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- KOREAN
- P-ISSN1229-4632
- E-ISSN2733-5925
- KCI
ISSN : 1229-4632
No.14
Abstract
This study was prompted by the necessity that the creation and enjoyment of literature in Kyubang should be researched in a current study. The research implications of This study run as follows : First, it might be understood how the feudal women had learned the literal capability of the Chinese classics and the Korean language. Second, The feudal women expressed the living style and consciousness in kyubang(Women's living room) through the kyubang novel and the kyubanggasa. Third, The reading culture and the trip experience of the feudal women had influenced on the living style and consciousness in kyubang(Women's living room). We understand desires of enjoyment and self-communion through the reading culture of the feudal women. Besides, we understand new perception and aesthetic desire through the trip experience of the feudal women. To conclude, The feudal women developed the independent literature culture in kyubang(Women's living room).
Abstract
Late of Chosun dynasty saw development of various entertainment quarters to consume leisure time. pungryubang(風流房) and Kibang(妓房) are those among representative entertainment quarters of end of Chosun dynasty. While pungryubang inherited traditions of aristocratic culture of previous period corresponding to urban atmosphere, Kibang would be newly introduced entertainment quarter meeting new commercial needs. Reasons pertaining to introduction of new entertainment quarters were prosperity of cities due to growth of commerces and trades and increase of Kinyo and professional entertainers whose private activities were guaranteed since abolition of Yeoak(女樂). pungryubang led specialization of Siga which combines poem and music and Kibang produced literature of hedonic sexual love for Kinyo while consuming songs and dances. The entertainment quarters of Chosun dynasty located at where needs to consume leisure time aesthetically and pursuing pleasures came across. pungryubang culture that succeed aristocratic refinements, despite of its significance of aggressive involvement by Yeohangin and constructing professinal entertainers' activity domain, remained at the border. On the contrary, newly introduced commercial entertainment quarters and urban entertainments of various forms could be said as scene of deviation away from cultures led by the aristocratic. Therefore, literatures and arts finally could incorporate urban desires and lineaments of the time free from aristocratic moral culture.
Abstract
Cafe, the modern amusement quarter spread in urban area like Kyeongseong in 1930s shows the way the commercial distribution of eroticism establishes relations with women like cafe waitress as well as one colonial transformation of the western modernity by way of Japan. The cafe waitress who had economical and educational bases was a subject of enjoying free love and her own pleasure, while professionally supplying decadent service for the male customer. The sportive meetings between the waitress and the male customer in cafe were diversely represented in novels produced in the 1930s. In those novels, cafe waitress appears as a heroine who experiences free love with intellectual males, but she is not allowed to enter the modern marriage system or stays at the marginal spot outside the marriage as a partner of illicit amours with the married man. However, some images of cafe waitress caused and revealed a crack of modern love and monogamy which reconstructed the male dominant desire of the bourgeois class through the threatening images of women who subverted the traditional gender system between man and women and modern norms related with love and sexuality.
Abstract
This thesis features journalist-writers in 1920th and 1930th. It points out the real lives of women at that time; more and more women were getting the modern education. And newspapers dealt with the lives of those who were called 'New Women'. And also, there appeared a group of women readers. In concrete, women writers in the 20th and 30th made an appearance having more systematic base than before. Modern systems such as schools and journalism were their major channels to the public. Then, they learned writing and reading in schools and journals as social fields. In particular, journalism played a key role to spread learning. However, despite women's this changed status, most of women journalists were in sales and worked at the limited or gendered area. Nevertheless, it is significant that some women journalists became writers. Jeonghee Choi and Gyewol Song were two models of those who struggled to survive their male-centered society and inscribe their name into it even if they suffered from being considered incompetent writers or cowards serving the male power. That is because while men's status as journalist-writers was rather stable, women' as journalist-writers was not. Of course, men writers have difficulty in making enough money to feed and clothe their family. They were even guilty of writers' immoral behavior under the colonization. Naturally, these men writers have been evolved and esteemed as modern authors in the Korean literary history. In comparison, women writers made their every efforts so as to survive the male-centered society and identify themselves as writers in their own society.
Abstract
Tendong-Eumi Whajeonga(덴동어미화전가) is one of Kyubang-Kasa(규방가사), and it shows best level of Kasa in the late Yi Dynasty in its reflection of reality and quality of literature. The life history of Tendong-Eumi has a great meaning in the text, and it has relation with the scene of women's flower viewing in the spring. So it has not only individual meanings but also group meanings. And the women's sympathy and solidarity have a great role in the text. The women's sympathy and solidarity make this text have special aesthetic atmosphere. It shows 'han(恨)' and 'sinmyoung(신명)'. Owing to the women's sympathy and solidarity, this text can be different from the other Kyubang-Kasa texts in its feminine identity. The feminine identity in the Tendong-Eumi Whajeonga is active and full of life.
