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- KOREAN
- P-ISSN1229-4632
- E-ISSN2733-5925
- KCI
ISSN : 1229-4632
No.15
Abstract
Issues in Female Speaker in Korean Classical Poetry Ko, Jeong-Hee The issue of interpreting female speaker in korean classical poetry has been one of the most controversial subjects. This paper aims to comprehend the core of the controversy over female speaker by highlighting the poetical problem of 'speaker'. Those who regard 'speaker' as a poetic paradigm assert that we should distinguish female speaker from author. They focus on the 'femininity' as 'wholeness' which is unconcerned in the author's sex/gender. However those who regard 'speaker' as an ideological device focus on the poetic truth which is derived only from the identical gender speaker. They put emphasis on the uniqueness of female experience and partiality, and this is why they have been criticised for intolerance. I insist that the alternative of the partiality could be another partial assertion. 'Wholeness' might be a privilege of man and 'poetics of speaker' is also male methodology. Though I stress the partial research rather than the assertion of the wholeness, what is necessary is to transfer our viewpoint from synchronic to diachronic to solve the controversy.
Abstract
본고는 고소설의 ‘여성주의적 연구’가 남성중심적 시각을 폭로하고 문제를 제기하던 단계에서부터 시작하여 지금 어디쯤 서 있는지를 가늠해보고자 그간의 연구 흐름을 개괄하는 데 중점을 두었다. 여성주의적 연구방법론을 개척한 초창기 연구자들은 남성중심적 시각에 의해 왜곡된 여성의 이미지가 여성중심적 시각에서 바라보았을 때 어떻게 재평가될 수 있는지를 주로 논의하였다. 그 결과 기존에 평가절하되었던 작품 또는 작자의식에 대한 진지한 성찰이 가능하도록 하는 데 한몫을 하였다. 여성주의적 시각에서 여성 인물을 재해석하려는 시도 이후 여성중심적 시각이 보다 뚜렷이 반영된 여성영웅소설을 위주로 활발한 논의가 이어졌다. 여성의 영웅적 활약과 이를 실현하기 위한 ‘여성의 남장 모티브’를 둘러싸고 끊임없이 이견이 제출되었으며, 이러한 논의는 다시 여성영웅소설을 당대 독자들의 통속적 욕망의 발현으로 볼 것인지, 아니면 가부장적 사회구조의 모순에 대한 진지한 도전이 내재된 작품으로 볼 것인지 등의 주제의식과 연결되면서 쟁점화되었다. 그러나 여성 인물의 자아실현의 여부나 정체성 탐구를 판단하는 기준이 사회적 성취로만 단일화되어 있는 것은 문제이며, 오히려 여성주의적 시각을 통해서 여성들의 다양한 자아실현의 욕구를 읽어내려는 노력이 요청된다. 고소설의 ‘여성주의적 연구’ 가운데, 묻혀 있던 여성 작가와 작품을 발굴하여 재평가하려는 시도 또한 주요한 연구 동향 중 하나이다. ‘여성소설’의 특징, ‘여성의 글쓰기 방식’ 및 ‘여성성’에 주목한 일련의 논의들은 고소설의 ‘여성주의적 연구’를 한 단계 끌어올렸다고 할 수 있겠다. 그러나 여성소설을 ‘여성 작가가 자신의 체험을 바탕으로’ ‘여성성을 드러낸 작품’이라고 간주했을 때 ‘여성성’의 개념과 범주 등이 논란이 될 수 있다. 아울러 ‘여성성’이 덜 반영되었거나 배제된 여성 작가/작품들의 범주 설정, ‘여성성’이란 과연 고정불변한 것인가? 등 ‘여성소설’의 특성을 일반화하기 위해서는 해결해야 할 국면들이 많아 보인다. 최근 ‘여성주의적 연구’는 인물 중심 연구에서 벗어나 여성 화자/서술자/여성적 언술 방식에 대한 연구 방면에서 보다 활기차게 진행되고 있다. ‘가부장적 담론에 억압된 여성의 언술’ 속에서 ‘여성성’을 탐색하고자 한 일련의 연구’는 당대 여성의 실체를 가시적으로 드러내주는 것이기에 의미가 있다. 그러나 이는 개별 장르에 따라, 작품에 따라, 개별 인물의 계층적 성격에 따라 각기 다르게 구현되는 언술 방식을 구체적으로 고찰하려는 노력이 수반될 때 그 의미를 거둘 수 있을 것이다. 여성 이미지 연구를 지나 여성 작가/작품을 발굴하고 ‘여성적 글쓰기 방식’, ‘여성성’ 등에 대해 고찰한 여성주의적 연구는 결국 여성소설의 특징, 여성 특유의 서사 전략 등을 예각화시켜 보여주는 데 이르렀다. 그러나 작가의 성별이 작품의 소재나 서사구조, 문체 등을 결정짓는다는 인식은 여성문학을 고립시키거나 한계를 지우기도 한다는 점에서 우려가 된다. 여성주의적 연구가 지금까지의 한계를 극복하고 좀더 진전된 논의를 이끌어내기 위해서는 첫째, 여성 작가/작품을 발굴하려는 지속적인 노력이 요구되며 둘째, 고소설을 창작하고 읽은 고전 여성들의 삶, 욕망, 자아실현의 형태 등에 대한 구체적인 탐색이 요구된다. 셋째, 여성적 글쓰기 방식, 여성성 등에 대한 논의, 더 나아가 고전여성소설사를 서술하기 위해서는 텍스트가 놓인 공시적, 통시적 맥락뿐만 아니라 장르적 지향도 아우를 필요가 있을 것이다.
