• 인문언어
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• 제6권
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• pp.359-380
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• 2004

Considering Korean feminist theatre is not successful at all these days, it is needed to find the reasons of its crisis. As two Korean feminist theatre Scholars argued, the crisis owed to the structural problem from the start. That is the Korean feminist theatre started and developed depending on the imported popular feminist plays without social and cultural self-consciousness. Once the imported feminist theatres were flourished, some theatre companies pursued the commercial success blurring the feminist issues. It was resulted into the intentional ignorance in and out of the theatre society. While, some feminist plays were too inclined to the agit-prop without artistic sophistication. This essay tries to examine how the feminist theatres have been developing and what kinds of feminist performances have been made until now. And it intends to emphasize that the play text should be based on the Korean women's past, present, and future reality. Besides, they have to delve into the problem by which the Korean women were trapped in historical, social, and cultural environment. To make the women's matter the social issue at present and fur the future, the Korean feminist theatre should re-find its place as the socio-cultural forum. First, Korean theatre should cooperate with the other women's group crossing the different disciplines of the society, the culture, the politics etc . Secondly, we need to observe and watch where and how the distortion happens in women's matter, and react to correct it. Thirdly, we need to discover, to support, and to protect the women centered perspective of some playwrights as well as the performers. Co-writing or co-performing is also very positive to diversify the women's subjects. Lastly, to protect the feminist theatre against the consumerism, they need to have the financial support from the government or some civil society.

• 영어영문학
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• 제55권4호
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• pp.567-596
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• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.

• 영어영문학
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• 제60권2호
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• pp.269-293
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• 2014

Written as her last collaboration with the Provincetown Players, Susan Glaspell's The Verge is an exceptional play in that its formal experiment and modernist theme are clear of her general modernist ambivalence which combines a uniquely American and feminist expression of the modernist spirit with rather conventional forms. Following critics' brief and generalizing comments on the play's protagonist embodying modernist formalism and alienation, this paper offers a full and concrete survey detailing the tenets and the slogans of Modernism inlaid in the play. Its main argument is that Glaspell strategically deployed the metaphysics of egoism, anarchic hostility to the collectiveness of bourgeois society, and formalist preoccupation in Modernism in representing a female egoist's longing for a new order of society, illustrating an intersection between Modernism and feminism. It concludes that The Verge is an extremely rare case of modernist literature where a play, allegedly the least modernist genre of all according to Christopher Innes, exemplifies the "eloquent critical acts entangled in the creative work" which Michael Levenson lists as a distinct feature of modernist texts.

• 공연문화연구
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• 제41호
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• pp.39-67
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• 2020

그동안 극예술연구회의 제10회 공연작에 대한 연구는 거의 시행되지 않았다. 특히 이서향의 <어머니>는 거의 연구되지 않았으며, 기껏해야 제10회 공연작 중 하나였다는 사실 정도만 기록되곤 했다. <어머니>의 희곡이 남아 있고, 제10회 공연이 상당한 의의를 지닌 정기공연이었음에도 불구하고, 이러한 연구 실태는 대단히 열악한 것이 아닐 수 없다. 그것은 단막극 <어머니>가 드러내는 공연사적 가치와 의미를 정밀하게 고찰하지 못한 결과로 보인다. 이러한 문제를 극복하기 위해서는 <어머니>의 공연 정황을 살펴보고, 당시 극예술연구회의 상황을 조사할 필요가 있다. 그리고 <어머니>의 선정 이유, 실제 무대 공연 현황, 연극적 요소, 무대 디자인, 관련 평가를 두루 살펴보아야 한다. 이 연구는 이러한 <어머니>의 공연 정황을 점검하고 그 의의를 살피는 데에 초점을 두었으며, 그 결과를 통해 극예술연구회의 한 맥락으로서 여성 연극의 흐름에 대해 논구하고자 한다.

• 영어영문학
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• 제58권1호
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• pp.69-91
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• 2012

Marina Carr's By the Bog of Cats.... (1998) is the last play of the trilogy of "the midlands plays" which can be regarded as her re-writing of both Euripides' Medea and J. M. Synge's The Playboy of the Western World by resetting the two plays in the midlands of contemporary Ireland. Carr intends to courageously explore into the dangerous liminal space, i.e., the middle between the past and the present, the high Greek and the Irish folk culture, dealing with the ghosts of the dead writers for her own Irish feminist theatre. Thus, in the middle Carr can build a new Irish theatre by minorating and abjecting the Greek tragedy and subverting and expanding Synge's theatre of grotesque realism. This paper attempts to read By the Bog of Cats... as Carr's final project of exploration into the midland of Ireland to establish a new Irish feminist theatre and at the same time a new Irish folk theatre. By focusing on her strategies of minoration and subversion through grotesque imagery and carnival rituals it argues that Carr put Hester's becoming-ghost in the middle, the bog of the cats as both grave and womb, waiting for the birth of a new Irish people. And it emphasizes that the ghost of Hester, merging with the ghosts of her mother and daughter by the bog of cats will haunt the official society as a threatening abjection, challenging the restoration of the social order.

