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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 : 21권 1호 (2013)
7,300
초록보기
Blending Bildungsroman, autobiographical fiction, and the historical novel in her Abeng and No Telephone to Heaven, Afro-Jamaican writer Michelle Cliff nuances the racial and gender identity crises of her protagonist Clare Savage, most vividly in relation to passing narratives, and further complicates the story of Clare`s Bildung with her implicit lesbianism. Care Savage`s unfulfilled lesbian desire comments on the imposition of heteronormality in her native land and the ways in which race, class, and coloniality are entrenched in this practice of sexual normalization. By inserting sexual minorities into her novelistic discourse, Cliff is queering the national imagination of Jamaica and questioning the homophobic Caribbean society, even though she is practicing a kind of narrative passing by tacitly avoiding directly presenting Clare`s lesbian sexuality. Together, Abeng and No Telephone to Heaven represent Michelle Cliff`s critical project to rethink and reexamine unspeakable sexualities and their entanglement with racial issues that continue to structure and define every aspect of Jamaican public and private spheres.
6,800
초록보기
In The Critical Response to Ralph Ellison, Robert .J. Butler ends his overview of Invisible Man`s critical reception by stating, “Certainly much more needs to be said about Ellison`s envisioning of female experience and how feminine values are an important part of his vision” (xxxvii). Much more needs to be said because Ellison`s stance on the experiences of females has not been so clear, especially in his epic novel, Invisible Man. The question remains: Is Ellison`s widely-read novel a critique of sexism in America or is the novel itself deeply marred by it? This article revisits the second chapter of Invisible Man - the “Trueblood episode” - to argue that Ellison has Jim Trueblood fashion a crude story of father-daughter incest to combat the impotence brought on by a white male supremacist society that bonds together over racism. Although many have correctly claimed that Trueblood`s tall tale is told at the expense of his daughter, who, like most of the female characters in the book, is denied complexity arid humanity, this article argues that Ellison`s chapter subtly challenges patriarchal phallocentrism by hinting at a proto-femiriist message in suggesting what some feminists would later claim that father-daughter incest is a normal function of heteropatriarchy, not a breakdown in the social order.

“Mamma says, I am never within”: Austen Answers Back

( Hye June Jeong )
6,200
초록보기
As the world celebrates the 200Lh anniversary of the publication of some of her most important works, Jane Austen`s popularity in 2013 and the high esteem with which we hold her seems a far cry from the tone of those early reviews and even the negative views of certain critics before the onset of the 1970s feminist movement. Early reviews ruthlessly criticized her as a mere lady writer with a limited imagination, whose books were too light to merit discussion. Feminist critics saw this as a typical patriarchal interpretation of Austen`s writings, and therefore researched the repression of women in patriarchal England in the early 1800s. This paper attempts to allow Austen to answer those early harsh criticisms in defense of herself and her own novels through two main approaches in her first novel Northanger Abbey. Firstly, Austen`s dialogues and narratives in Northanger Abbey are examined to show how she was ready and able to provoke the conservative guardians of patriarchy in 1800s England. Secondly, Austen`s parody of the Gothic novel in her structuring of Northanger Abbey is investigated to show her rejection of the standard patriarchal story and its characters.
6,500
초록보기
This article investigates how the image of the mother is represented respectively in the dramatic adaptations of two novels, Mayonnaise and Please Look After Morn. This essay asserts that these two stage adaptations raise provocative questions that disrupt the conventional ideas of motherhood and traditional image of “the mother.” I analyze these two dramatized plays because, despite the large differences in their representations of the mother, the two plays share some points in common. I argue that they not only embody the mother through the feelings of the daughters and the abject bodies of the mothers, but also reverse the conventional story of mother and daughter. In particular, this article analyzes how the two theatrical works represent the patriarchal daughters and the rebellious mothers, observing that the grotesque bodies of the mother on stage is revolutionary, while the daughters, who seem to be more radical, are emotionally trapped inside the traditional fantasy of motherhood. Furthermore, this essay argues that the two plays, relying on emotions and bodies as sources of knowledge and meaning, awaken the audience to redefine motherhood and to hear the traditionally unspoken story of mothers. For this analysis, I refer to Adrienne Rich`s framework of motherhood and draw on Julia Kristeva`s critical thoughts on the abject and motherhood.