Abstract
A Strategy of Sexualization in Criticism of the early Modern Korean Poetry ― Focusing on Early Poetic Criticism of Kim, Hyun and Kim, Yoon-Sik The latter of the 1960s, there were many critic discours which described poetry during the early Japanese Imperialism as rhetoric of female. What those kinds of critic discours were produced on that period of all others is the effect of the discours made in 1960's, and the strategy of the making discours. In the cass of Kim-Hyun's criticism about 1920's sentimental poetry, feminity includes the negative status in the type of hierarchical dichotomy in gender. These idea of feminity is applicable to generation of 1960's to overcome the generation of 1950's and make clear of their own identity. It is possible to go through with their work by an analogy the literature tendency of 1950's and that of 1920's. In the case of Kim, Yoon-Sik, the alterity of feminity are accepted positively. Though the feminity is excluded as chaos and death normal, it is the only one which can resist the fascism as the type of masculinity, And it is the objective correlative which can hold the aesthetic value of the early modern poetry. He could solve the problem in the project to describe the independent history of literature by grant admission to poetry which had been devaluation. In conclusion, they constructed each their literary identity by including gendered strategy in their critic discours.
Abstract
Creating Ethnic Hierarchies and Gender Politics Lee, Sun-Ok This article interrogates how nationalist discourse and colonialist discourse often intersect despite their ostensible differences. One can argue that the binary of masculinity and feminity is the oldest and the most familar rhetoric of difference, which can, in turn, naturalize the hierarchies between races, ethnic groups and nations. Therefore, both nationalist and colonial discourses have invested great efforts in incessantly defining and redefining feminity. Without successful manipulation of feminity, neither colonial project nor nationalist struggle could be legitimized. In this article, I investigate how pro-Japanese literatures differently defined feminity from anti-Japanese nationalist literatures. Among the pronationalist literatures, this old rhetoric of male-female hierarchy enabled Lee Ki-young's Chonyoji (virgin land) to legitimize the colonial ethnic hierarchy, and Han Chan-sook's Chowon (grassland) to symbolize imperialism as a savior. In contrast, reversion of gender hierarchy in Han Sul-ya's Daeryuk (continent) resulted in destabilizing ethnic hierarchy. By carefully examining subtle differences among these literatures, this paper aims to rethink the sameness and difference between colonialist and nationalist discourses.
Abstract
The Development and Issues of Discourses on the Body in Modern Novels Ahn, Mi-Young The present study examined “discourses on the body” in modern novels. Discourses on the body were developed through four periods – 1890s ~ 1910s, 1910s, 1920s and 1930s. Discussions on narratives and new‐style novels in newspapers in the 1890s~1910s are focused on making the body of ‘the people’ equivalent to nationalism. The key point of discussions on Lee Gwang‐soo’s ‘Mujeong’ in the 1910s and his editorials appears to be ‘a eugenic body complicated with individuality and public interests.’ Discussions on novels in the 1920s are focused on ‘the body of craving women’ and ‘the eye of suppressing desires.’ Discussions on modernistic novels including Lee Sang’s works in the 1930s deal with ‘individual bodies’ as ‘modern beings.’ Based on the development process of discourses on the body as presented above, we examined issues in discourses on the body in modern novels, dividing them into ‘a model of group internalizing the system,’ ‘the way of existence of ‘individuals’ as modern men and women’ and ‘women’s body that reproduces women’s voice.’
