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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 : 27권 2호 (2019)

<소년은 울지 않는다>에 나타난 젠더와 섹슈얼리티

고강일 ( Kangyl Ko )
6,200
초록보기
This essay examines the 1999 biographical drama film Boys Don’t Cry, which represents the story of Brandon Teena, a transman, who was brutally killed by transphobic violence in 1993 in Nebraska. The first half of this essay queries the idea of masculinity as performance by exploring the film’s portrayal of the transsexual protagonist's transgressive gender presentation. Paying attention to how the cinematic text presents Brandon’s masculine performance, my essay analyzes the film as a queer text in which an alternative masculinity is presented against hegemonic masculinity. I also address the film’s indictment of transphobia shared by heteronormative men and women. In the second of the essay, I investigate the film’s queer dogma, which dismisses the transsexual subject’s desire and identity as symptoms of homophobic homosexuality. By looking closely at the last part of the film in which Brandon is unambiguously represented as a lesbian, this essay discusses marginalization of transsexuality in queer studies. In doing so, I refer to Jay Prosser’s critique of Judith Butler’s notions of transgender and transsexual, and examine how Boys Don’t Cry re-inscribes such queer dogma. This essay concludes that the film is an ambivalent text oscillating between an expression of subversive queerness and repressive transphobia.
7,500
초록보기
The Bildungsroman has exerted its influence since its advent and become a substantial genre in the volatile realm of literature. Although the bedrock of the genre, Bildung, is a philosophical and educational belief which appreciates one’s potential and development, the genre and its discourse have become ossified by its emphasis on one’s conservative integration into the society which is primarily symbolized as marriage. Hence, novels that portray resistance or insubordination of the characters are diminished as mere failures in the genre of the Bildungsroman. This paper, however, attempts to re-evaluate Kate Chopin’s The Awakening and Doris Lessing’s “To Room Nineteen” as examples of a Bildungsroman of the married women, and argues that the gist of the genre is not the cohesion between the individual and society but the thorough cognizance of one’s actual position in society. This paper first traces the operation of the “separate spheres” ideology which hinges on gender, and examines the protagonists’ astute recognition of their restricted circumstances under a patriarchal system when they choose death. This paper proposes that The Awakening and “To Room Nineteen,” where an individual accurately perceives her limitations and potential, can be understood not as errant versions of the genre but a different kind of Bildungsroman.
6,800
초록보기
In “Bliss,” Katherine Mansfield shows her use of free indirect discourse (FID). Mansfield’s FID expresses the dazzling feeling of bliss that the main character Bertha Young thinks she shares with her new female friend Pearl Fulton. The origin of Bertha’s bliss lies mysteriously hidden. At the end of the story she realizes with a shock that her feeling is not the “bliss” coming from Pearl Fulton, but “desire” for her husband Harry. She also discovers that Harry and Pearl Fulton are lovers, which means Pearl shares her own unique bliss, and the shared mood has the same origin for each love for Harry. In this short fiction, Mansfield builds up her own style of FID which does not construct sentences or phrases with definite meanings. Mansfield’s FID thus delays and interrupts the revelation of the veiled story of the text, the hidden love triangle among Bertha, Pearl, and Harry. Bertha seems to conceal the self-deceptive truth of her life. By pretending to experience a confused feeling of bliss and desire, Bertha seems to maintain her life of self-deception. The result is two different interpretations: first, Bertha is a self-deceived sympathizer of patriarchy; second, Bertha’s self-deception is the result of alienation by patriarchy.

『드라큘라』에 나타난 가톨릭주의와 억압된 욕망

손영희 ( Younghee Son )
7,000
초록보기
In this paper, I argue that the characterization of Van Helsing and Dracula is built upon Ruskin’s dichotomization of Christianity as medieval proto-Protestantism (Protestant Catholicism) and Roman Catholicism. Ruskin’s dichotomy relies on the demonization of Roman Catholicism which is viewed as promoting homosexuality and female sexuality. Protestant Crusaders are initially suspicious of the use of Catholic symbols that Van Helsing introduces. However, it is not their science and technology but Catholic rituals of exorcism that can overpower Dracula. By demonstrating the magical power of Catholic symbols, Van Helsing leads them to accept Protestant Catholicism. However, in contrast to Dracula’s protestant spirit of rebellion against accepted norms, Van Helsing seems to be a repressive Roman Catholic Inquisitor who performs a sadistic ritual of staking Lucy to defend the norms of gender and sexuality. Thus it is difficult to contain Van Helsing and Dracula within Ruskin’s dichotomy. The fact that Jonathan Harker catalyzes the reintroduction of Roman Catholicism in Britain implies that Dracula is equivalent to the Oxford Movement. Since Catholicism is accepted by Protestants in Dracula, it becomes evident that the conventions of Gothic fiction that entail the demonization of Catholicism are not viable in the twentieth century.

A Lacanian Nameless Figure in Frances Burney’s Evelina

( Sungjin Jang )
6,000
초록보기
The word “peculiar” in Frances Burney’s novel Evelina appears three times in reference to Evelina’s situation and Evelina herself. Evelina is an abandoned and a displaced daughter. She is forbidden to claim herself as the legal daughter of Sir Belmont. Moreover, Evelina is displaced by a woman misunderstood as the biological daughter of Sir Belmont. In this paper, aside from these textual explanations of her peculiar situation, I would like to view her situation through the lens of Lacan’s theory of language; Evelina is neither named nor fathered, if I may borrow Lacan’s theory of language. For Lacan, the subject enters ‘the symbolic’ by accepting the Law of the Father or the Name of the Father represented as language. Therefore, as soon as the subject obeys the Law of the Father, it is named, fathered, and, in turn, regarded as the subject of ‘the symbolic.’ In this respect, Evelina’s namelessness means that she is not appropriately placed as the subject, and, as a result, she is subjected to assault. Thus, Evelina both as a woman and a misplaced subject suffers more bitterly than other female characters in this novel. She has no way to protect herself other than to get married so that she can be a named figure, which eventually fails because she has not been legally proved to be Sir John Belmont’s daughter.
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