글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

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 : 17권 2호 (2009)

Remembering Christina Rossetti: Dead Women and the Afterlife of Lyric

( Veronica Alfano )
7,600
초록보기
Christina Rossetti`s exaggerated lyrical techniques parody and subvert the figure of the sentimental Victorian poetess. I examine this process through the themes of memory and memorability, particularly in poems that portray dead or moribund women. Writing about death appears to cue humble self-forgetfulness, yet Rossetti`s speakers also insist on being remembered. The poet derives her distinctive voice from confinement both in brief, mnemonic lyrics and in the grave. Her sonnet "Rest" endows its deceased subject with the powerful atemporality of a memorized poem; this removal from narrative progression has surprisingly heterodox religious consequences. And beneath the self-effacements of "Song [When I am dead, my dearest]" and "Remember" lies a determined claim on the reader`s memory-expressed, paradoxically, through attenuated forms and indifferent post-mortem tones. These poems speak from a realm of numbed remembrance, revising the poetess`s emotional intensity. Ironically, considered en masse, Rossetti`s memorably small verses stand metonymically for one another and thus become forgettable. In the same way, Rossetti herself is frequently misconstrued because the restrictive association between her work and her biography has become so familiar. I ask, in concluding, how we as critics can best remember her as a poet and as a historical figure.

"Retelling Tales": The Legacy of Dislocation in Larissa Lai`s Salt Fish Girl

( Hye Yurn Chung )
6,800
초록보기
In Salt Fish Girl, Larissa Lai reworks the origin myth of the West by merging it with the stories of Nu Wa, the "maker" in a Chinese origin myth, who forfeits her omnipotence for the company of mankind and 3of Miranda Ching, a solitary young girl, branded "alien" by her ethnicity, which is emblematized by the strange odor of durian fruit that lingers about her. Lai cleverly engineers the suturing of the mythological past of the East and the futuristic society of the capitalist West, but she inadvertently weaves a tale of female marginality. Moreover, even though Lai endeavors to redeem strangeness and difference as a way one can "write her body into the future" ("Future Asians" 169), her text evidences that it is this very difference that relegates the female body as a palimpsest, which carries the history of their exclusion, exploitation, and dislocation into the future. This essay examines Lai`s insistence on obscuring moments of historical and cultural rupture in order to contrive a collective "herstory" of Asian/Asian North American women, which ladens them with a legacy of dislocation.
7,300
초록보기
Food practices, which constitute the vicissitudes of everyday life, contribute to the work of imagining a home in the diaspora, especially for diasporic women. The purpose of this essay is to investigate the construction of real and imaginary affiliations with the "homeland" through food practices in fictional representations coming out of the South Asian diaspora. Two recent novels, Monica Pradhan`s Asian American text The Hindi-Bindi Club (2007) and Priya Basil`s Asian British fiction Ishq and Mushq (2007), serve as textual examples to explore the ways in which South Asian diasporic femininity is reconfigured in connection with culinary discourse. The first part of the essay explores selected critical reviews and findings of food studies in social sciences and the literary field. In the second part, the affective bond created by the "nourishing arts" of cooking between three pairs of South Asian mothers and daughters in The Hindi-Bindi Club is analyzed. In the final part, bodily imagination and the construction of selfhood in Ishq and Mushq are discussed in terms of the signifying practice of cooking and smell. Written in significantly different styles and themes and about different migratory trajectories, together the two novels shed light on the interconnectedness of foodways and the lived experiences of South Asian women in Asian America and Asian Britain and allow us to catch a glimpse of the ways in which South Asian women creatively construct their home space and their own sense of agency outside the Indian subcontinent.
6,700
초록보기
Shirley Jackson wrote a variety of works that reflect women`s lives in the 1950s and 60s, when every woman was expected to fulfill herself only through being a housewife-mother. Jackson`s domestic chronicles and her Gothic house novels present different pictures of the housewife-mother figure in mid-century America. In her domestic stories published in women`s magazines, Jackson presents herself as a typical white middle-class housewife-mother, almost suppressing her professional self. The bright picture of family life covers up all of the guilt and anxiety that she experienced as a housewife-mother-writer. Jackson`s Gothic novels betray what Jackson strives to hide in her family stories. In the novels, "bad" mothers who conspire with fathers are killed by their daughters, while "good" mothers who devote themselves become agoraphobic and entrapped in the house. These novels show Jackson`s understanding that even when a woman escapes the father`s/husband`s house, she would still remain entrapped because there is no outside of patriarchy in a society that dictates all women to be housewife-mothers. This essay investigates Jackson`s performance of "good" motherhood in her domestic stories and reads the Castle as a work written in the tradition of the American Female Gothic tradition.