Abstract
Basic Concepts and Methods of Feminist Aesthetics Kim, Bok-Soon Feminist Aesthetics is not only a discipline, a new kind of epistemology but it is also a counter-movement against an established male-centered aesthetics. It begins with a reinterpretation of concepts which have been premise of established male-centered aesthetics in the West. In the result, it leads to questioning the propositions of established male-centered aesthetics, concerning the issues of reflection and the gender of representation of aesthetics, and the issues of aesthetic values. In feminist aesthetics, the concept of universality is a "situated universality" constituted contextually. It means an agreement in the community rather than the correspondence (reflection) to the real. Therefore, feminist aesthetic is a dialectics of 'constitution and finding-outs' The concept of speciality as category in feminist aesthetics consists of the singularity considering gender, and the situated universality premising 'we'. By unifying these two, the third theory is created. The methodology of feminist aesthetic as an interpretational practice of contexts and standpoints, takes part in the aesthetic identity of the work, and it is a standpoint which evaluates aesthetic values in the inner respect.
Abstract
A Critical Reading Baebijang-jeon as a Fantasy of Sensual Pleasure Joo, Hyung-Ye This paper is to look into the literary understanding on Baebijang-jeon which was published in Singuseorim in 1916, which has been mainly referred by Baebijang-jeon studies. Since records on Baebijang-taryeong prior to the 20th century are not the same one as a unique novel text Baebijang-jeon, published in Singuseorim. So we could question the narrative style of this version was how to be formed. Adopting several cultural analytic methods, this thesis unfolds the new possibility that this text might be created according to the foundation of the theatres in the 20th century and the publication of the novel with Pansori linkage. That narrative has much chance of being formed at the early of the 20th century judging from the facts that the space of narrative is built with the well-known unit paragraphs of Pansori and the specific narrations are highly dependent on the interpretation of Chunhyang-jeon This novel was a fantasy of men who dreamed of sensual pleasure. The fantasy of sensual pleasure which make sexual pleasure maximize through the actor's performance. Such a reading method differentiate from the reading one as a satire to a royalty of social status. As a result, Aerang who has been treated as an independent character comparing with the previous gisaeng turned out to be somewhat unbalanced character. She is identified as an allurer and her propensity to take leadership among others is fundamentally attributable to the men's inclination to pass a sense of moral guilt to the character while enjoying the work with sensual pleasure.
Abstract
The Emotional Education and The Birth of the Modern Man ― The World of Lee, Gwang Soo's Early Novels ― Novels of Kwang-soo Lee which were published on The Youth, are successful in describing sensitively what a modern man means by containing a series of records of a man's initiation. According to the novels, a modern male, among other things, was an existence which internalized dispositions which had been regarded as those of females by then-existing customs, for example recognition of loneliness and aspiration for love originating from the former. They are the first men in human history who subverted pre-existing masculine heroes and experienced the life as a series of events which induced emotional reactions. These new male heroes can be seen as "females" in terms of gender who demolished the boundaries of gender and equipped themselves with "performative feminity." However, this transfer cannot be admired or encouraged forever. Desire to stir up the boundaries of gender with performative feminity always collides with social institutions or taboos. This is why emotional education becomes very important. "Emotion" tends to lose voluntariness of human's inborn nature through "education." But, if there is no such education, society cannot be maintained. Novels are agency of the desire of civil class to carry through preservation of social institutions and maintenance of taboos. Civil classes who go through this agency can mediate between their voluntary desire and social customs and finally achieve refinement of their emotion based on new internal moral rules. Kwang-soo Lee is the novelist who described this apparition in most typical way in our history of novels. This is why we call him emotional educator or inventor of internal moral rules. However, it is necessary for us to note the gender devices he elaborately utilized and appropriated in this process. Without the performative feminity which appropriated virtues which had been regarded as feminine dispositions, internal moral rules of modern males could not have been so widespread in our times with such a speed. He is not anything else than a gender inventor of our times.
