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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 : 19권 3호 (2011)
8,000
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Until recently, the tag of romance novelist and regional writer has been attached to Daphne du Maurier, leading to the critical neglect of the generically varied and discursively complicated nature of her writing. This paper aims to place du Maurier`s Rebecca in the tradition ofEnglish country house fiction and argue that du Maurier renders the pastoral Cornish landscape as a site wherein mythical Englishness is given a concrete, palpable form, only to disclose the phantasmagoric nature of such Englishness. In Rebecca, the romantic fantasy of Englishness is disturbed when Manderley, the epitome of the prestigious authority and culture of the past, becomes a site wherein contradictory and interrelated female desires and feminine sexuality are contested and negotiated. The literary elevation of the domestic England in Rebecca produces a troublesome realignment of sexual politics at home, which is part of redefining and reshaping Englishness. The intimate and desirable landscape of Manderley is intertwined with the treacherous landscape of a psychology that projects contradictory ideals of femininity, unburies forbidden, unruly female desires, and thereby destabilizes the space of feminine, domestic Englishness both in fascination and in terror.

Articles : Suburbs, Supplementarity, and Transvestism in The Roaring Girl

( Jae Cheol Kim )
6,400
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The primary purpose of the present essay is to explore how the sense of nation interacts with gender constructions. Through a close reading of Thomas Dekker and Thomas Middleton`s Roaring Girl, this essay illuminates how gender liminality is used for representing topographical in-betweenness. Since Judith Butler`s influential theory of gender as a "socially performative act," critics have discussed transvestism mainly in terms of gender; however, transvestism has seldom been discussed as a geo-political phenomenon that is observable where proper national identities are compromised. Our critical attention in this essay is itinerant perambulating all over suburban areas in metropolitan London, and we discuss transvestism as a suburban phenomenon. The romantic and comic plot of The Roaring Girl is achieved by staging exclusion of transvestites, and the birth of the metropolis as an intra-national colonial authority is possible when it silences topographical and gender liminality. If cross-dressing is an allegory that expresses various cultural liminalities, one of the early modern metropolitanist desires is nothing other than to set the world apart in order to secure "proper" gender and sexuality.
7,000
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Wendy Wasserstein offers a case for an effective assessment to look back at the critical issues generated in theater during the late 1980s and the early 1990s in which the critical debates between feminism and postfeminism visibly emerged in the field of feminist academia and the cultural arena. Produced on Broadway in 1989 and winning most of the major awards in theater, including a Tony and a Pulitzer the following year, The Heidi Chronicles was heralded by journalists as the arrival of feminism in mainstream theater, but the play drew controversy from feminist critics and scholars. I discuss this clash and intersection of cultural production with criticism and of practice with theory, as well as differences in the cultural reception of the same play in the early 1990s and the twenty-first century. In this article, my objective is twofold: First, I seek to contextualize the postfeminism debates in relation to a specific case of cultural practice, in this case, the theater. Second, I investigate the nature and problems of postfeminism debates by retrospectively looking back at the moment of vehement argument produced in the cultural arena, in order to figure out what had been the ongoing issues between the second wave of feminism and post- or third-wave feminism.
6,800
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Susan Choi bases her second novel, American Woman, on a famous kidnapping case of the 1970s. Patty Hearst, when she declared that she would join her radical kidnappers, stirred public anxiety over the dominant family and national values. Focusing on a Japanese American Woman who was arrested with Hearst and represented as "the model minority" in an attempt to undermine the political effects of Hearst`s rebellion, Choi explores the implications of queer insight for the question of Asian American identity. Jenny Shimada, the fictional counterpart of the Japanese American Woman, finds herself constantly read as a poor third world or mysteriously oriental girl. She is never accepted as an American, nor can she imagine herself as a properly mature woman. Choi traces this problem to Jenny`s father`s internment experience during the Second World War. Jenny finds different ways of imagining and presenting herself only when she develops a queer relationship with Pauline, a fictional counterpart to Patty Hearst. Choi`s depiction of queer intimacy between the two women reveals the terms and conditions, as well as omissions, implicit in the phrase "American Woman." Choi`s queer imagination thus helps her readers imagine alternative identities outside the dominant norms of the national and public culture, as well as alternative ways of storytelling that reveal silenced connections and possibilities.
6,700
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This paper reads Nora Okja Keller`s Comfort Woman with emphasis on the mother-daughter relationship. Having undergone multiple rapes and sexual objectification, Akiko, a former Korean comfort woman, is deprived of the possession of her female body, let alone her own identity and agency. Her impoverished body is later claimed by the spirit of Induk, a murdered comfort woman, through the process of melancholic identification, in which one takes in the shadow of one`s lost love object by denying its death and loss. Transforming into a shaman who incorporates the memories and legacies of lost love objects like Induk and her own mother, Akiko mediates unresolved wishes and desires of wandering spirits and ghosts. Approaching Akiko`s shamanism as a psychological space in which she preserves what she loved but lost in reality, this paper claims that Akiko`s shamanism functions to offer mourning rituals for unacknowledged lives and deaths, like those of the comfort women during the war. The reconciliation process that Akiko`s daughter Beccah undergoes with her shamanic mother is also examined by tracing Beccah`s melancholic identification with her mother and other matrilineal spirits. Tracing the way Beccah comes to understand her mother`s traumatic past and accept her mother`s legacies, the paper examines the transmission of mothers` life-stories, secrets, and genealogies to their daughters.
6,200
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This essay primarily discusses the character of the Abbess in The Comedy of Errors as an embodiment of the Protestant ideal for sacred women. She seems free from the conventional anti-Catholic accusation of hypocritical and deceptive Catholic clergy, and the transition of her religious and feminine identity to one of a faithful and productive housewife is an option ideally suggested by Protestant reformers for single women in post-Dissolution England. However, her "wifely conversion" is hardly sanctioned, for it is accompanied with a hypocritical, though only somewhat offensive, disguising of one`s true identity, and the ultimate goal of companionate marriage seems to be too hard to reach for women, who were considered to be corporeal, emotional, and immature by the same reformers. Her return to the family is not warmly welcomed, and her stage presence loses its due elegance when the corporeal duty of her symbolic pregnancy calls to mind the contradiction of her male body beneath. The vested Abbess on stage represents the intersection of contemporary antipathy toward Catholics, actors, and women, which demonstrates the representational crisis that Elizabethan theaters could not but face, the impossibility of staging the image of a sacred female saint, either Catholic or Protestant.
7,400
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My paper performs a deconstructive reading of Canadian writer Isabella Valancy Crawford`s major work - her long poem, Malcolm`s Katie: A Love Story (1884). My reading, informed both by and against much of the critical reception of the work to date, understands Malcolm`s Katie as a hermeneutic exercise not simply in nineteenth-century gender-inscribed power relations but in the in/communicability of these using the "love story" as a dissident narrative strategy. Through a sustained reading against the grain, I argue that Malcolm`s Katie ``doubles its doubled discourse`` by at once participating in and against both patriarchal and feminist ideologies about women`s "place" in Crawford`s time. I read the text as Katie`s bildungsroman both through and as a metacritical engagement with the im/possibilities of inscribing women`s agency, choice, subjectivity in text, indeed, as story about women`s representation per se: to manipulate a figure from the poem itself, as "speech [run] thus two different ways."
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