Priest and Patriarch in Elizabeth Inchbald`s A Simple Story

( Jane Baron Nardin )
6,500
초록보기
Critics have argued that Sandford and Dorriforth, the male protagonists of A Simple Story (1791), behave inconsistently for reasons that remain enigmatic. The two men do indeed exhibit the sort of wayward behavior that was usually coded "feminine" in the late eighteenth century. But their motives are not enigmatic. Sandford and Dorriforth are complex characters whose behavior reveals significant fissures within eighteenth-century patriarchy. Each man defines his obligations in terms of multiple masculine roles. Sandford feels obligated to enforce the father`s law as a former Jesuit and a secular priest. Dorriforth feels obligated to enforce it as a secular priest, a guardian, the head of a family, and an aristocrat. In struggling to fulfill their obligations, the men find that patriarchal precepts are in conflict with one another. By relating their conduct to the history of the Roman Catholic "mission" in England and to the situation of the Jesuits after the order`s suppression in 1773, we can understand their motives, especially those of Sandford. Through these two characters, Inchbald analyzes the often self-defeating nature of patriarchal law and suggests that it undermines the very distinctions of gender it aims to sustain.

Memories of Girlhood: Ronyoung Kim`s Clay Walls and 1920-40s Los Angeles

( Seung Ah Oh )
7,300
초록보기
This paper reads Ronyoung Kim`s Clay Walls (1987) as a Korean American female bildungsroman, focusing on the novel`s last section, "Faye." In order to reevaluate this second-generation Korean American girl`s developmental narrative, I first contextualize it with Jade Snow Wong`s Fifth Chinese Daughter (1950), which not only shares its time frame but also affords many intriguing parallels to it in terms of nation, race, gender, and class. On the other hand, examination of Faye`s socially and racially diverse peers as well as Faye`s immigrant mother, Haesu, reveals the multiple venues through which the 1940s multi-racial, multi-ethnic, and multi-cultural America infiltrated into the young Korean American female subject. Vocalizing the impossibility of the ideal of successful incorporation into white America, Kim`s writerly desire to be heard is most expressively manifested by her female characters` search for autonomy, beyond the white-Asian dyad as well as beyond the ambiguous relationship between mother and daughter.

Resisting Remasculinization: Tim O`Brien`s "Sweetheart of the Song Tra Bong"

( Chris Vanderwees )
6,000
초록보기
Feminist scholars dispute that Tim O`Brien`s "Sweetheart of the Song Tra Bong" either reinforces gender stereotypes or challenges them. Criticism from either side of this debate seems to focus heavily on a discussion of female characters within The Things They Carried: Mary Ann, Martha, Lemon`s sister, the older woman at the reading, and Linda. Nevertheless, both sides of the debate mention masculinity only briefly when exploring O`Brien`s portrayal of women. While most Vietnam War writing reinforces gender stereotypes, effectively functioning as the process of remasculinization that Susan Jeffords describes in The Remasculinization of America, I will argue that "Sweetheart of the Song Tra Bong" is distinct from this writing, consequently challenging stereotypical discourses of masculinity. I will focus on O`Brien`s primary female character, Mary Ann, in relation to the text as a critique of gender binaries and also as a challenge for a variety of other dualisms.
1