Abstract
김일엽은 개인을 넘어선 여성 연대의 중요성을 깊이 인식했으며 1920년 여성의 힘으로 만든 최초의 여성지 <신여자>를 창간했다. <신여자>는 여성들에게 자유로운 의사개진의 장을 제공하고 문단활동의 장으로도 기능했다. 여권의식의 확산과 사회 여론 형성에 기여함으로써 잡지로서의 정치적, 사회적, 문화적 기능을 고루 수행했다. 여성간의 교류의 중요성을 인식하고 여성 의식의 저변확대와 여성의 사회 참여 등을 이끌어내려는 의지가 있었던 <신여자>는 여성의 삶과 의식을 진지하게 드러낸 여성잡지이다. 『신여자』의 위상과 의의는 다음과 같다. 이는 『신여자』에 글을 실었던 당시 여성들의 글쓰기 양상의 특성이자 의의이기도 하다. 첫째, 『신여자』의 탈남성적 의도의 중요성이다. 『신여자』는 여성 문제를 여성의 시각으로 보고 여성의 표현방식으로 쓴 여성의 글을 게재함으로써 진정한 여성지로서의 역할을 수행하고자 했다. 둘째, 모든 여성을 함께 아우르는 자매애적 시각이다. <신여자>는 지식의 유무와 계층의 차이와 인종과 국가를 초월하는 범여성연대 의식을 기반으로 하고 있다는 점에서 주목할 만하다. 셋째, 해체론적 시각의 중요성이다. <신여자>의 중심 이념은 중심적인 것의 주변부에 대한, 남성의 여성에 대한, 지식인의 비지식인에 대한, 이념의 생활에 대한, 권력 있는 자의 없는 자에 대한 우위를 뒤집어보는 계기를 마련해준다. 넷째, 다양한 글쓰기 방식의 중요성이다. 『신여자』는 기존의 틀에 얽매이지 않은 자유로운 방식의 글을 게재하였다. 여성적 글쓰기를 공적 담론의 장으로 끌어내는 작업이 여성운동의 주요 과제라고 할 때 『신여자』는 그런 의미에서도 중요하다. 이상의 특징들로 볼 때 『신여자』는 역사적 의의만 갖는 것이 아니라 근대 여성담론의 장으로서의 역할을 수행한 여성지라는 평가를 내릴 수 있다.
Abstract
This recent research attempts to outline the strangeness and heterogeneity which occurred in the process of accepting modern cultures in the 1920s Korean modern literatures. Surprise, alertness, and curiosity which were inevitable in the influx of modern cultures were described through the rhetorics of KI(strange) and KUE(grotesque). These have been revealed, in one sense, in terms of the repulsive metaphor comparing the modern and premodern, and in the other sense, in the metaphor of the surprise and marvelousness. In this process, KI and KUE were used as the means of values judgement, not as the rhetorics of ambiguity. However, these rhetorics were used differently when they were applied to the values judgement of female characteristics. Modern women in the strange and outlandish environment were described as "the bizarre beauty"; those women were considered as the subject of absurdity as well as the target of attention. In other words, modern women were neither negated nor abhorred, but represented as the subject of "nonsense" which overwhelmed the mere values judgement. This paper will examine the codification of women in the mass media from the perspective of materialism and snobbism.
Abstract
A gender-identity in the feminism debate in the past has construed the women as victims who shared a subordinate position. It is to perceive women of the third world country as the existences that are sluggish and non-historic. Especially, the Old Fashioned Women in Korean Woman Literature during the Japanese Occupation have been reappeared as uniform images like the endurance and self-sacrifice. Now the objective understanding of old fashioned women during the Japanese occupation is necessary. This study treated "InganMunje" and "Sogeum" that had been written by Kang, Gyung-Ae at large. "Sogeum" is treating the experience and the change of a woman who came into existence in space which a patriarch is absent in historic state that the family had disorganized. And "InganMunje" is treating the fact that the Women who had confined in a private ground under a capitalistic patriarchal system went forth into public ground and was conscious of her gender identity. In conclusion, an old fashioned woman was the subject who had composed a colony-modernity
Abstract
This study aims to make clear of the meanings, values and limits in Yi Tae-jun's maternal narratives such as <The Holy Mother>, <Three sisters> and so on. While the studies on Yi Tae-jun frequently commented on his creative motivation in relation to his pursuit on ideal father, this study starts from the question that his creative motivation related to his pursuit on ideal mother too. As an orphan, he pursued to an ideal mother different from the maternity in general modern home, at the same time he owned the fantasy of the ideal mother jointly that general man has in patriarchal system. We could criticise that Yi, Tae-jun exhaustively castrated sexuality in maternal body through the paradox of pregnant virginity in his maternal narratives. The paradox of mother, pregnant virginity was connected to a public home which consisted of a not-married-mother and an illegitimate child. This home was evoked the abundance of childhood to him(a son and writer), in order of sisterly love which was formed through the solidarity between a mothed and her sisters or her mother different from the general order of a two generation family. (In this point we could regard Yi, Tae-jun's novel as a narrative of an uterine ambition.) When we focus to Yi, Tae-jun's pursuit to ideal mother in relation to his memory of childhood which was abundant with his mother and his maternal grand-mother, we could estimate that his maternal narrative has positive meanings differently from other male writer's in colonial time.
Abstract
The purpose of this thesis is to revel a Pattern of Dominate of Masculity and the Political Unconscious through representation as Rhetoric of Body. Sexuality have been controled Fascism Ideology. Fascism Ideology is connect with sexuality and gender. Therefor, this thesis focuses on examining over a debate about fascism during the latter Japanese Imperialism and next try to study the relation of Ideology and Jeong, Bi-Seok's works. Jeong, Bi-Seok's early work has brought out healthy eroticism based on primitive lyricism. Generally, our Pure Literature was criticized to be excluded and written about folkloric fusion with nature only to seek after beauty which is essencial to art rather than protest against Japan's colonial oppression as a whole. Jeong Bi-Seok not only strengthened but also cracked the patrical ideology by way of his early medium and long length novels <The Prohibition Vally>(1939), <The three generations>(1940), and <The Morality of Youth> (1942). Eroticism presented in Jeong Bi-Seok's works were also suggested Male Fantasia. This thesis is to revel these facts as focus on the parts of Body. Specially, this thesis focus on representation of eye. Because, the part of body have a subjectivity as a libido of concentration. The eye in Jeong Bi-Seok's works was becamed an avenue of communication of ‘desire’, ‘crowd psychology’, and ‘passion’.
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