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한국근대영미소설학회> 근대영미소설> 진 리스의 반페미니즘에 대한 비판적 고찰

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진 리스의 반페미니즘에 대한 비판적 고찰

A Study of Jean Rhys’s Anti-Feminism

최선령 ( Sun Ryoung Choi )
  • : 한국근대영미소설학회
  • : 근대영미소설 26권3호
  • : 연속간행물
  • : 2019년 12월
  • : 77-98(22pages)

DOI


목차

I. 서론
II. ‘성’보다 ‘권력’의 문제
III. “여성 해방운동”에 대한 거부
IV. “낙오자”의 삶과 증오
V. ‘여성적’ 욕구의 문제
VI. 맺음말
인용문헌

키워드 보기


초록 보기


						
This paper has the purpose of rethinking Jean Rhys’s anti-feminism by focusing on her third novel, Voyage in the Dark, and “Vienne,” a short story written in the early phase of her literary career. Even after the great success of Wide Sargasso Sea that is Rhys’s masterpiece and known as such among Caribbean Literature as well, she has received little attention from feminist critics. Despite the strong relevance to feminist concerns of the issues raised by her works, Rhys was problematic for feminist critics both because most of her heroines were led to helpless failure and repetitive rejections, and because Rhys herself overtly denied any affiliation with the women’s liberation movement. In fact, Rhys’s most essential concern is undeniably the problem of power and economic hegemony in society rather than that of sexuality and feminity. She was not interested in feminism as a theory or movement, and did not try to analyse her protagonists in terms of psychology or social studies. However, because she had no preconceptions or frame of reference, she was also able to delve deeply into and face what the woman or feminity is.

UCI(KEPA)

간행물정보

  • : 어문학분야  > 영문학
  • : KCI등재
  • :
  • : 연3회
  • : 1229-3644
  • :
  • : 학술지
  • : 연속간행물
  • : 1994-2019
  • : 578


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Edgar Allan Poe created a genre of the psychological horror tale advancing the British Gothic form into his art of horror. By drawing attention to Poe's gothic sensibilities towards death and human psychology, this essay shows how his horror stories influence William Faulkner, a writer of the American South, within the gothic genre. In “The Cask of Amontillado,” Poe's command of the revenge theme has deepened in that he portrays the perpetrator's apparent rationality in the planning and exacting of murderous revenge “with impunity.” Montresor, the sociopathic criminal, fails to gain pleasure at the final moment of entombment when his adversary refuses to play the role of the agonized victim. Thus, Montresor's compulsive detailed relation of his crime after fifty years demonstrates his need to reassure satisfaction in reenacting revenge. Poe's influence is apparent in Faulkner's gothic obsession with perversity and insanity in “A Rose for Emily.” The dark underworld of Montresor's catacombs is transformed into Emily's bridal room and tomb. The grotesque necrophilia implied in the final scene shows Emily's ultimate revenge on the perverse townspeople. The parallels between the two pieces show that in themes of revenge, brutality, perversity and horror, Faulkner is indebted to Poe's tales of terror.

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4진 리스의 반페미니즘에 대한 비판적 고찰

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발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 26권 3호 발행 연도 : 2019 페이지 : pp. 77-98 (22 pages)

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초록보기

This paper has the purpose of rethinking Jean Rhys's anti-feminism by focusing on her third novel, Voyage in the Dark, and “Vienne,” a short story written in the early phase of her literary career. Even after the great success of Wide Sargasso Sea that is Rhys's masterpiece and known as such among Caribbean Literature as well, she has received little attention from feminist critics. Despite the strong relevance to feminist concerns of the issues raised by her works, Rhys was problematic for feminist critics both because most of her heroines were led to helpless failure and repetitive rejections, and because Rhys herself overtly denied any affiliation with the women's liberation movement. In fact, Rhys's most essential concern is undeniably the problem of power and economic hegemony in society rather than that of sexuality and feminity. She was not interested in feminism as a theory or movement, and did not try to analyse her protagonists in terms of psychology or social studies. However, because she had no preconceptions or frame of reference, she was also able to delve deeply into and face what the woman or feminity is.

