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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 3호 (2013)

Finding a Place of One`s Own: Virginia Woolf`s Mrs. Dalloway

( C L Carissa Foo )
7,100
초록보기
Virginia Woolf ends A Room of One`s Own entreating women to leave the common sitting-room and experience the world. This paper explores what it means to have one`s own place through an analysis of women`s experience in places of the city and home in Mrs. Dalloway. To create a place of one`s own is to sense and possess places not as how one is supposed to, but how one could and would experience. This paper argues that there is a constructive synergy between women and place that is dependent on their ability to make sense of circumstances and sensuously interact with place. When they experience places for themselves rather than ideological constructs, oppressive localities that propagate femininity and domesticity become potentially liberatory. Place is read anew as characters confront the gender-stratified world, superimposing the ``places`` of their mind onto place; it becomes suffused with a fleeting and elusive quality that emanates from commingling spaces. This paper posits this sense of place as empowering and pervasive because it does not fixate or delimit; rather, it equips women with a renewed understanding of space that, thenceforth, transforms their relations with place.
6,300
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Alien Resurrection, the fourth and final installment of the Alien franchise, illustrates updated discourses about monster. While the first three installments of the franchise tended to focus on the surface horror caused by the monstrous appearance and enormous power of the Aliens, the final one explores the structural horror that the alien monster embodies. Re-examining the definition of monster, the essay investigates how the notion of monster and the feminine are associated and how the feminine monster can serve to challenge the patriarchal social system based on heterosexual normativity. Also, the essay points out how the film produces horror in presenting the cross-species monsters and the non-heterosexual relationship. The protagonist Ripley, who returns as a monster in Alien Resurrection after killing herself to eradicate the Alien queen in her body in the third installment, represents the claim that the monster is a cultural construct by ideological normativity, and at the same time, it can be a threat to that normativity. Alien Resurrection argues that horror in horror films is not from the monster per se, but what makes the monster-that is, the violence of normativity.

Vocal Women in Detour and Raw Deal: Narrative Gaps and the Female Voice in Film Noir

( Hye Jean Chung )
6,300
초록보기
Film noir is often described as a masculine genre, as it pivots around male narratives. In film noir, the masculine narrative attempts to contain subversive female characters, or “femmes fatales,” by turning them into spectacle, or by deploying the male voice-over narration. Although voice-over narration in film noir often grants the male narrator control over the representation of the female character, this male dominance over narration is not always all powerful. A closer reading of film noir reveals gaps in the male narrative that allow for the female narrative to push through and exert its presence. This essay examines how the woman`s story vocally and visually struggles for narrative control in two film noirs, Detour (Edgar Ulmer, 1946) and Raw Deal (Anthony Mann, 1948). A close analysis of these two films reveals that various forces operate simultaneously within each film; the film thereby becomes a negotiating ground for multiple narratives that contradict, destabilize, contest, and compete with one another. The two films present different versions of a “vocal woman” who aspires to acquire an authorial voice: a verbally potent “femme fatale” in Detour, and a woman narrator in Raw Deal. Through a textual analysis of the films` narrative, I demonstrate how disjunctions and contradictions among multiple objective and subjective viewpoints, visualized through such devices as lighting, camera movement, and shot composition, reveal narrative gaps in the film. These gaps ultimately open up interstices in the narrative for women characters to tell their stories with or without the mediation of the voice-over narration, thereby enabling more empowered readings of the noir woman. I focus on how the complex narrative structure of a film provides space for the female character to exert her presence and voice, ultimately destabilizing the hegemony of masculine power in classical Hollywood cinema.
6,200
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Julie Otsuka`s latest novel, The Buddha in the Attic, is an unconventional Asian American novel in the sense that it emphasizes the break between Japanese American mothers and their daughters. Despite an attachment to their mothers, Japanese picture brides in the novel are separated from them by paternal authority and physical distance. They become mothers in America, but instead of being a source of inspiration and strength, the alienation they experience from their daughters renders them helpless. Unlike other Asian American novels that thematize mother-daughter relationship, The Buddha in the Attic removes the women from the narrative before they can have any chance to connect with their daughters. Once the collective protagonists of the novel, the Japanese picture brides, leave their neighborhoods to be interned in War Relocation Camps, the reader never gets another glimpse of them. This is a significant structural difference that distinguishes the novel from other writing on Word War II internment, as most writing, including Otsuka`s previous novel, focus on what happens to the Japanese Americans during and after the internment. This paper argues that this radical strategic difference should be read in the context of the post-9/11 era in which the novel was published. By featuring the women`s disappearance after the Pearl Harbor attack as both figurative and literal, Otsuka warns her readers against the loss of minority people and their voices during the similar national hysteria that swept America after 9/11.

