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 : 25권 2호 (2017)
6,700
초록보기
Dorothy Richardson`s thirteen-volume novel Pilgrimage presents a single woman`s life as a continuous process without offering any traditional sense of resolution or ending. With its emphasis on detail and with its use of unpunctuated prose, the novel gained the reputation of being unreadable and was criticized for generating boredom. Drawing attention to its serial form and style, this essay investigates how Richardson`s literary experiment constructs a new type of reading subject whose relation to textual space should be different from that of the nineteenth-century readers. In her pursuit of serial form in depicting the portrait of an artist as a young woman, Richardson thematizes boredom as integral to her feminist strategies to express critical dissent from dominant narratives of gender. Through her essay “About Punctuation,” her preface to Pilgrimage, and scenes of reading in the novel, Richardson argues that “feminine prose” distinguished from nineteenth-century masculine realism should be properly unpunctuated to the extent that one`s reading speed must be encumbered so that readers can question norms implicated in standard punctuation. Promoting “the slow, attentive reading” by using experimental punctuation and detail, Richardson`s prose style highlights readers` creative collaboration and allows readers to experience non-homogenous temporalities and spatialities. Richardson`s aesthetics of slowness serves to constitute modernist readers, who were required to adopt a new reading strategy to overcome boredom while encountering unreadable texts and to appreciate aesthetic values of new modes of writing though active participation in textual production.

소녀 예술가의 초상: 올콧의 『작은 아씨들』에 나타난 리터러시와 젠더

신경숙 ( Kyung-sook Shin )
6,400
초록보기
Children`s literature is primarily to improve children`s literacy― whether for simply reading and writing or for making significant meanings of one`s life in various ways. Ever since its modern birth in the mid-eighteenth century, children`s literature has often advocated literacy, but it also constructed childhood as the period in which literacy should be acquired and sufficiently commanded. Literacy thus contributed to the formation of a modern citizen and a modern child. And the citizens that it helped fashion are gendered citizens as literacy itself has nurtured gendered readers and writers. This essay analyzes Louisa May Alcott`s juvenile fiction, Little Women (1868-69) in order to show how gendered literacy is deployed by the “tomboy” character, Jo March. I argue that Little Women is the portrait of the artist as a young girl. Alcott`s Jo, as a girl artist, makes the best of gendered literacy. Jo`s playful physical, cultural, and literary cross-dressings are at once an act of rebellion and negotiation as a girl rather than a woman artist. I conclude that Jo`s (ad)venturing into and deployment of gendered literacy is an analogy of the wartime women`s literacy, which filled the lacuna in the world of male literacy during the American Civil War (1861-65).

『디어 리더』: 북한 남성의 자유를 향한 역사 기록적 삶쓰기

이소희 ( So-hee Lee )
7,400
초록보기
This paper explores the characteristics of a male North Korean defector`s narratives in Dear Leader, one of a growing number of co-written memoirs by North Korean defectors. Because it was written by a high-level insider―one at the very top of the North Korean power structure―who also happens to be an articulate and sensitive writer, with a vastly different perspective from that of a Westerner or a common North Korean escapee, Jang Jin-sung`s narrative, interwoven with the political and economic history in the public sphere and the psychological transformation in the personal sphere, can be classified as a conspicuous historiographic life writing from North Korea. While reminding us to reflect on the complexity of what it meant to grow up in the brutally repressive dynamics of the North Korean system with no freedom, Dear Leader is prominently unique and valuable not only as an insider`s account of the North Korean government but as the story of one individual searching for the freedom possible both inside and outside of that system. Interestingly, his gender identity is more sharply awakened in the defecting process in China than in his time inside North Korea. In short, Dear Leader has contributed to help change and improve the public perceptions of North Korea in the global community, and to elicit sympathy for ordinary North Koreans living under the political oppression with no choice of their own.

영화 <디 아워스>에서 시간 속에 갇힌 인물들

이형숙 ( Hyung-sook Lee )
6,700
초록보기
Stephen Daldry`s The Hours (2002) is an adaptation of Michael Cunningham`s The Hours: The Novel (1998), which recreates Virginia Woolf`s Mrs. Dalloway (1925). In Daldry`s film, as in Cunningham`s novel, Woolf herself appears as a character, and we are introduced to different versions of Clarissa Dalloway in different periods. In this unique postmodern text, the characters resemble one another, each becoming someone else`s reference. In a way, all of them are trapped in time―either the present or the past―and cannot move on with their lives. Virginia, a writer in the 1920s UK, suffers from depression surrounded by the stifling patriarchal medical authority; Laura, a lesbian housewife living in LA in the 1950s, feels suffocated in her heterosexual marriage; Clarissa, a lesbian book editor in 2000s New York, is still caught up in the memory of her unfulfilled love of a long time ago. This paper discusses how the film narrativizes and visualizes the characters` feelings of confinement not only through the unique storyline and characterization but also through specific film techniques. It also analyzes how the characters` acts of creation such as cooking or writing are portrayed as important methods of enduring and escaping time.
6,900
초록보기
This article analyzes the ways in which women control their bodies, intelligence, and subjectivity by employing a network of female gossips in Daniel Defoe`s Roxana (1724). Specifically, I focus on Amy`s role as a female “gossip”―one who attends a mother at child birth, according to its early modern etymology, and hence someone who colludes in establishing a collective female knowledge and experience that men are excluded from. Amy also spreads rumors, through “gossiping,” to corroborate Roxana`s multiple social performances, guises, and masquerades. The power of Roxana`s transformation, after all, lies in her ability to control and “reproduce” knowledge about her sexual history. Critics have paid scant attention to how Roxana and Amy manipulate the culture of childbirth to produce a body of secrecy. As gossips, they invent false stories and lies about their sexual past to navigate a male-centered political and economic nexus. Yet conscious that such a network is a turbulent one susceptible to surveillance, Roxana searches for new ways to refashion herself through imaginary gossip with the Quaker. By attending to scenes of labor and lying-in, I argue that the circulation of knowledge about women`s reproduction and the maternal body serves as a potent tool to construct female subjectivity.

<나를 닮은 얼굴>: 역/이주와 역/회귀, 상실과 차이의 간극 속에서

최유진 ( Yoo Jin Choi )
6,600
초록보기
Resilience (2009) is a documentary film about a Korean birthmother, Myung-ja Noh, and her son, Sung-wook Hyun/Brent Beesley, a Korean transnational adoptee who was adopted to America when he was a one-year-old baby. It scrutinizes and deconstructs the commonly misconceived, mythic representations in adoption discourses of birthmothers as abandoning mothers and adoptees as rescued orphans that have been re/generated and re/contextualized. It reveals and repositions the marginalized, or silenced, history of Korean transnational adoption to the forefront. Myung-ja`s narrative, which traces the trajectory from the loss of motherhood to maternal power, epitomizes the desire to reclaim motherhood upon her lost and found son, Sung-wook (Brent). This paper reads Sung-wook`s/Brent`s narrative as a return memoir that examines the loss, separation, and reunion begotten by Korean transnational adoption. By employing arguments and debates in trauma theory and adoption study, this article explores the pre-union, reunion, and post-reunion process between the Korean birthmother and the adoptee. Despite the healing aspects of Sung-wook`s/Brent`s return to the place of origin and the reunion with his birthmother, the return and reunion process manifests the disjuncture between Sung-wook`s pre-adopted self and Brent`s adopted self; as Sung-wook`s pre-adopted self, his Korean racial identity, engendered a sense of exclusivity in his adoptive family/country, Brent`s white cultural identity, his adopted self, generates another sense of unbelongingness within his birth family/country.
1