The Female Masquerade in Eliza Haywood´s Fantomina and Daniel Defoe´s Roxana

( Kyung Eun Lo )
6,500
초록보기
This paper seeks to examine the fictional representations of masquerade in Eliza Haywood`s Fantomina and Daniel Defoe`s Roxana in an attempt to demonstrate how these texts reflect and inscribe the conflicting responses to the cultural institution of the masquerade in eighteenth-century England. While the anonymity of disguise allowed the very principles of normal sexual, social, and metaphysical hierarchies to be challenged, many viewed the license offered by masquerades with great concern and fear. By exploring how the theme of masquerade is linked to female representation and spectatorship in feminist film theories, this paper contends that Haywood presents the masquerade as positive and liberating for the female protagonist and ends with a vision of feminocracy. Defoe, on the other hand, problematizes the female masquerade and its association with female liberation and gender transgression. Paradoxically, his complicated portrayal of Roxana`s masquerade draws attention to the cultural economy of the patriarchal society where women are forced to assume the status object and symbol of masculine desire for security and autonomy. As such, Hayrwood and Defoe both dramatize how the theme of the female masquerade is inextricable from complex questions such as sexual desire, independence and freedom, and the female body bound to biological or familial ties in the patriarchal society.

Historiographies of Modernity: Susan Glaspell and “Jig” Cook

( Aegyung Noh )
7,600
초록보기
A disparity in the tenors of Susan Glaspell and “Jig” Cook`s modernist projects seems inevitable due to the hierarchical gender relation underneath the “companionate” facade of their marriage. A conspicuous sign of this disparity is the clashing historiographies between male and female characters in Tickless Time (1918) and Alison`s House (1930). A collaborative short comedy by Glaspell and Cook, Tickless Time presents a male visionary named Ian, immersed in the task of replacing the “tick” sounds of the clocks and watches at home with a sundial, and his wife who is “afraid of tickless time.” Her emotional and practical attachment to the aural materiality - “the tick” - of temporal movement contrasts with her husband`s preference for “eternal time,” which he believes to be delivered by the sundial. The couple may reflect the contrasting historiographies of Glaspell and Cook, one eager for the forward movement of time, and the other returning the present to the mythic and primitive past of civilization in an affinity with the ahistorical “classicism” championed by such celebrated male modernists as Eliot and Joyce. A rather timid female eagerness for temporal movement in Tickless Time evolves in A/lyon `s House into feminist optimism about the progress of history. A socially condemned New Woman character in the play greets the dawn of the twentieth-century under auspices of the legacy of a Victorian foremother. Closely reading the two plays, this article aims to explore the clashing historiographies of Glaspell and Cook, and contextualize them within the broader gender politics of Modernism.

Women in Selected Dalit Narratives in India

( Smriti Singh )
6,300
초록보기
The postcolonial project rejects colonial representation and constructs a nation with hopes of an egalitarian future. Along with it there is an awareness that all is not well in the new nation. Every power structure creates its own ``Others``, its own subalterns. And within the postcolonial nation state, inferior classes, castes, minority groups, women, and Dalits became ``others``. The question is how far do writings about Dalits show factors like caste, class and gender as permeable/non-permeable. This paper will look at writings by Dalits and writings by others about Dalits and analyse how such borders can be crossed. For the pupose of detailed study, the paper will deal with Om Prakash Valmiki`s Joothan, Sharan Kumar Limhale`s Akkarmashi, Mulk Raj Anand`s Untouchable, and Rohinton Mistry`s A Fine Balance. The paper will focus on the presentation of gender in the above-mentioned writings. A Dalit woman is a Dalit amongst the Dalits as she suffers ``double oppression`` - on account of her caste as well as her gender. This paper will discuss the issue of space and voice with regard to the female figures. How much space is given to them? How far do we really hear their voice, their travails and sufferings? Taking into accotmt Marx`s concept of ``commodity fetishism``, the paper will discuss whether the Dalit women are valued for themselves or for the work they perform. Are they fetishLzed with phallic objects and reduced to a stereotype where they fulfil certain masculine needs? If we look at the family as the basic unit of society, then how much ``space`` is given to Dalit women in the family or are they just treated as ``objects``? What kind of treatment is meted out to Dalit women by the society or the upper Women in Selected Dalit Narratives in India caste? How far do Dalit women undergo acculturation? The paper will also discuss the issue of representation of Dalits by non-Dalits, which has often been said to lack ``a visceral impact``. Using the concept of ``Manichean allegory``, the paper will discuss how the upper caste/class use certain differences to justify domination, and this is true in the case of gender as well. The paper will attempt to deconstruct master narratives, interrogating systems of representation, understanding the dynamics of power and examining the role of ideology in the construction of the self, especially the female self.
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