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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 : 20권 1호 (2012)
6,400
초록보기
This paper examines the concept of mestiza consciousness and its manifestation in Gloria Anzaldua`s Borderlands/La Frontera: The New Mestiza. The text is more famous for its theoretical contribution, especially the model of subjectivity as intersubjectivity propounded by the author. Anzaldua emphasizes the human capability of growth, of moving beyond established identities. She visualizes this growth as an expansion, a (r)evolution through which perception is deepened and awareness widened. This paper focuses on how mestiza consciousness is embodied in the text of Borderlands. The prose section of Borderlands records the writer`s own (r)evolutionary growth, while the poetry section pushes willing readers into a state of psychic unrest. It is in this context that the second section of Borderlands, the poems, gains an unexpected weight. Her poems, more than her prose, experiment with various kinds of embodied experience. More importantly, they are poetic embodiments of mestiza consciousness, especially challenging in their linguistic materiality. By reading one exemplary poem "Letting Go," this paper demonstrates the material-figurative quality of Anzaldua`s poems and their ability to break down subject-object duality. The poems. therefore, preserve the real challenge raised by Borderlands, the difficult work of confronting something radically different.

Articles : My Fear of Meats and America: Ruth L. Ozeki`s My Year of Meats(1998)

( Soo Yeon Kim )
7,000
초록보기
My Year of Meats was highly successful in calling attention to the seemingly disparate yet related issues: meat woman`s body, and transnational media. In interweaving two women`s lives in the United States and Japan through a television series on meat, Ozeki`s novel uncovers illegal practices of feedlot and the gruesome outcome of such practices embodied in a sterile woman. The novel`s merging of various themes has invited critical responses from multiple fields. While the variety of critical work is a proof of the novel`s achievements this essay argues that My Year of Mazts remains problematic at its core. This is because the novel`s endorsement of transpacific alliances of women through motherhood served the then-emerging postwhite nationalist narrative of the United States, shored up by the multicultural/multiethnic family and their American children of varying shades. By investigating the ways the "multi-" and "trans.," abounding in the novel, are deterritorialized and reterritorialized within the new American Frontier of the 1990s, my essay argues the need to be wary of such liberatory notions as difference and mobility, which are actively advertised to redefine American global hegemony. I argue that this wariness towards Americanism is the novel`s main 1essor, along with the due fear of unhealthy American meat detailed in the novel.

Articles : Decolonization of the Female Body in Eavan Boland`s In Her Own Image

( Joo Young Park )
7,200
초록보기
This paper aims to explore how Eavan Boland`s In Her Own Image decolonizes and demystifies the female body as signified in patriarchal literary texts. Challenging the restrictions imposed upon women`s self-expression, Boland focuses on describing taboo areas of female bodily experience, such as anorexia, menstruation, mastectomy, and masturbation. Boland argues her female identity from the perspectives of the body and sexual pleasure. The poetic language that she envisages in In Her Own Image directly connects female sexuality and writing poetry. Throughout the poems, Boland`s use of concrete bodily imagery does not stop at disclosing camouflaged patriarchal language; she extends this critique to mythology about women. In so doing, Boland subverts traditional poetic standards, for it is women`s real lives, feelings, and sufferings that defy the laws of male-inscribed literary texts. This paper points out that Boland`s In Her Own Image shows a woman who can perceive through her body; it is in the body that the poetic voices find female identity and selfhood. Positing the female body as the origin of female selfhood, Boland emphasizes her poetic vision, which is embodied through expressing the physical jouissance of the female body as a liberating act. In her artistic decolonization of the female body, female subjectivity is fully liberated from its imprisonment in patriarchal literary texts.
6,500
초록보기
Olive Schreiner`s The Story of an African Farm and Thomas Hardy`s Jude the Obscure explore the shifting condition of women living in fin-de-siecle Victorian England through foregrounding a New Woman character. Despite their apparent affinity, the two authors show noticeable differences in their approaches to the failure of the New Woman character. While Schreiner`s criticism puts more weight on social restrictions and fixed gender roles as the causes of Lyndall`s agony, Hardy underscores human nature as the main reason for Sue`s unsuccessful attempt at liberation. The two authors also differ in their views of social transformation and the possibilities for future progress. In satirizing Victorian society, Schreiner suggests a utopian vision of social progress with her protagonist`s death symbolizing a new beginning. Hardy`s naturalist pessimism portrays his characters ultimately defeated by human nature, leaving no room for a hopeful future. This contrast originates from the two authors` disparate gender politics and their different worldviews. Yet, by creating a complex, neurotic, and inconsistent heroine, Schreiner and Hardy equally depart from the angel-in-the-house character embodying the Victorian feminine ideal and docile womanhood in the previous realist novels, and produce a new literary model for future generations.
6,900
초록보기
This paper examines the intertextual metamorphoses between Perrault`s version of "Little Red Riding Hood" (1691) and Carter`s version "The Company of Wolves" (1979), and the intratextual metamorphoses of the two main characters, the girl and the wolf, in Carter`s tale. Since its beginning as a warning tale about attacks by animals and human predators in the late Middle Ages, "Little Red Riding Hood" has gone through numerous metamorphoses. Perrault`s version is a transformation of an oral folktale into a literary tale catering to the tastes of an upper-class female audience. Among various reworkings of Perrault`s canonical tale, Carter`s transformation, as a part of her "demythologizing project" subverts the dominant cultural inscriptions of gender and sexuality that Perrault`s tale upholds and passes down to its following generations. Based on the assumption that textual metamorphosis informs thematic metamorphosis, I argue that Carter`s transformation of Perrault`s version converts repression of female sexuality into its affirmation and transforms Little Red Riding Hood from a passive victim into a "wise" girl with agency to tame the wolf. "The Company of Wolves" counters the ideologies of sexuality and gender roles in patriarchal society where the man as the subject controls and consumes the woman as the object and suggests an alternative way of looking at sexuality and gender in which both parties` sexuality and desires can be mutually appreciated and fulfilled.
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