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The stories, Anthony Trollope's The Telegraph Girl (1877) and Henry James's In the Cage (1898), suggest a recognition of new technology, the telegraph, and its female users in a new information epoch. I contend that both authors, Anthony Trollope and Henry James, were aware of the issue of integrity in handling private telegrams and explored their concerns differently. Trollope focused on Lucy and her personal demeanor in matters of courtship under the pressures of a small income and a changing work environment in a telegraph office. On the other hand, James propels his novella by an un-named telegraphist who postpones her marriage to prolong her stay at a telegraph office so that she may delve into the secret telegrams of her “grand clients,” Lady Bradeen and Captain Everard. The telegraphist fanatically reads clues from her clients' telegrams which can be a breach of integrity. Like the characters in these stories, during the Victorian era, there were many women working as telegraph operators. Since telegraph operators were handling the private information of clients, these two stories show the importance of integrity in the workplace during the Victorian era.

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발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 26권 3호 발행 연도 : 2019 페이지 : pp. 121-139 (19 pages)

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Focusing on Tess of the D'Urbervilles, this article examines how Hardy inherits the ethical imperative of humanitarian narratives to intervene in fellow creature's pain and suffering while also bringing about a critical awareness against epistemological and representational appropriations of victims and their stories of victimization. More specifically, I investigate how Hardy employs a motif of wounded animals as a way to thematize radical alterity of the suffering others along with the commensurability of pain among sentient creatures. Traditionally, Tess's affinity with animals has been discussed primarily in terms of her ability or inability to speak and act for herself as a subject. However, my reading suggests that the heroine's wounded animality has more to do with Hardy's need as a humanitarian novelist to imagine the shareability of pain without colonizing others' experience of the pain. Through his figuration of Tess as animals, Hardy foregrounds his status as a fellow sentient creature and a situated observer who has no transcendental access to the experience of the others. As Hardy evokes compassion for kindred sufferers but disowns any epistemological and representational authority over the fellow in pain, this paper conclusively argues that the problematic hierarchy between the observer and the observed, and between the knower and the known in the Victorian scenes of humanitarian encounters is questioned and dismantled.

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On the surface, Louisa May Alcott reinforces strict morals for women in the Victorian period. However, Alcott wrote well-known sentimental stories such as Little Women (1879) and Jo's Boys (1886) to earn money for her impoverished family. Thus, she did not value them much herself, calling them “moral pap” or baby food. Although her sentimental stories garnered popular and critical attention, her gothic thrillers have not been fully studied. Her body of gothic stories has been overlooked primarily because a number of the tales were unknown. This study of Alcott's gothic works attempts to remedy that gap. It also focuses upon the gothic theory embraced by the author and on the transatlantic connections that appear in the stories. In the paper, I will specifically demonstrate how Alcott's Flower Fables (1854) incorporates her concern about the sphere of American influence within the seemingly scriptural and mythical images, and further, how this motif is developed in her other gothic stories.

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저자 : Inhye Ha

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 26권 3호 발행 연도 : 2019 페이지 : pp. 161-184 (24 pages)

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This essay examines representations of the canine narrator in W. Bruce Cameron's A Dog's Purpose (2010). With a focus on the ways in which the single protagonist/narrator engages with a series of episodes of close companionship with its human masters, this article highlights affective dimensions of the narrative. At stake in this contemporary dog narrative is Cameron's rendition of the canine protagonist as the one who is privileged to go through multiples lives in a row with its memory of previous lives intact. Contrary to ongoing debates about whether animal intelligence is equivalent to or surpasses that of its human counterparts, Cameron's canine characters are portrayed instead as so loyal and accommodating to the varying needs of its human master(s) that the narrative seems to reify existing interspecies relationships and rather highlights the limit of anthropocentric representations of a dog. And yet, at the same time, A Dog's Purpose provides ample opportunities to attest and thereby theorize the parameter of human-nonhuman kinships by representing multiple cases about animal sensorium and sentience, human dominion over nonhuman species, and the fantastically constructed multiple lives of a dog. It should be noted that in an effort to attest to the actual conditions for eliciting sympathy, and to attain a rather egalitarian understanding of nonhuman species, I align Cameron's recent novel A Dog's Purpose with a handful of eighteenth-century representations of dogs.

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