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 : 24권 2호 (2016)

방종과 반동 사이에서 여성되기: 에리카 종의 『날기의 두려움』

김명주 ( Myung-joo Kim )
6,400
초록보기
Erica Jong`s Fear of Flying has garnered widespread compliment and criticism at the same time since its publication in 1973 due to its explicit depiction of female sexuality. In this paper, I maintain that while Jong as a feminist courageously challenges a commonly held sexual script with her female protagonist, Isadora Wing, who is sexually licentious indeed, her identity is nonetheless torn between a sexually liberated feminist and a lover whose passionate pursuit for committed love could be misconstrued as backlash against feminism. In the novel, Jong attempts to create a new way of ``becoming a woman`` in a Deleuzian sense: in this case, a woman who loves a man with passion and preserves her own identity, which has been difficult to attain in this patriarchal world where love costs identity for women. I claim that Jong`s adoption of comic elements including irony and self-caricature as narrative strategies makes a smart contribution to paving her own unique way against feminist and anti-feminist hostility, and her seemingly irrelevant exploration into Jewish identity rather effectively strengthens the novel`s theme of ``becoming a woman.``
6,600
초록보기
Kiss of the Spider Woman problematizes the oppositional divides of politics and desire, masculinity and femininity, and heterosexuality and homosexuality. Valentin and Molina seduce each other, learn through dialogism, and reflect on their own shadows. Valentin ignored love and individual pleasure in the name of Marxist ideology and political responsibility for social change. However, he comes to accept the importance of private needs and feelings, and the imperative to examine his machismo. Molina conforms to male-dominant gender norms while he values femininity and criticizes effeminophobia. Valentin encourages Molina to raise his political consciousness about oppression and to develop self-respect. Valentin and Molina teach each other and make one another explore their contradictions. Telling tales about films functions as a means to communicate with each other and to bridge between reality and fantasy. Molina adopts and manipulates diverse film narratives to come into close relation with Valentin. Finally, in a reversal of roles, Valentin becomes the storyteller, and Molina becomes involved in political activism. In his Kiss of the Spider Woman, Puig seeks an integration of reason and heart, as well as sexual liberation and political progress, at the spot where the boundary of "I" and "You" is blurry.
6,900
초록보기
Observing how some female science fiction writers deal with sexuality and love in the technoscience age, this essay proposes a new genre of science fiction-that is, female science fiction romance (female SF romance). While most of the SF writers tend to present human-like robots as threatening and monstrous figures, some SF female writers, such as Anne McCaffrey, James Tiptree Jr., Shariann Lewit, and Tanith Lee, endow them with partnership in human evolution. Following the narrative structure of popular romance novels, the female SF writers represent the partnership as love between humans and robots. Love with robots they depict explores not only women`s sexuality and desire in help of technology unlike traditional romance narrative, which expands and reinforces women`s gender roles as good wife and good mother, but those of the posthuman that is seamlessly interconnected with technology. Analyzing romances in female SF romance texts, the essay argues that for the posthuman, love is no longer a transcendental and metaphysical concept, but a transformative power that operates through interconnectivity and interactivity with the Other. Posthuman love with the transformative power, the essay suggests, is an ethic for the posthuman to live well with technoscience. Indeed, in our posthuman environment where many scientists and sociologists expect that love, as a sexual and emotional communication, with robots will be realized soon, female SF romance is a valuable text to portray the direction of the posthuman`s emotional evolution.

채털리 혁명의 질문: "이 책이 부인이나 하인들에게 읽게 할 책입니까?"

