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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 : 7권 1호 (1999)
6,200
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Arguing with the institutionalization of teaching feminist studies in English literature in Korean universities, This article explores the productive and fruitful possibilities of teaching feminist studies in English literature from the perspective of postcolonialism and feminism in the globalization era, related to the European experience since 1989. However, the current stage of Korean feminist lecturers` dilemma becomes specific and remarkable, because this dilemma is located in the centre of the triangular relationship among English language education, literature education, and feminist education. For the success of teaching feminist studies in English literature, it is necessary for Korean feminist lecturers to reflect Korean people`s everyday lifestyle, influenced by Confucianism and Western culture, as well as to practice a cultural analysis of the intersection of Confucian cultural heritage and Western feminism. From such a point of view, the role of lecturer and the selection of texts far education in feminist literature ate absolutely crucial in order to design the whole lecture programme and to evoke specific responses from Korean students to ascertain how the students` patriarchal ideologies are being transformed toward feminist thought. Therefore, the kind of action do we, as Korean lecturers teaching feminist studies in English literature must take is to create and devise a feminist teaching methodology to call up Korean students` responses to the English texts and to maximize the production of "Korean" meaning from their reading activities.

특집 : 페미니즘 문학 강의 : 남학생과 페미니즘 문학교육

전승혜(Seung Hei Chun)
6,100
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The starting point of this essay is to examine the responses of the male students to the "Introduction to Women`s Studies," at the Korean Air Force Academy, which was an all-male institution until a few years ago. Their responses are meaningful in that they reveal problems to be discussed in the production of feminism to male students. Also, they provide feminist educators with some clues as to what feminists in Korea could and should do in the classroom for the effective education of male students. The research consist of source materials of students` essay papers, exam papers, lecture evaluations, informal interviews with students, and classroom discussions. The materials are evaluated with the idea that the main purpose of teaching feminism in the male classroom is in making male students reflect upon their own thoughts, feelings and attitudes so that they could try to reorient themselves toward women and society. The discussion is consists of two parts: one is about teaching feminism, and the other is about teaching feminist literature to male students. The research has put forward new challenges to be met in the future as well as some achievements. The great and basic challenge comes from the patriarchal ideas of Confucianism which underlies male students` thoughts and attitudes. Another challenge is to engage male instructors, who would play a more effective role in teaching feminism to male students. These are great barriers to be overcome by feminist educators; yet we have hopeful signs too. The word "feminism" has begun to appear in men`s everyday usage and it will make male students more self-conscious about gender attitudes.
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N/A

