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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 3호 (2016)

Flee from Sex and Gender: Utopias in Second-Wave Feminist Science Fiction

( Sunyoung Ahn )
This article discusses how sex and gender are set as a non-problem in some feminist utopias of second-wave feminism. An examination of the utopias of Ursula K. Le Guin`s The Left Hand of Darkness (1969), Joanna Russ`s The Female Man (1975), and Octavia E. Butler`s Xenogenesis Trilogy (1987-1989) reveals that, in the process of envisioning a feminist utopia, the authors render genderlessness an a priori condition, which has the unintended effect of obviating the necessity of transforming the existent condition. This article demonstrates how these kinds of utopias that eliminate sexual and gender conflicts in advance made available by exiting Earth and allying with aliens are historically unattainable, and argues, via materialist thought, for the importance of imagining the utopia developed in and through changing material circumstances. The article suggests that part of the reason for the evasive aspect of the utopias coming out of this politically charged era is found in the contradicting historical forces of the time, with politics of redistribution and restructuration, postmodern ethos, and neoliberal current in tension.
There has been a conflict among Victorianists in interpreting Christina Rossetti`s Goblin Market as to whether it should be upheld as a Utopian or subversive project. I argue that these contrasting strands existing in the poem demonstrate Rossetti`s unique feminist-religious poetics that contain both utopian solution for and subversive critiques against Victorian society and mores. While many critics tend to emphasize either aspect of the poem, it is crucial to read the poem as a dialectical movement between the utopian and the subversive to go beyond a simple binary opposition between the fantastic and the real, the masculine and the feminine, the bestial and the human, nature and the sheltered home which has long framed the Victorian separate sphere ideology. By offering an overview of the history of feminist criticism on Goblin Market, this paper aims to demonstrate how such oppositional values are intertwined in its narrative development and how its boundary-crossing gestures contribute to Rossetti`s unique feminist poetics that ultimately advocates for a strongly conscious female self and autonomy.

Reading Gertrude Stein, Lyn Hejinian, and Rosmarie Waldrop

( Tae Yun Lim )
How does Judith Butler`s speech act theory help us to read Gertrude Stein, Lyn Hejinian and Rosmarie Waldrop`s language-centered poetry? In this paper, I seek to demonstrate how Butler`s theory in particular her concepts of “performative” and “perlocutionary” language allows us to discern and describe different types of female subjectivity in Stein, Hejinian, and Waldrop`s experimental writings. Their poetic languages are good examples of Butler`s notion of the “differently” enacted and repeated language of misconception. Instead of having fantasies about Adam`s language before the Tower of Babel, they use their unpredictable languages to benefit those who are in subordinate positions in the realm of language, including women. By giving such people chances to revise, recreate, and restage the signifiers in different contexts, these female avant-gardists attempt to reconstruct speaking subjects as infinitely alternative subjects. And this vulnerability further opens up the possibility of counter-speeches against conventional ones, bringing some disruption in existing gender power dynamics and creating an alternative speaking subject.

Staging Dis/embodied Memories: Adoptee Memoirs in Performance

( Eunha Na )
Focusing on recent women`s solo performances on transnational adoption, this paper examines the ways in which the female body in performance challenges as well as reproduces prevalent narratives around adoption such as fantasies of identity and origin. In N/A (2012) by Katie Leo and Motherlanded (2016) by Julia Gay, the performer`s body becomes a source of knowledge and a site of frustration, through which she discovers and reimagines her ties to her mother/land. Leo`s investigation into her blood/muscle memory and Gay`s (un)doing of gendered and ethnicized spectacles highlight each performer`s inseparable connection to places of origin. Such associations, however, are disrupted by ambivalent (if not troubling) moments of dis-identification when the body reaches the impasse of understanding and reconciliation beyond the bodily imagination. By exploring how a gendered and ethnicized body reconstructs personal and national histories in the embodied space of theater, this study further considers the contingencies of transforming personal narratives into public discourses.

Glaspell`s House of Her Own: Revisiting the Subject and Genre of Alison`s House

( Aegyung Noh )
In a departure from previous critical approaches to Alison`s House, this study aims to move beyond their core premise that the play mainly retells the life of Emily Dickinson, redirecting its focus to the playwright Susan Glaspell invested in the play. “The play was in no way founded on the life of Dickinson,” the writer said, as “it grew out of a feeling for her work and character.” Glaspell`s empathic portrayal of Dickinson is more than a mere participation in the nationwide centennial celebration of the poet in 1930, since its conjuration of women`s literary tradition registers the playwright`s own personal urgency to locate herself in the tradition of her peers. Following up with Sandra Gilbert`s and Susan Gubar`s flitting mention of Alison`s House as one of the modern women writers` attempts to “affiliate” with their female predecessors, this study explores the biographical context surrounding the play`s composition in search of a motive for Glaspell`s affiliation with a poet mother, with a special emphasis on her dynamic with George Cram Cook, her husband, and founder of the Provincetown Players. Besides Glaspell`s subject choice, an equal weight is given to her generic form in this study. Her playwriting for the Provincetown Players was initially carried on under Cook`s insistence and she eventually felt it encroaching on her writer`s autonomy and career in fiction, which she would call “my own writing.” This study suggests a possibility that the generic form of Alison`s House, Glaspell`s first and last play to be staged and published as a solo after Cook`s death, may have been a contemplated formal maneuver to refute his control over her playwriting decision and proclaim her to be a single authority that counted in her generic choice. In this reading, Glaspell`s form resonates with the larger message of her subject, which is a matrilineal authority to support her writing as a woman.
Charlotte Smith`s Elegiac Sonnets (1784) marked a turning point in the revival of the sonnet in the late eighteenth century. Returning to the formal and stylistic characteristics of the sonnet that she adapts from the Italian sonnet`s medieval originator, Petrarch, Smith blends aesthetic and formal features of the elegy with the sonnet in her works. Sonnets typically feature feminine figures of desire causing frustration, even depression, for the poet-lover; the bleaker emotions expressed by sonneteers in their works cohere with the melancholic tones of the elegy, a poetic form commemorating the dead. Both sonnets and elegies deal with pain and loss, and Smith heightens the feelings between the speaker and muse, especially in the sonnets she adapts from Petrarch. Smith`s revival of the sonnet form allowed her to explore the darker moods, tones, and tensions of frustrated same-sex desire. Smith`s literary hybridity in the Elegiac Sonnets advances her aesthetic of suffering, which influenced her choice of these forms. Smith wanted, above all, to establish a new discourse focused on pain: suffering as art. This article considers the aesthetic of suffering in Smith`s treatment of same-sex desire in the new hybrid form.