우정민 ( Jung Min Woo )
6,900
초록보기
This essay aims to analyze the historical obscenity trial that took place after the publication of Lady Chatterley`s Lover, and to suggest its socio-political message in regard to freedom, equality, and ownership. First published and briefly circulated in Florence in 1928, then in Paris the following year, the novel was immediately banned under the Obscenity Law. In 1959 and 1960, the two gallant international publishers decided to print and circulate the unexpurgated edition in the US and the UK. In the UK, the publication led not only to the monumental trial of the century but also fierce public fracas. As a result, the English literary market gained not only the freedom to publicize such long-banned profane words as "fuck" or "cunt," but also the unprecedented sales record outselling even the Bible. More importantly, the 1960 trial was not so much a quarrel about the sexual explicitness of a work as a moral and political battle over who could access and purchase corrupting-therefore censored-materials. Eventually, the Lady Chatterley trial opened up to a vigorous and productive social debate on cultural democratization by provoking multi-dimensional narratives on class, gender, and censorship.

『조용한 오딧세이』: 역사의 주체로서 삶 쓰기

이소희 ( So-hee Lee )
11,900
초록보기
The purpose of this paper is to contextualize and analyse Mary Paik Lee`s life writing, Quiet Odyssey: A Pioneer Korean Woman in America (1990), from two perspectives: the autobiographical narrative as a subject of history, and the historiographical narrative as a social commentary, heavily editied by historian, Sucheng Chan. In sixteen brief chapters, this energetic and determined optimist recounted the vicissitudes of a poverty-stricken Korean woman growing up in California with a long history of anti-Asian sentiment and practices during the first half of the 20th century. Although it is significant because of the scarcity of such works by Asian women, as well as by one of six hundred Korean women who came to the United States before 1905, it is clearly a sanitized memoir that Lee wanted "to pass down to posterity." It is very conspicuous that awareness of the harsh existence of family and community members back in Korea under Japanese colonial rule profoundly shaped the nationalism of Korean Americans. On the other hand, Mary Paik Lee is very keen on racism, rather than sexism, influenced by her lifelong experience in California. The detailed appendices describe the process by which Chan tackled and verified Lee`s manuscript, explain how the Lees actually farmed their land, and briefly summarize Korean rice cultivation in California from 1910 to 1925. Such a strong historical verification makes this autobiography the most prominent and reliable historiography among the early autobiographical narratives by Asian American women. Therefore, readers are able to gain a much better sense of the lives of Asian American women in rural California, through sustained glimpses of their arenas of struggle and survival. In short, Quiet Odyssey is an important contribution to Asian American history because it provides an insider`s perspective on women and Korean Americans, both of which comprise an increasingly significant dimension of the Asian American experience. Furthermore, it reminds us of the continued importance of collecting personal narratives and documenting life stories-to preserve the complex details of women`s lives.

여성 서사와 시의 정치: 뮤리얼 루카이저의 『사자의 서』다시 읽기

정은귀 ( Eun-gwi Chung )
7,700
초록보기
Susan Friedman`s essay on the long poem invites us to rethink its uneasy position within the generic grid of genres in poetry and to reinterpret the epic tradition in modern poetics. Taking four strategies of ironist, historicist, re-visionist, or experimentalist, Friedman excavates modern female poets from H. D. to Loy, Ostriker, Grahn, and Warland and explains how they successfully feminize the masculine-codes of the epic genre. This paper, at once sharing her position to feminize the phallic code of the epic genre, goes against the grain of the critic methodology that proposes the woman`s long poems take the form of feminizing the epic genre. Rather, by revisiting Muriel Rukeyser`s The Book of the Dead in terms of female narrative and the politics of poetry, this essay argues that Rukeyser successfully reworks modern epic conventions and composes a national elegy and narrative of modern America. Reading The Book of the Dead as a woman`s American epic is to relocate Rukeyser who was erased in the literary history for a long time in the landscape of modern poetics. In the process of remapping the American epic tradition, this essay focuses on the relationships between gender and genres, between poetry and politics, between voices and truth. Beginning with the questions embedded in the nature of genres, unmixed and mixed, my reading probes Muriel Rukeyser`s quest to construct a woman`s American epic in the male-centered literary tradition and concludes that her serial poems in The Book of the Dead offer us the chance to re-envision a genre that questions the long-standing tenets about the long poem, literary tradition, and poetic authority.

