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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 : 18권 1호 (2010)

수잔 글래스펠의「동등한 자격의 배심원」에 나타난 차이와 법

김미현 ( Mie Hyeon Kim )
6,300
초록보기
Susan Glaspell`s 1917 short story, "A Jury of Her Peers," is about two women who unintentionally solve a murder case in a Midwestern farm house. The story reveals the difference and the conflict between the women`s perception and actions and their husbands`. While their concern is ridiculed by their husbands, legal investigators, as "trifles," the women`s way of knowing and reading Mrs. Wright`s feelings and responses to the conditions of her life leads to their final decision which marks a radical resistance to the men and the law they represent. While the women`s resistance and decision about how to act on their knowledge can be seen as a female mode of ethics, Glaspell also points out the difference in perception between the two women and highlights the process of persuasion and alliance between them. The story shows how political power is deployed in preserving the law and in the process of the women`s alliance, decision, and action. As Jacques Derrida observes, the authority of the law itself comes from political power and its interpretative and performative force. Glaspell presents the women`s decision as a verdict by "a jury of her peers" and their act as a resistance to the existing power of law based on their belief, perception, and experience. The work shows how the difference or disparity in modes of perception and action leads to political judgements and that a movement toward justice entails a decision which cannot be guaranteed by any law or rule. "Difference" in Glaspell`s work can be read as the absolute dissymmetry between the general law and the singularity of the subject or the other. As Derrida argues, the act which no longer responds to the demands of theoretical rationality can be a movement toward justice, making possible the transformation and the refounding of law and politics. In this sense, the women`s verdict in "A Jury of Her Peers" offers the possibility of justice for others and differences.

잔혹과 매혹의 상상력: 앤젤라 카터의 동화 다시 쓰기

김영주 ( Young Joo Kim )
6,800
초록보기
Angela Carter`s The Bloody Chamber and Other Stories is firmly grounded in the tradition of the European popular imagination of the fairy tale, which originates in the oral tradition of peasant folk tales and is institutionalized as a modern literary genre from the late eighteenth century on. In her rewriting of popular fairy tales such as "Bluebeard," "Beauty and the Beast," "Snow White" and "Little Red Riding Hood," Carter boldly combines fairy tales, gothicism, eroticism and pornography to explore the complicated nexus between sexuality and power, eroticism and violence. Carter`s unrelenting exploration of the links between eroticism and violence has generated both critical fascination and controversy centering on the issue of female sexuality and desire. Given the problematic place that Carter holds in literary debates over her revision of fairy tales, I propose to analyze Carter`s work as a feminist practice of scrutinizing the genealogy of sexuality articulated and/or disarticulated, reinforced and/or concealed, disciplined and/or unruled in the process of the institutionalization of folk tales into the modern literary genre of the fairy tale. In The Bloody Chamber and Other Stories, Carter both repeats and departs from, negates and restores the inherited tradition of the fairy tale. Central to what she restores from the oral and literary tradition of the tales is the female body and its adventurous, unruly sexual desire that is susceptible to eroticism as it embarks upon a course of unfinished metamorphosis. Carter`s writing presents a girl whose grotesque body and grotesque laughter hover on the boundary between historical reality and utopian fantasy, on the edge of terror and humor.
7,200
초록보기
In the past three decades, an increasing number of female writers have taken up Simone de Beauvoir`s dual challenges concerning women and the elderly. They have created a new kind of fiction about aging women, who are typically invisible or marginalized, even within feminism. Barbara Frey Waxman, inspired by May Sarton`s concept of ripening toward death in a fruitful way, names the new genre the reifungsroman, or novel of ripening, to counter the usual notions of decline and stagnation in old age. May Sarton`s As We Are Now (1973) and Paule Marshall`s Praisesong for the Widow (1983), while expressing culturally and racially different hopes and anxieties about female aging, challenge the idea that decline and stagnation are all there is to senescence. While touching on the anxiety of the ``frail old spinster woman,`` Sarton`s text provides a context for intense feelings and depicts the opportunity for growth of an old woman in an isolated rural nursing home. Marshall`s postcolonial reifungsroman depicts a 64-year-old widow`s spiritual adventure to be a modern black female griot. The portraits of complex female individuals address and alleviate a deep -rooted fear and anxiety about old age and build on the idea of constructive aging in a rapidly aging society.