불란서 페미니스트들의 육체 담론

정명희(Myung Hee Chung)
6,600
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French feminists think it is not enough for feminists to analyze and criticize the patriarchal society. They try to create a new paradigm to change it. They advocate establishing new values and ethics to incorporate the sexual difference between men and women, which used to be erased in terms of male sexuality, and want to include femininity and the female body. Since French feminists accept the fact that human subjectivity is fragmented in culture, they are more concerned with discovering or creating a feminine writing in which a real femininity can be embodied. Their efforts lie in two directions: they define a new femininity which is not distorted by patriarchal values and represent it in a new feminine writing. Their new femininity starts by redefining the female body and bodily experiences. French feminists are not succeeding in creating feminine values. Since they are forced to represent the repressed with the present patriarchal language, their attempts can be considered more likely as unproductive complaints or reactionary reversals at best. Their celebrations of the female body and motherhood seem to repeat the utopian gesture of idealizing essential and experiential femininity. Their emphasis on bodily experiences, however, may offer an opening to the underrepresented femininity. The texts themselves become a space to contextualize the unsaid and the unsayable.
6,700
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This study aims to read colonial discourse embedded in Asian culture as well as in Asian women, as to create an anti-colonial discourse. Following Said, Orientialism is "a certain will," above all "a discourse corresponding relationship with various kinds of powers." Here I focus on the discourse about Asian women and their cultures. I chose Puccini`s opera, Madam Butterfly, to demonstrate how "Orientalism" has been constructed, empowered and circulated historically. Because Cio Cio San`s tragic love is not different from the political and economic situation of the colonized Japan of the age, Cio Cio San and her culture are represented as "the Other" for the subject of Pinkerton and his America. The late 1980s musical, Miss Saigon, is the reproduced cultural product of Cio Cio San`s tragic love story. Vietnam`s political reality is the main cause of Chris and Kim`s separation here. After Kim`s death, the just and compassionate "Father` of America has to care for his child, Bui-Dui Tam. These two cultural texts have shown the on-going process of how Asian women have been represented and how their cultures have been read by the western, patriarchal, hegemonic eye. David Henry Hwang`s M. Butterfly intends to subvert the existing ideology of Orientalism by having a man occupy the feminized role of Oriental Other. As an Asian-American, Hwang`s attitude is not, however, partial to either the western or eastern side. Here, China is shown as another hegemonic power. To create an anti-colonial discourse, I tried to replace hegemonic discourse about culture and women with fictionalizing processes, and attempted to demystify them continuously. As cultural texts, the written texts as well as the opera, film, musical, and play establish themselves as battle fields of ideology to be "renewed, recreated, defended, and altered, challenges by pressures."
6,600
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The modern long poem as a flexible generic hybrid incorporates lyric intensity and epic scope. This experimental long poem as an epic, unlike the traditional epic whose public significance excluded women, encourages women poets to place their marginalized experiences within the proper contexts. Adopting experimental elements from the epics of male modernists, women poets can develop the particular mode of a female epic to express their personal experiences through intimate lyrics. As a consequence of having women`s experiences at its center, the female epic can bring the discourse of oppressed marginality into the genre of the dominant patriarchy. Anne Stevenson`s Correspondences: A Family History in Letters; exemplifies revisionist women poets` long poems as epics. The Puritan idealism of American history is central to Correspondences in which Puritan values represent the patriarchal ideology of America`s epistolary past. While Correspondences conveys the epic scale of American Puritanism with its epistolary reproduction of past history, it foregrounds the marginalized experiences of women through elaborate interweaving of personal lyrics. Revealing the other side of dominant history, the foregrounding of women`s experiences makes it possible to substantiate female identity especially through motherhood Female identity seen through motherhood can suggest the basis for a reciprocal vision to the traditional, male-centered values of rational independence. Because of this vision in the dialogue with male-centered values, Correspondences, rather than rejecting the male tradition of epics, revises its central elements through transformative adoption.

뮤리엘 스파크의 여성 인물들 - 그 유형과 종교성

김정매(Jung Mai Kim)
6,500
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This paper aims to analyze the female characters of Muriel Spark from the viewpoint of religiosity. Unlike Graham Greene or Evelyn Waugh, Spark hardly uses religious theme in overt form, but rather in such an "economic" way that common readers easily miss it. An ardent admirer of Cardinal John Henry Newman and herself a Roman Catholic convert from Anglicanism, she states that she felt released from the oppressive stress of being a writer by her conversion. Her view of the novel changes as well. She started writing novels, utilizing them as a form in which to explore the ultimate religious meaning of human relationship or lack of it. She is always more interested in the spiritual status than the superficial social activities of her characters. Although she never openly claimed herself to be a feminist, Spark can be considered one in that she chose to edit the letters of Mary Shelley as well as those of Emily Bronte¨. Besides, most of her main characters are female. She stages not only women who attain self-discovery, maturity and dignity to encounter the Other and "transcendental" sensibility but also women of extreme egotism and blind selfishness who can never recognize or allow the otherness of the Other into their view of the world. This paper categorizes Spark`s female characters into four types: the woman of self recognition in personal hardship, the woman imitating God, the woman of transcendental vision of divine Providence, and the woman of narrow-mindedness who falls victim to her own selfishness. January Marlow of Robinson, Jean Brodie of The Prime of Miss Jean Brodie, Dame Lettie Colston. Charmien and Jean Taylor of Memento Mori aptly represent the four different types of Spark`s female characters.