Feminism and Racial Homosociality in Carlos Bulosan`s America Is In the Heart

( Jeehyun Lim )
7,200
초록보기
This essay examines the tension between feminist analyses and a cultural nationalist, left critique of Carlos Bulosan`s America Is In the Heart (1946) to suggest a point of convergence between the two in the text`s trope of racial homosociality. By reading Bulosan`s revision of the triangle of desire, I argue that racial homosociality in America Is In the Heart, the very object of feminist critique, becomes a temporary alternative to hegemonic nationalism. Whereas the heterosexual relationship guarantees the homosocial one in Eve Sedgwick`s classic study of homosociality, Between Men, racial homosociality in Bulosan`s text comes at the expense of normative heterosexuality for brown men. Instead of taking such categories as men, women, and the nation as a priori categories, Bulosan`s text prods us to attend to the historically and socially contingent production of gender, sexuality and nationness. I call this Bulosan`s queering of nationalism and identify the text`s openness to feminist concerns in such an ambivalent and strategic deployment of nationalism.
7,800
초록보기
Since the second wave of the feminist movement in the United States, feminist theories and criticism have attempted to renegotiate the status quo and modify gender relations and representations in all social, political, economic, and cultural arenas. Children`s drama has been one of the fields that that has been slow in terms of embracing the modified and advanced gender consciousness. Mainstream theater productions for children and young adults still are not only lacking in number of productions but also in need of more creative new materials to meet the changes in the psychological development of children and young adults today. Any kind of cultural impact for children at an early age can be powerful and long lasting, since they internalize gender concepts as early as they are able to recognize differences in people. This article examines representation of female protagonists in children`s drama from a feminist perspective. Historically, children`s literature has been regarded as marginal and peripheral, just as women`s literature has been devalued in the history of literature. Although there has been a growing body of scholarship on feminist theory and criticism in children`s literature since the 1990s, mainstream children`s theater has been frequently presented with adaptations of fairy tales and Disney movies and adventure stories that are still limited in their scope, topicality, and characterization. Particularly lacking in current children`s theater and drama are strong well-developed young female protagonists whom any audience of children and young adults, regardless of age and gender, can easily identify with. Suzan Zeder`s plays for a young audience cover a wide range of topics and familiar theatrical devices borrowed from traditional fairy tales and children`s literature, blending fantasy and realism. More than anything else, her female protagonists go through internal change and depart from the traditional female protagonists, whose femininity is frequently associated with passivity and docileness. Both Ellie in Step on a Crack (1974) and Girl in Mother Hicks (1990) are the best examples of an androgynous young female protagonist who struggles to adjust to a major change in life. Theater practitioners must seek mature themes and use a wide range of theatrical devices that are socially and psychologically relevant to the needs of contemporary young audiences.

“Eliminating the Female”: The Problematics of the State and Gender in Macbeth

( Sarah Antinora )
6,800
초록보기
Although Janet Adelman`s important “‘Born of Woman’: Fantasies of Maternal Power in Macbeth” first appeared more than two decades ago, her claim that Macbeth enacts an elimination of the female as a solution to the problems of masculinity still inspires much debate. However, rather than a “solution,” a term that implies resolution, this article posits that Macbeth intentionally leaves the audience ill at ease. This discomfort at the close of the play can best be elucidated by an application of two key Hegelian theories: the Hegelian state and the master/slave dialectic. Although Shakespeare offers a solution to the two large crises of the play-those of gender roles and disruption of monarchy-the solution is complicated by the play`s elimination of the female. Instead of leaving the audience with a sense of restoration of order, Macbeth illustrates that the enactment of an all-male realm is one that not only threatens the stability of both genders but that of the state as well.

Male Violence and Female Body in Kang Han`s "Vegetarian"

( Yoo Jin Choi )
7,100
초록보기
This article examines the connotation of meat in Kang Han`s "Vegetarian" and addresses its connection with male violence and female resistance. First, it explores the family relationships, specifically, of father-daughter and husband-wife within the Korean sociocultural context. Second, the meaning of meat is explicated within the parameters of patriarchal culture, which is employed as a useful framework that documents the origins of gender dichotomies in Korea. Third and most importantly, this paper elucidates the cultural messages written on Young-hye`s body through the process of detecting male violence in the text and by focusing on the heroine`s performance. The last scene of "Vegetarian" presents the most explicit and powerful protest through the protagonist`s body and its language. By crossing and re-crossing the boundary of meateater and vegetarian, Young-hye`s body paralyzes the system of patriarchy and demolishes the hierarchical gender dichotomy; furthermore, it envisions the possibility of a new paradigm, the horizontal partnership between male and female.
6,400
초록보기
This study on Hedda Gabler by Henrik Ibsen examines the significance of Hedda`s invisible dancing body exploring her life and death. By examining her dance, I attempt to clarify her active resistance in her death. While prior studies have not considered why Hedda`s dance is not visible but audible, this study challenges with a new point of view to read Hedda Gabler with regard to the social repression acting on a woman`s body. If it were not for the invisible dance, her destructive behavior would have been suitable as a maneating temptress`s acts, and her suicide would have been a total failure in a patriarchal society. This study on the invisible dancing body opens the possibility of reaffirming that her destructive behavior originated from inauthenticity and restrictions on her body, that her dance could be from a thirst for absolute freedom, and that her suicide could result from her final independent will and courage to resist patriarchal society
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