서 경험하는 낯익음

김현숙 ( Hyun Sook Kim )
4,500
키워드보기
초록보기
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