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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 2호 (2012)

영미문학 분야에서 여성주의 연구의 도전과 과제

이귀우 , 이소희
4,500
키워드보기
초록보기

영국성과 반유태주의: 버지니아 울프의 「공작부인과 보석상」

김영주 ( Young Joo Kim )
6,400
초록보기
Virginia Woolf`s "The Duchess and the Jeweller" has been criticized for being either trite or anti-Semitic in the representation of a Jewish jeweler. Woolf`s portrait of Oliver Bacon in the story indeed hinges on the stereotypes of Jews that were pervasive in British culture in the late nineteenth and the early twentieth centuries. Woolf`s production of the portrayal of a Jew is problematic for she does not attenuate the repellent stereotypes of a Jew with explicit sympathies with him or with heroic actions. This paper aims to contextualize Woolf`s problematic portrayal of a Jew in the formation of British anti-Semitism, its ethnographic discourses in particular that emphasize racial difference of Jews and projects them to be the racial other of the English. A close reading of the story reveals that Woolf`s caricature of a Jew raises questions about issues related to anti-Semitic stereotyping practices such as differentiation and assimilation, desire for assimilation and fear of miscegenation, and the fetishization of Englishness. Woolf`s caricature of a Jew remains purposively evasive and thereby challenging because she proposes to examine the boundaries and structures of conflicting, contesting desires and fears shaped by social and psychological customs and conventions in stereotyping Jews and producing Englishness.

관객의 시선 앞에서 싸우는 여성: 『헝거 게임』 속의 행동과 연기

김예리 ( Yae Ri Kim )
6,600
초록보기
This article investigates the possibility of representing a positive, strong and capable female hero who does not reproduce the masculinist ideology in the blockbuster film through the examinations of The Hunger Games (2012). The Hunger Games is a recent Hollywood blockbuster, which is known for its strong female protagonist and has achieved international commercial success. The article demonstrates that The Hunger Games presents the female hero who neither is a phallic figure in the guise of a woman nor is reduced to a sexual object by analyzing on the two aspects of the film: (a) the multifaceted role of the protagonist which often function simultaneously as the subject of action and the object of gaze; and (b) the performative nature of the protagonist`s actions that oscillate between the extreme masculinity and the typical femininity. While the dual role of the protagonist invites the audience to identify with her while looking at her as a spectacle, her gender-flexible performances expose the contingent relationship among anatomical sex, gendered roles, and the identity of hero. The article concludes that, despite its limitations, The Hunger Games indicates the possibility of the entertainment cinema that does not reproduce the existing gender hegemony. (197 words)
7,000
초록보기
This article critically overviews the polemics between feminism and female/trans masculinities, examining the intersections of gender, race, class, sexuality, and generation inherent in the rifts. In doing so, this article illuminates various contradictions and dilemmas of feminist sex/gender theory recurring in butch/transphobia. Under the imperative of androgyny as a feminist ideal, butchness was regarded as a denial of one`s true lesbian self and "woman" identity and as unnatural role-playing. However, this accusation stemmed primarily from issues of class and generation; mainstream lesbian feminists were largely white and middle-class, and many of them viewed butchness as a working-class endeavor, and a practice of the previous generation. When radical feminism reclaimed female values and celebrated women`s culture, femaleness and femininity tended to be equated with feminist subjectivity. However, this article argues that all radical feminisms should not be reduced to gender essentialism. Many feminists understood a male/female role as a social construct, and the concept of "the woman-identified woman" also originally implied a feminist political position (women`s solidarity), not solely the display of a feminine gender. Nonetheless, in the condemnation of "male-identification," the assumption that female/trans masculinities are antithetical to feminism was maintained. Transphobic feminists criticize that transmen seek male privilege and internalize their own misogyny. Thus, they have worked long and hard to purge the existence of butch/trans feminists from feminist history. Transphobic feminists obscure their own cisgender (non-transgender) privileges and ignore transmen`s oppressions and disadvantages as a gender minority. This article offers that the challenges of female/trans masculinities need to be significantly reconsidered within feminism in order to reconfigure gender theory and move beyond gender essentialism predicated on the binary gender.

