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논문검색은 역시 페이퍼서치


Feminist Stidies in English Literature

  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-9689
  • - 간행물명 변경 사항 :
수록 범위 : 24권 1호 (2016)
More than four hundred thousand women from the Asia-Pacific region were drafted or cheated into military sexual slavery by Japan during WWII. To date, the Japanese government has yet to issue official apology for this crime against human rights. In this paper, I examine the historical trajectories involved in the issue of Taiwanese “comfort women,” and to analyze written documents on these grandmothers, along with their testimonial narratives as presented in the first documentary film about Taiwanese “comfort women,” A Secret Buried for Fifty Years: Taiwanese Comfort Women (1998). The first part of my article briefly outlines the history of Taiwan’s colonization under Japan and the recruitment of military sexual slaves on the island, then discusses the rise and backlashes against the redress campaign for the grandmothers vis-a-vis Taiwanese internal political struggles; the second part comprises an analysis of the life narratives of the grandmothers as represented in the film, as well as their affective responses to the sexual violence and violation they have experienced, especially in relation to the issue of language.

Hijacking the Type: Cathy Park Hong`s Poetry against Conceptual Whiteness

( Robert Grotjohn )
This essay considers the participation of Cathy Park Hong in a movement of diverse writers of color in the U.S. That movement struggles against the white privilege that appropriates non-white ethnicity, as in the work of conceptual poets Vanessa Place and Kenneth Goldsmith, while excluding people of color themselves, as many have argued is the case with the avant-garde and, specifically, conceptual poetry. Hong, among others, has engaged the conceptual poets in essays and recent poems, calling them out for their exclusive and appropriative white privilege. The discussion in which she participates includes many voices in an ethnic pastiche that demonstrates Ramon Saldivar’s theorization of a “post-race” aesthetic. Four poems by Hong, each with a marginalized woman speaker or main character, use that aesthetic to force examination of sexist and racist practices in the American avant-garde.

Edna`s Revolt through the Homosexual Disposition: The Awakening

( Namyeob Hwang )
The Awakening is a transversive and controversial literary work that challenges male-centered ideology regarding femininity, where women are considered to be wives and mothers whose duties and responsibilities revolve around everyone but themselves. Children and husbands are placed above self, and as a result personal pursuits and happiness are sacrificed. Edna, through the homosexual disposition, rejects these limiting roles through the nurturing relationships of her female friends, Adele and Reisz. Adele, who is passive and self-sacrificing, and Reisz, who is self-reliant, raise sexual consciousness in Edna, through which she becomes an active agent in her pursuit for sexual independence. Dissatisfied with her husband emotionally and sexually, Edna rejects Leonce in pursuit of her own physical pleasures, while also satisfying herself emotionally with her bonds and love among her female friends. Edna’s rejection of the idealized woman creates a dilemma which Edna eventually chooses suicide as a response to the sexual prejudice and limitations she faced among both men and women of her time. But what is of importance is that her self-destruction is not an act of weakness, but a powerful resolution not to negotiate with the patriarchal hegemony. Through her self-destruction, Edna seeks a third world where sexual prejudice is non-existent.
The paper discusses continuing efforts to represent Korean comfort women by various English novel writers of different ethnic and national backgrounds. Expanding the question raised by Laura Hyun Yi Kang in “Conjuring ‘Comfort Women,’” where she notes how comfort women novels in English are governed by “techniques” and “protocols” to create “a good novel in English” as much as they aim to realize justice, I engage with the discussion of ethics and representation of comfort women and then consider literary strategies found in creating comfort women narratives in English. Reading two recently published comfort women novels, Kalliope Lee’s Sunday Girl and Mark Sampson’s Sad Peninsula, the paper highlights how the distance, or the lack of it, between the narrator/witness and comfort women characters, affects the narrativization of comfort women’s histories. Questioning the validity or the effects of the so-called vicarious experience of pain through reading, the paper discusses the intended distance-erasing strategy revealed in Lee’s Sunday Girl, where the Korean American female narrators/witnesses are connected to comfort women through the shared experience of sexual violation. It also examines Mark Sampson’s Sad Peninsula which highlights distance between the white male narrator/witness and a Korean comfort woman and questions the representational desire of the writing subject. In the process, the paper contemplates how the ethics of representation and writerly desire to create good stories can be balanced and also how the power to move people to change the reality of the present and the future can ever be realized in written pages.

Mixing Memory and Science: Kimiko Hahn`s Toxic Flora and the Idea of Home

( Yuko Matsukawa )
Toxic Flora (2010) marks a significant departure from Asian American poet Kimiko Hahn’s previous poetry collections in terms of subject matter and form. These poems have their origins in various science articles from the New York Times and serve as meditations on nature and human nature, punctuated with musings by an “I” whose voice seems more mature and quietly confident compared to Hahn’s previous collections. However, when read in the context of her other work, we see that the issues she is most passionate about subjectivity, language, home- continue to weave themselves into the fabric of Toxic Flora. In Toxic Flora, in addition to the usual themes, there is a new intellectual curiosity for things scientific and a strong sense of discovering “In things the most unlike some qualities / Having relationship and family ties” (from Memoirs of the Life of Sir Humphrey Davy) as she notes in the epigraph of her book. The poems are grouped into sections with topics running the gamut from insects to birds to planets to extinct species to sea creatures to dinosaurs to the brain, divided by short paragraphs that provide a running commentary on sexual cannibalism. The science articles, which serve as an archive of public memory, are tied to personal memories about family and friends of the poems’ speaker as she “traces analogies” and “fervent geography.” Through these, she gains new ways to organize her life by acknowledging the passage of time: for instance, a past marriage is like an extinct animal; Maui, her mother’s childhood home, becomes a Darwinian locale; her late mother is memorialized in the heavens; and her concerns about her grown daughters alter. Thus, the act of remembering and sorting via science reconfigures family and home for Hahn’s poetic alter ego to redefine herself in the twenty-first century.

Traumatic Procreations: Frankenstein, Heterophobia, and the Fear of (Re)production

( Hyungji Park )
Frankenstein, birthed within an extraordinary sequence of pregnancy, childbirth, and child loss for its author Mary Shelley, has long been placed alongside Shelley’s biography to discuss how issues of reproduction and parental responsibility inflect the “creation” of human life. Procreation in Frankenstein is complex: whether the creation of humans involves electricity, magnetism, or any number of electric human emotions such as lust, “the cause of generation and life” remains mysterious and ineffable. Procreation also carries ongoing responsibilities childcare, education, a creator’s responsibility toward his progeny which not all creators are willing to acknowledge. Victor Frankenstein, in a particularly bad case of fathering, flees from his “baby” the first time he sets eyes on it. As soon as the creature is animated, Victor feels a tremendous revulsion, against the science that led him to his act, against the acknowledgement of his paternity, and against the creature itself. What might be the causes of Victor’s revulsion? Such causes can be found, I suggest, in the creature’s incarnation of difference (racial, sexual, and otherwise), and Victor’s own heterophobia.