글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

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 2호 (2013)
7,600
초록보기
In Western philosophy animals, along with women and children, has historically been opposed to male-centered civilization, understood through and contained within an anthropomorphic perspective. Consequently, the inequalities of civilization might be addressed most profoundly by the issue of animal rights. This potential disruption is paralleled by the fact that literary representations of animals push narrative to its limits in order to articulate a new ethical consciousness based on a non-human epistemology/ontology. This is exemplified by Barbara Gowdy`s novel The White Bone, which forges a dynamic between animal, feminine and place to portray elephants as subjects constructing their own destiny. In a challenge to Western philosophy`s denial of the animal`s existential being, Gowdy imbues her elephants with complex consciousness of Being. She channels her unavoidable anthropomorphism, giving them logic, though a logic based not on reason but on an emotional ontology alien to humans, and thus translating their language into our own. By translating their ontology, Gowdy attempts a new ethical vision that would enable human and non-human animals to co-exist in harmony. Her portrayal of the social motherhood by which the elephants confront traumatic reality reveals an intuitive ethics of caring going beyond human references of individualism and rationalism, suggesting an approach to animals through an ethical framework that goes beyond mere discursive practice. The White Bone is thus an effort to site justice and morality within a context greater than human civilization and so overcome the binary opposition between human and non-human and constructing a non-anthropomorphic cosmopolitanism (Steiner) that allows them to co-exist in the world.

『흰옷 입은여인』에 나타난 복장도착과 복화술

박하정 ( Hajeong Park )
6,400
초록보기
Collins`s most famous novel, The Woman in White, depicts transgressive gender, yet the author`s Preamble seems to reaffirm the rigid Victorian gender system by emphasizing man`s action and woman`s passivity. Using Kahn`s notion of ``narrative transvestism,`` this essay shows how Collins exploits the cultural associations of the feminine with a private, secretive space of intimate feeling. Drawing on the marginalization of Marian after her apparent illness and the reappearance of Hartright with editorial authority, this essay examines how the hero can be aligned with Fosco, the villain of the novel: silencing a female narrator, violating her private spaces, and even producing a relativized truth. While a feminized Fosco easily accesses a culturally defined female sensibility but runs no risk of losing his authority, a masculine Marian is punished for assuming a man`s position. By editing Marian`s diary at his convenience, Hartright reverses the previous hierarchical relationship with her from an employed instructor to a surrogate lawyer and editor, and consolidates his masculine identity. Ultimately, this essay argues that Hartright, who makes the novel into a marriage plot, encloses and confines a disruptive feminine principle within his authoritative narrative.

탈/경계(의/에서) 글쓰기: 버지니아 울프와 존 쿳시의 페미니즘

백진 ( Jin Paik )
7,200
초록보기
This study examines the feministic elements of the major novels and essays by the early 20th century female writer Virginia Woolf, and the contemporary male South African writer J. M. Coetzee. There is an affinity between the two authors in that their works give us a depth of insight into imperialism, fascism, and patriarchy based on a dichotomous way of thinking. First of all, it is noteworthy that the elusiveness or ambiguity of their novels works as an effective way of exploring the connections and tensions between art and politics. The first half of this paper argues that Woolf`s subversive writing “inside/outside the boundary” -- A Room of One`s Own, and Jacob`s Room -- criticizes the male`s exclusive attitudes. The second half of this study suggests that a white woman narrator`s writing “between the boundaries” in Coetzee`s Foe is closely aligned to the “postcoloniality” and “feminism” of a colonial male writer. Thus, the conclusion is drawn that the “trans-/boundary” writing of Woolf and Coetzee develops into political, aesthetic, and ethical writing in terms of de-constructing hierarchy and leading to reflective thinking.
7,700
초록보기
Art, which was understood as a male-dominated field in the early and mid-Victorian age, began to inspire feminist activists and sympathizers to establish women`s places and feminism-oriented tastes in late Victorian aestheticism. Henry James and John Singer Sargent were feminist sympathizers who brought modernity into the conventional Victorian art stream. They recognized and valued women`s passion for sensuality as well as their longing for conventional aestheticism. Through the comparison between Henry James`s major work, The Portrait of a Lady, and John Singer Sargent`s representative art works, this paper will reveal how human nature can be better understood as a common ground for two distinct but equally essential human desires: the conventional and the sensual. James achieved this harmony by creating characters who can bear the ordeal of consciousness to move forward to the future where they can continue to cultivate natural and sensual taste along with conventional value. Sargent likewise ideally combined the two seemingly contrasting features in his representative portraits and nude works. His original use of conventional perspective and unique liberal shading enabled him to be recognized as a modern feminist artist.
초록보기
This paper explores Keri Hulme`s globally-recognized novel, The Bone People, which deftly combines the themes of family violence, exploitation of natural resources, and the regeneration of Maoritanga. Set in the harsh environment of island beaches, The Bone People is an emotionally powerful story of love and friendship among three alienated outcasts: a reclusive female artist of mixed heritage Kerewin Holmes, a widowed Maori factory worker Joseph Gillayley, and a mute white child Simon. Self-isolated in a spiral-shaped tower, Kerewin is intellectual, eccentric, fish-obsessed, and asexual. Joe seems to be a hardworking and caring father, but he is an alcoholic and abusive father to his foster son. Simon is known as a manipulative, wicked child with an unknown past washed ashore in a shipwreck and rescued by Joe. The three characters are family-less and homeless. They treat each other with a perturbing mixture of tenderness and brutality. Concerning this point, the paper focuses on their homing process and complicated relationship which brings the characters together in the name of a new family. The unorthodox trinity of mother, father, and son represents the utopian landscape of family where Maori and Pakeha meet, clash, and merge.
1