유혹과 훈육의 사이에서: 『기숙학교』에 나타난 초기 미국의 여성 교육

손정희 ( Jeong Hee Sohn )
6,700
초록보기
This paper first examines how a boarding school functions as a site for disciplining a female subject into a virtuous citizen of the early American Republic in Hannah Webster Foster`s The Boarding School (1798). Composed of two parts, the first part of the book gives a detailed description of what should be taught to female students for them to play a virtuous role in society. In accordance with the cultural norms prescribed by the Republican Womanhood, the female students at a fictionalized boarding school superintended by Mrs, Williams, learn various subjects, such as reading, writing, arithmetic, music and dancing, only to serve better for the society by supporting and raising virtuous citizens as a wife and mother. Students also learn proper moral behaviors about various topics, such as dress code, polite behavior, filial and fraternal affection, friendship, love, and religion. Part Two shows the interchange of letters between Mrs. Williams and students, and among students themselves. On the one hand, this letter exchange process well illustrates how the students communicate with each other to consolidate and spread the dominant discourse indoctrinated at school even after they leave the school. Yet, on the other, this epistolatory interaction shows the formation of a strong bond among students, suggesting that there is a slight possibility of subversion in which this female friendship functions as a separate space for female autonomy and independence against dominant norms.

메어리 울스턴크래프트의 『서한집』에 나타난 집에 대한 열망과 좌절

오봉희 ( Bong Hee Oh )
6,700
초록보기
This paper explores Mary Wollstonecraft`s desire for home and frustration in Letters Written during a Short Residence in Sweden, Norway, and Denmark. It is an autobiographical travelogue composed of her letters to Gilbert Imlay written through her travels in Scandinavia and revised before the publication. Wollstonecraft took this trip at the request of Imlay, her lover who was deserting her and their daughter for another woman. She put into the letters her grief and anguish over his infidelity and her broken dream of domestic happiness, At the beginning, she cherished the hope that she could regain her lover and set up a happy home, As the travels went on, however, she came to realize that it was just a vain hope. It caused her great pain, aggravated by the existence of her daughter who might never experience a father`s love and who would not escape from women`s dependent and oppressed state. At the end of her travels, Wollstonecraft began to gain her emotional independence by recasting her lover as a man who had lost all taste and greatness of mind in pursuit of material wealth and pleasure. Moreover, the success of Letters enabled her to achieve the financial independence as well.

멜빌의 청년들: ``퀴어``한 결혼과 남성적 성장의 서사

윤조원 ( Jo Ewon Yoon )
6,500
초록보기
This study aims to theorize what I would like to name Melville`s ``queer aesthetic`` which deploys a certain type of ``queer`` male characters. These male characters are seemingly ordinary young men but destined for an extraordinary fate, which is largely defined by a failure to grow into so-called normal adulthood through marriage, Pierre in Pierre, or the Ambiguities marries his alleged half-sister Isabel so as to restitute the deprived family name to her and to cut ties with the corrupt past of his family. However, with this radical decision his life only spirals down to a complex set of failures. For him, marriage is an occasion for achieving an independent adulthood; yet he cannot succeed insofar as his performance of masculinity is predicated on his impossible desire for his sister and his inability to break away from the paternal heritage. For Billy in Billy Budd, Sailor, marriage figures only metaphorically as a "consummation" of his death sentence, caused by his failure to articulate himself in an existing order of masculine language that conflates heterosexual notions of justice and legitimate male desire. While marriage thus figures in Melville`s narratives as a threshold to a stunted adulthood and even death, Melville`s young male characters act out a ``queer`` failure of the traditional Bildungsroman formulae of male growth and successful socialization. This peculiar failure is the gist of Melville`s uniquely anti-Bildungsroman narrative that textualizes his queer aesthetic, which in turn resists, disrupts and critiques the persistently hegemonic notions of heterosexual masculinity of the Andrew Jackson era and beyond.
7,100
초록보기
Pornography has been a heated issue for American feminists, dividing them into two opposite camps, whereas Korean feminists kept silent during the pornography debate in the 1990s when the event of Jang Jungil, a Korean male novelist who wrote a sexually explicit novel and got imprisoned for that, took place. In the Korean sexual debate male sexual liberals and radicals fought against legal authority whose ideological position was based on moral conservatism; they advocated the right of writing and enjoying pornography, and criticized feminists for colluding with sexual conservatives. During that period Korean feminists belatedly exposed the sexual violence in Korean progressive movements in the 80s and early 90s, arguing for women`s rights of sexual self-determination. This article attempts to map out the topography of sexual ideology in Korea since late 1990s, and examine how to tackle the issue of pornography. First, it critically examines several definitions of pornography, both Korean and American, and then attempts to explain the tempting power of pornography on men, borrowing Drucilla Cornell`s psychoanalytic interpretation, Pornography reflects men`s sexual fantasy where lie their desire for and dread of the phallic mother; once the fantasized mother/infant dyad is broken, the phallic mother remains, in its unconscious, powerful and threatening; she at once gives and takes back life. In order to compensate for her power, the infant attempts to penetrate and destroy her through the father`s imaginary penis. It is the biological penis, the simplistic conflation of the penis with the phallus, that is portrayed in pornography, This ever-erect prick is just a fantasy, yet it exerts a powerful influence on men, Pornography as a representation of this masculine fantasy, I argue, harms women`s imaginary domain, a term coined by Cornell for indicating "psychic and moral space" in which one imagines who one is and who one seeks to become. I argue for feminist`s response to pornography shifting from legal regulation to political intervention. Legal regulation on pornography limits not only men`s but also women`s freedom of sexual expression, pivotal for women`s exploration of their selves. However, pornograph`s curtailment of women`s equal right for imaginary domain should be countered in political and cultural dimension. In conclusion, I argue for the responsibility for our desire as well as the demand for its right in order to live together.