로맨스와 섹슈얼리티 사이: 젠더 관계의 변화와 포스트페미니즘 문화현상

이명호 ( Myung Ho Lee )
6,800
초록보기
This paper explores the political and cultural meanings of postfeminism, which has emerged as a distinct cultural phenomenon since the early 1990s in America, through a reading of the popular TV drama Sex and the City. In order to understand this phenomenon I examine three major contextual factors: 1) the deconstruction of the category of woman through poststructuralist, postcolonial and queer critiques; 2) the opposition of femininity and feminism in contemporary mass culture; and 3) the emergence of women`s consumer rights and new aesthetic consumption patterns in the new liberal economic system. Through this analysis I define postfeminism as a feminist negotiation with late-modern consumer capitalism, countering the dominant view that postfeminism is an abolition and eradication of feminism. Sex and the City is an exemplary popular text through which we can examine postfeminist cultural phenomena. This text delineates the sexual experiments of four young postfeminist women who have acquired independent economic power; they negotiate traditional ideals of romance freed from the ideological constraints of monogamic marriage and transgress the heterosexual norm. Sex and the City certainly remains heterosexual, yet its narrative orientation borders on the queer. Above all, the four women`s friendship and their frank sex talk surreptitiously embodies queer relations. Despite these radical aspects, this text seems to fail in imploding the new regime of femininity that disciplines women`s body. The power of consumption that women have acquired gives them the freedom to choose men as commodities in accordance with their taste. However, this power also functions to subjugate them to the world of commodities in which they too have to market their bodies. In order to overcome this paradoxical situation, I suggest that their right to consume has to move on to issues of universal rights of consumption.

페미니스트와 포스트페미니스트 세대의 대화

이수영 ( Soo Young Lee )
6,100
초록보기
This article is a case study of two English lecture courses I have taught: "Gender and Culture" and "New Voices." First, the study found that most students had proficiency in English, representing a generation educated under the national policy of "globalization," and that students had been exposed to multimedia materials ranging from movies to YouTube video clips, all produced from diverse perspectives, conservative and radical. In addition, the achievements of feminism and multiculturalism had given them access to voices that had been traditionally excluded from the curriculum. The study, however, reveals that their exposure to resistant/liberal discourses does not necessarily motivate students` participation in social movements like the feminist movement. Rather, their reactions seem to merely echo sentiments of "postfeminism" and their concerns reflect the pressures of a neo-liberalistic job market, marked by competition based on global standards. Students are rhetorically critical of conservative views on social minority groups, but are reluctant to be identified with them. Their attitudes are vulnerable to a neo-conservative backlash, and can contribute to the weakening of feminism. Therefore, a more engaged feminist pedagogy must invest itself in pragmatic approaches to social injustice that students can translate into their actual experience.

"애틋함 그 자체": 제인 오스틴의 『설득』에 나타난 감정의 재발견

조선정 ( Son Jeong Cho )
6,600
초록보기
This essay presents a feminist reading of Jane Austen`s Persuasion with a focus on the configuration and vindication of the feminine feelings. In an attempt to rethink the ways in which Persuasion intervenes the dominant discourse of rationality and the notion of the universal, this essay examines how the novel reclaims and further expands the territory of the feminine. First, this essay considers the heroine Anne Elliot to be an incarnation of feelings, an embodiment of the power of compassion, self-effacement, caring, and concern for others, whose impressible and fragile body persistently registers variegated emotions and acute sensations as well: ultimately, "Anne is tenderness itself." Second, the essay analyzes how the heroine`s feelings become persuasive enough to change Captain Wentworth, which can be captured in the process of ``feminization.`` Lastly, the essay endeavors to illuminate the individual experience-oriented nature of the act of persuasion itself. The novel seems to succeed in relocating persuasion within the realm of personal intimacy and feelings. Wentworth`s feminization and the subsequent union with Anne reflect the emotional bankruptcy of traditional gentry class. Persuasion`s project of reevaluation of feelings, the essay concludes, exemplifies the viable form of feminist social criticism through the appropriation of the feminine.
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