편지 쓰기, 상상적 여성 담론 공동체와 마가렛 카벤디쉬의 『사교 편지』

지승아 ( Seung-a Ji )
6,400
초록보기
Margaret Cavendish`s Sociable Letters is not a collection of her letters to real persons but that of her fictional letters to an imagined female addressee. Cavendish discusses a variety of social, political, and cultural issues with the addressee, and her letters can be read as a critical epistolary conversation. As early modern English women were generally unable to participate in political events and public discourses, they used letters as a medium of self-expression and social interaction. Letter writing was for them a self-conscious activity through which they intervened in a masculine world of learning and constructed an alternative female discursive community. Cavendish gives advice on love and marriage, discusses political issues, and criticizes literary works in her letters. I pay particular attention to the way in which Cavendish constructs epistolary space as a form of theater. In this epistolary theater, I contend Cavendish builds an intellectual female network, constituting women as reading and writing subjects. Though her letters are fictional, it is crucial that they are not one-sided interchange but mutual, intersubjective cultural practices. Ultimately letter writing is for Cavendish a creative, rhetorical strategy designed to generate a reading public that responds to a wide variety of her thoughts and writings.
6,200
초록보기
Written in the style of a classic Gothic novel, Susan Hill`s The Woman in Black (1983) has been critically applauded as ``the most celebrated ghost story of modern times`` and made into a stage play, TV drama, and feature film. This old fashioned Gothic ghost story begins with a retired elderly man, Arthur Kipps, and his family gathering and sharing ghost stories in front of a roaring fire on Christmas eve. Instead of telling his story aloud too terrifying and disturbing to be told, however, the narrator writes his horrific experiences in which as an up-and-coming young solicitor, he went on a business trip to a faraway small English town in the windswept salt marshes haunted by a menacing specter, ``the woman in black.`` From a socio-historical perspective, this paper concerns the cultural significances of ``a poor, crazed, troubled woman in black,`` an unmarried mother who died of grief and distress in the Victorian era but keeps returning in a demented, sinister, creepy spirit form in the Edwardian era. Especially, considering Thatcherism in the 1980s when the novel was first published as well as the Victorian and Edwardian eras in which the novel is set, this paper explores the ways the novel featuring the gothic presence of mystery, supernatural, dark aspects of life represents social fear and anxiety in terms of vengeful mother, rational father, and communal silence.

인어설화의 현대적 진화 I: < 바다에서 온 여인 >과 입센의 모더니즘

최성희 ( Sung Hee Choi )
6,800
초록보기
Focusing on the mermaid motif in Henrik Ibsen`s The Lady from the Sea (1888), this study attempts to show 1) how the image of mermaid in the play has evolved from traditional mermaid stories 2) the ways Ibsen problematizes and subverts patriarchism, Christianism, and melodramatic romanticism embedded in the old tales from ancient, medieval, and romantic era and 3) how Ibsen`s unique modernism creates a modern mermaid whose symbolic significance is "overdetermined" by the intersection of romanticism, realism and modernism. First, I overview the genealogy of western mermaid tales/folklores from the sirens in Odyssey to Hans Andersen`s The Little Mermaid to highlight the critical differences between conventional mermaids and Ellida, the heroine of The Lady from the Sea. Then with Ellida, I examine how the dilemma of modern women searching for new identity, new life, new relationship is projected onto this mysterious and miserable woman dubbed by Ibsen as a "half-dead mermaid." Lastly, I re-evaluate the controversial ending of the play to argue that, contrary to the general dismissal of the ending as failure or stopgap, Ibsen intentionally and strategically creates dialectical tension and mutual alienation between myth and realism to emphasize the dangers and limits of our romantic yearning for idealism. Ellida is a modern mermaid who freely chooses to descend from mythic idealism to everyday life/language with which she articulates her fears, envisions new hopes, and takes roots in the ground/reality.
1