불안한 남성성: 『지킬 박사와 하이드』와 빅토리아조 남성성

이정화 ( Jung Hwa Lee )
6,000
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This article examines fin-de-siecle masculinity in crisis that is visible both within a man and between men in Robert Louis Stevenson`s The Strange Case of Dr. Jekyll and Mr. Hyde. In order to understand anxious masculinity in the broader context of Victorian concepts of masculinity, I analyze the changes from a Carlylean fascination with monastery to a failure of male-bonding, on the one hand, and from a mid-Victorian exaltation of the primitive to a fin-de-siecle despairing fear of it, on the other. Celibate professional men in Dr. Jekyll and Mr. Hyde favor a male-male friendship over a heterosexual relationship, privileging male homosocial bonding that is expressed in the socially sanctioned form of professionalism. However, they only reveal the tenuous and fundamentally unstable boundary between homosociality and homosexuality. Furthermore, the cohabitation of divinity and bestiality within a male body, which Kingsley saw as the very source of masculine vitality, turns out to be disastrous in Dr. Jekyll and Mr. Hyde. Whereas Carlyle and Kingsley were confident in managing male sexuality and primitive forces, Stevenson`s professional men can neither contain nor elevate them.

전후 할리우드의 여성 산보자: 영화 <티파니에서 아침을> 연구

이형숙 ( Hyung Sook Lee )
6,500
초록보기
The film Breakfast at Tiffany`s (Dir. Blake Edwards, 1961) was adapted from Truman Capote`s novella with the same title published in 1958. With the angelic beauty of the main actress Audrey Hepburn, the sentimental theme song, and also its attractive urban backdrop of the city of Manhattan, it has became one of the globally beloved nostalgic film to date, Despite its popularity, the film has received scarce academic attention. I find the primary reason in the period in which the film was produced. The films in the 1950s reflected the postwar social atmosphere in which the conservative family ideal was emphasized to reposition returning veterans in the society. The decade after the mid-1960s, on the other hand, witnessed a new era of Hollywood filmmaking, experimenting in messages, techniques, and the mode of production. However, the early 1960s, as an in-between period, has relatively been less discussed. This paper aims to redefine the films in the 1960s, and especially suggests the importance of Breakfast at Tiffany`s as one of the representative films illustrating the unique characteristics of Hollywood films at that time. Applying Walter Benjamin`s concept of the "flaneur" to understand the main characters and closely reading the way in which the film changes the narrative from the original novella, I argue that this film demonstrates the ambivalent aspect of both the conservative and renovative Hollywood in its transitional period.
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