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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 : 25권 1호 (2017)

Male Bonding and Reciprocity in Words in Anne Bronte`s The Tenant of Wildfell Hall

( Jung Sun Choi )
7,000
초록보기
This essay argues that the narrative structure of The Tenant of Wildfell Hall is architecturally made to explore the meanings and effects of gift exchange. The gift exchange is more aligned with patriarchal ideology that endorses men`s alliance and that tends to ignore the presence of female participation. In other words, The Tenant of Wildfell Hall is Bronte`s gift to the reading public about the failure of female freedom rather than female subversion. The novel`s strategic design intermittently allows a woman to experience triumph. However, through setting Gilbert as the main narrator and Halford as the intended reader in the outer form of the narrative, it only shows that efforts to achieve woman`s freedom can work, but not often, only within the given scope assigned by male authority, and also at a small scale. When it happens, it often accompanies an illusion that women can achieve freedom by their efforts or sacrifice. Assuming that gift exchange is a man`s realm, Bronte`s presentation of a gift economy aims to elucidate how men establish an intimate alliance and, moreover, how male participants in the gift exchange treat women as the gifted object. Furthermore, in examining the nature of a gift between men, this essay focuses on the exchange of desire, a desire that often lies on the liminal line between homosocial and homosexual. Yet, conclusively, the identity of sexual desire, as Bronte shows, does not make any difference when it comes to the oppression of women.
6,500
초록보기
Due to the mutually reinforcing link between technology and the masculinist ideology, feminist theories have maintained a fraught relationship to technology. This tendency is mirrored by women`s science fiction, which has a long and rich tradition of dystopian critique yet suffers from a dearth of positive imaginings of women`s relationship to technology and occasionally verges on uncritical technophobia. Drawing attention to the need to envision an alternative relationship between women and technology, this article revisits the concept of cyborg proposed in Donna Haraway`s “A Cyborg Manifesto” and examines Anne McCaffrey`s The Ship Who Sang as a flawed yet meaningful attempt at a cyborg identity and a positive relationship between women and technology. It argues that the traditional femininity of the cyborg protagonist and the conventional plot centering her romantic quest of the novel function to subvert the norms of gender, technology, and their relationship.

Reframing Frankenstein: A Narratological Study of Shelley Jackson`s Patchwork Girl

( Eun Kyung Min )
11,900
초록보기
This essay reads Shelley Jackson`s Patchwork Girl as a hypertext rewriting of Mary Shelley`s Frankenstein and argues that the distinctive achievement of Jackson`s work can be understood in terms of her virtuoso manipulations of both literary and hypertext frames. Previous interpretations of Jackson`s hypertext novel have not taken seriously enough the relevance of Mary Shelley`s novel to our understanding of Jackson`s work. This essay offers a corrective via a narratological analysis of frame structure in both Shelley`s and Jackson`s works. If Shelley uses frame narratives to emphasize the dramatic function of narrative and to invite questions about narrative closure and form, Jackson uses hypertext window frames to comment on the limits of Shelley`s work and to dismantle linear narrative form and language in a radical way. Through her manipulation of hypertext frames, Jackson defines femininity in rhetorical terms as metalepsis, the unmediated transition between different narrative levels as well as narrative times. Jackson also uses the fragmentary form of hypertext lexia to parody in both comic and grotesque fashion the fragmentation of the female body by the male oedipal gaze. While not all hyperfiction can be summed up as feminist in design and intent, Jackson`s hypertextual feminism suggests intriguing ways in which hypertext can be mobilized for feminist literary practice.
6,600
초록보기
Women`s self-fashioning and performativity effectively functioned to camouflage their ambition and assertiveness in pursuing their political aims; lurking under the mask of conformity to and compliance with Victorian/Edwardian expectations was the beginning of the destruction of women`s roles. Self-fashioning and performativity endowed women with a multiplicity that was not confined to a single identity but conferred social identities on women in both the public and political spheres, resisting patriarchal gender codification. Vida, the main protagonist, adopts actresses` methods of self-fashioning and performativity by disguising herself as a miserable heroine of melodrama in order to unite herself with women of other classes and transform her agony into a negotiating point for obtaining women`s right to vote. Vida`s body becomes a venue to overcome class differences among women and a locus for achieving better legal status for women. Her versatility demonstrates the multi-faceted features of the modern woman and the possibility of women`s active involvement in political actions in the public sphere. Vida`s multiplicity of social identities, attained through self-fashioning and performativity, offer Edwardian society an opportunity to include other genders and classes in the political space after the fin de siecle moment. Vida`s conversion to a suffragist is a conversion that society must undergo as well. The Convert, published at a critical point in time with regard to political change, needs to reflect the change society must make in order to be just to all genders and classes.
7,000
초록보기
Thomas Piketty has cited Henry James in his globally influential Capital in the Twenty-First Century (2013), arguing that he represents in his novels the social reality of nineteenth-century rentier capitalism. Drawing attention to this analysis, I raise in this paper two questions: 1) Is the historical reality of James`s America towards the turn of the twentieth century, as Piketty assumes, a variant on a similar reality in Austen and Balzac`s Europe? 2) Is realist fiction a source reservoir of economic reality per se in the given historical era? To defend fiction`s power to creatively represent social reality, and, specifically, James`s unique success in capturing the particular economic reality of fin-de-siecle America, I focus upon The Ambassadors (1903). Fredric Jameson has persistently denied James a true historical awareness, arguing that James`s falsely enlarged technique of point of view leads to an avoidance of the material reality of his time. Opposing Jameson, I argue that James`s choice to narrow the diegetic world of the novel to the limited experience of the novel`s hero, Lambert Strether, aptly represents the reality of American capitalism at the time a system which was, if we correct Piketty`s undifferentiated idea of rentier capitalism by a rigorous distinction of its phases, at that moment transforming itself from industrial capitalism to financial capitalism. Strether, who in many particulars transgresses hegemonic masculinity, provides the perfect lens for examining the complexly gendered reality of this transformation. I introduce Gustave Flaubert`s L`Education sentimentale as a model text through which we can understand how James imagined the conflict between the dominating logic of economic production and the resisting logic of cultural production in the Bourdieusian sense: though the middle-aged Strether is a loser in the practical sense, James makes him a true hero. I argue that James challenges the pervasive logic of turn-of-the-century American capitalism and its protean appropriation of established gender and social roles by proposing an alternative modernity based upon queer resistance.
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