Abstract
본고는 여성가족사소설 『혼불』과 죽음의 크로노토프를 검토한 것이다. 죽음의 크로노토프는 실제 장소와 기호학적 죽음으로 나눌 수 있는데 전자는 청암부인의 무덤, 후자는 인물들의 죽음과 죽음에 관련된 각종 의례, 민속소재들-망혼제, 평토제, 혼불, 투장, 제문, 열녀비, 액막이연…… 따위로 제시된다. 이처럼 죽음은 『혼불』의 서사소(narrativity)로서 작중인물들은 타나토스에 깊이 강박돼 있다. 하지만 그 죽음은 생명의 씨앗이 되어 조상과 자손의 세대가 교체, 지속하는 자연의 로고스로 간주된다. 죽음의 크로노토프에서 보자면, 『혼불』은 영생, 순환하는 한국인의 존재론을 서사화한 살(肉)과 뼈(骨)의 축제다. ‘살로는 情을 나누고, 뼈로는 일을 한다’고 했다. 청암부인이 몰락한 종가를 ‘내 홀로 내 뼈를 일으키리라.’고 다짐하듯 일제 치하 망국민으로 무기력한 남성을 대신해 종가를 지켜낸 여성 3대(청암부인-율촌댁-효원)를 비롯, 민족의 보존을 떠맡은 여성들의 수난사가 『혼불』의 기둥줄거리다. 하지만 플롯층위에서 『혼불』은 플롯없는 열린 텍스트이다. 장황한 수사, 에피소드들의 나열, 시간모순 등으로 시점의 혼란이 많고 결말다운 결말이 없다. 이를 판소리와 같은 부분의 독자성으로 볼 수도 있지만 소설담화의 적정성을 고려하면 서사단위들의 파편화를 응집하는 데도 크로노토프는 유용한 개념이라고 생각된다. 한편 『혼불』은 일제 치하 창씨개명과 더불어, 냇물을 사이에 두고 원뜸/아랫몰의 지지적 공간분할에 따른 예각화되는 것을 통해 가계연속성 욕망과 민족주체성을 동일시한 여성가족사소설의 특성을 보여준다. 동시에 『혼불』은 여성신체의 풍요원리, 집안살림의 내공쌓기로 여성성을 고양시키고 자력으로 가문의 혼불이 된 종부를 통해 타자의 디스코스를 재현했다. 무엇보다 언술층위에서 『혼불』은 전통사회 여성들의 구연담화와 내간체의 기록담화를 혼합하고, 흡인력을 발휘하는 풍부한 비유와 생기있는 묘사로 소설언어의 영역을 최대한 확장했다는 점을 강조하고자 한다.
Abstract
Melo-Movies & Femininity - Based on the Articles in New Women Most of the movies introduced in 「New Women」 were female melo- movies or melodramatic movies considering female audience. Taking notice of it, this essay illuminated the problems of female public emerging as a movie audience, and the characteristics of melo-movies getting settled as female movies, from the viewpoint of feminism. In the early stage of introduction of movies to the Joseon dynasty, women were ignored from the type of audience or used as a strategic tool for male audience. In 1920's, the articles relating to movies in 「New Women」 showed rise of new women as female audience, and revelation of a viewpoint on theater full of rhetorics about love. Since 1930's, the movies of colonial Joseon entered the sound movie days out from the silent movie days. Viewing of foreign sound movies needed literacy to read subtitles, and it meant that the new women educated among the female could be the main audience of the sound movies. The western melo-movies introduced in 「New Women」, was involving as well the characteristic of antifeminism which contributed to solidification of the modern patriarchism through appearance of female baddies disturbing family and love, absolutization of love to children, victory of love between husband and wife, and the conflicting relation between country and family.
Abstract
A Study on Kim Ki Young 「 The Maid」 ― focusing on the aspect of masochistic pleasure ― Roh, Ji-Seung This study aims to analyse the aspect of masochistic pleasure in Kim Ki Young 「The Maid」. Masochistic pleasure are formed by the help with the peculiar structure and the relation of man and women in this film. First, 「The Maid」is characterized by the frame narrative embedded with another narrative. While frame narrative is real, embedded narrative is a fantasy that same hero is ruined by the seduction of the maid. In frame narrative, the hero is masculine but in embedded narrative, he is emasculate, passive. So this hero is controlled by two women-his wife and the maid in embedded narrative. His wife represents super-ego that functions as conscience and moral. On the other hand, having sex with the maid represents pleasure by the violation of law. But his wife and maid are two different faces of mother who has a power. According to the psychoanalytical theory, mother is a object of affection and also a controller to her child in pre-oedipal period(oral period). The hero controlled by two women, is a child who is afraid that he would lose mother's love. But two women who have a maternal image, are also controlled by two kinds of instincts- the reproductive urge and the desire for existence. This two kinds of instincts ruin all characters including two women. Finally, there is a fatality that human must be controlled by instincts. This fatalism is the characteristic viewpoint of 「The Maid」.