빅토리아조 페미니즘과 『 미들마치 』읽기

이순구(Soon Ku Lee)
6,300
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This article accepts some critics` view that evangelical feminism existed side by side with Enlightenment feminism during the nineteenth century. That women were different from men, and in general, inferior to them was a Victorian commonplace. According to these critics` views, Enlightenment feminism and evangelical feminism explode this commonplace, but they do so in opposing ways: Enlightenment feminism by denying difference, evangelical feminism by extolling virtues rooted in female experience and culture. This paper asserts that Eliot`s feminism is based on evangelical feminism, which concentrates on extolling feminine characteristics. Additionally, I argue that Eliot admits the good points of Enlightenment feminism such as equal rights, autonomy, and self-realization, while still maintaining the feminine characteristics as useful and essential values. Eliot`s feminism can be seen as eclectic and synthetic, merging opposite streams of feminism of that time. A close study of Dorothea Brooke`s moral development would confirm these aspects of Eliot`s feminism Dorothea Brooke, heroine of Middlemarch, embodies the values of femininity which Eliot considered important. The power to enter into the feelings of others and to suspend judgement of others, are the virtues found in Dorothea`s moral viewpoint. By the novel`s end, however, she is confronted with moral dilemmas in which her ethic of care or responsibility for others does not work for herself or for hers. Dorothea learns that living for others does not always mean being good, nor does living for herself always mean being selfish. The concepts of rights, autonomy, and self-realization, previously understood by Dorothea to belong only to the masculine realm, are realized as important in her own life as well.
6,300
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To her contempories, Mary Wollstonecraft was known for her militant vindications of human rights, women`s rights, and the sovereignty of reason. In various works that made her an international celebrity two centuries ago, she argued that reason in every man and woman calls for and makes possible a just society. This essay studies how Wollstonecraft`s attitude toward sensibility manifests itself in her novels Mary and Maria. The paper also identifies various forces that contributed to the formation of this attitude, including the autobiographical elements, the sensibility or sentimental novels, and the influence of Rousseau. Her two novels combine these Romantic influences in various ways: the nature of subjectivity of the female protagonists, their relationships with men and society in general, and how their Romantic (individualistic and emotion-centered) attitudes clash with the dominant social reality and cause them to suffer painful consequences. However, it is important to see that the two novels feature several devices to keep the readers from uncritically identifying with the female characters. Although the two novels seem to reflect a favorable view of the forces that made up the Romantic side of Wollstonecraft`s work, she invariably tries to warn her readers of the personal and societal dangers these forces might bring about. To establish a critical distance in her readers, Wollstonecraft creates a gap between the narrator and the protagonists, and offers different points of focus and different narratives. These devices are used to further her feminist agenda in these otherwise highly autobiographical and sentimental novels. Additionally, they demonstrate how difficult it must have been for their author to maintain a balance between the rationalist stance she firmly believed in, and the sentimental and Romantic sensibility that came to dominate the European literary scene for the next three decades, of which she herself was a precursor.
6,000
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The concept of patriarchal ideology in feminist studies is a very irritating and Puzzling one. If patriarchal ideology is considered to have dominated and determined the whole history of Western culture; not excluding its language and thought, then feminists aiming at overcoming patriarchy face a serious dilemma: even their anti-patriarchal language of resistance is under the sway of patriarchal ideology, thus depriving them of possibility of resistance. If seen as power located in space, time and discourse, on the other hand, feminists again find themselves ineluctably embracing the unwelcome consequence that patriarchal ideology has never been as extensive and universal as they claimed. For feminists in between these two extremes, the task remains for us to find a more satisfactory third account of patriarchal ideology. In this paper I propose that the Patriarchal ideology is universal but works in a self-contradictory manner so that it is vulnerable to criticism Ideology is composed of diverse and conflicting components, thereby never being integrated into a single, coherent and harmonious unity. It is divided within itself. In order to justify and ground textually this concept of ideology as contradictory construct, I examine a medieval chivalric tradition of "Frauendienst" in Thomas Malory`s Morte d` Arthur, which has been interpreted both patriarchally and anti-patriarchally. My reading focuses on the love relationship between Launcelot and Guinevere and demonstrates that Frauendienst is a site where patriarchal ideology is simultaneously confirmed and denied. In the absence of coherent combination of ideologemes, and in the following conflict between their textual meanings and functions, Malory`s text explicitly, sometimes explicitly, criticizes its own ideology: while upholding its own ideology, it turns against itself inadvertently and commits a textual/patriarchal suicide.
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