• 한국콘텐츠학회논문지
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• 제18권9호
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• pp.510-520
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• 2018

본 연구는 이성애규범주의를 기반으로 하는 사회문화적 맥락 내에서 이성애여성이 남성동성애만화를 수용하는 현상을 여성심리학 관점에서 고찰하였다. 먼저, 남성동성애만화의 국내 전개 과정과 확산 현황을 탐색하였다. 다음으로는 남성동성애만화의 장르적 특성에 대한 쟁점, 남성동성애만화 독해의 심리적 기제와 과정, 그리고 남성동성애만화 수용의 기능과 효과를 논의하였다. 이론적 분석틀로서 고전적 정신분석학을 출발점으로 하여 주요 페미니즘 이론, 퀴어이론, 그리고 Huizinga의 호모루덴스 개념을 비판적으로 채택하였다. 연구결과를 보면, 남성동성애만화는 이성애여성을 위한 로맨스로서 영원한 사랑과 평등한 애정관계라는 소망을 성취해주는 판타지로 장르화 된다. 이성애여성은 남성동성애만화를 통해 이성애가부장제로부터 심리적 탈맥락화를 실현하며, 텍스트 속 캐릭터와 분리되어 관음적 욕구를 채우기도 하고, 또는 젠더전복적 동일시를 통해 이분법적 성별 체계를 교란시키는 시도를 하기도 한다. 이러한 심리적 과정은 성 엄숙주의에 도전하는 유희로 간주될 수 있으며, 궁극적으로 여성의 성적 주체성에 대한 자각을 강화시킨다고 하겠다.

• 영어영문학
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• 제56권5호
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• pp.947-971
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• 2010

Anna Letitia Barbauld's poem "Washing-Day" (1797) has sparked a variety of feminist critical endeavors over the past two decades. While many feminist literary critics try to salvage the poem as a successful tongue-in-cheek riposte directed at the male dominant literary world, more rigorous Marxist feminists accuse Barbauld of being limited by her own middle-class woman's view on women's domestic labor. Legitimate as they may be, these readings fail to elucidate Barbauld's place in a larger literary and intellectual discourse during the eighteenth century. In this paper I read "Washing-Day" as a woman's georgic, a genre or mode concerned with agricultural labor, the public value of which was highly recognized in eighteenth-century England. Alluding to canonical texts by writers like Shakespeare, Milton, and Pope, Barbauld's "loaded lines" in mock-heroic form create a space in which the women's domestic labor of washing interrupts men's daily routines and disrupts their poetic assumptions. While she makes women's work visible, Barbauld also addresses its quintessential nature. Women's work is affective labor; women have to labor physically and mentally to produce the desired domestic comfort. By allowing the image of the soap "bubble" to echo with many "bubbles" in other writers' texts, from the soap bubbles the narrator used to play with as a child to the hot-air balloon "bubble" of the Montgolfier brothers, Barbauld pleasantly equates work and day-dreaming, men's toil and children's play, and finally public, scientific, and recognized labor and private, domestic, and imaginative activities.

• 디지털융복합연구
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• 제17권10호
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• pp.439-446
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• 2019

한국 문화 전반에 성 평등을 주제로 한 페미니즘이 중요한 이슈로 연구 대상적 가치가 급상승하였다. 페미니즘 영화란 단지 여성의 권익을 주장하거나 옹호하는 차원의 수준이 아닌 과거 남성들이 창조한 스토리 속에서 대상화되거나 타자화 된 인물로 왜곡, 인위적으로 묘사되던 그릇된 여성의 모습이 아닌 시선과 사고의 본질적 주체로서 사회 속 개인의 삶의 문제를 근원적으로 탐구하는 영화라고 할 수 있다. 이와 같은 관점에서 전고운 감독의 영화 '소공녀(2018)'를 분석하였으며 영화 속에는 남성 편향적 고정관념과 불평등적 사회구조에도 주인공의 꿋꿋한 자기 선택과 초월적 사고를 보여주는 페미니즘 적인 주제를 표현하고 있음을 알 수 있었다. 대중영화가 세상에 대한 넓은 식견을 키우는 교육 계몽적 성격을 견지하고 성숙한 사회문화를 선도해야 한다는 관점에서 이와 같은 사회에 대한 전지적 통찰과 이상적 인간관에 대한 제고 등을 다룬 영화는 사회를 긍정적이고 이상적으로 바꾸는 데 큰 역할을 할 것이라고 생각된다.

• 미국학
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• 제42권2호
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• pp.135-160
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• 2019

This paper gives a feminist reading of Suzanne Alexander in The Alexander Plays by focusing on her performances as active reconstitutions of history and memory. A compilation of four of Adrienne Kennedy's more recent plays, The Alexander Plays revolves around a central protagonist who, behind windows and within the closed spaces of the home, waits for her missing husband to return home. Yet, the plot of the waiting wife seems to mask the hidden and more dangerous desires for political transgressions of the play. By analyzing Suzanne's interaction with various literary and historical figures, memories and events, this paper argues that her seeming approval of domesticity, femininity and intimacy serves as a cover for her more political altercations with history, race and gender.

• 한국의류학회지
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• 제28권2호
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• pp.200-211
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• 2004

The Purpose of this study was to review the effects of the cyberspace mentality on fashion as a visible symbol of feminity and to analyze terms of its aesthetic values. As for the research methodology, relevant theories across cultures and disciplines are reviewed and an experimental study is conducted to explore spiritual objectives in cyberspace. Then, major issues facing the digital society. symbolized in the computer networks, are reviewed in terms of feminine identity and physical beauty from a feminist＇s viewpoint. Lastly, the aesthetic values found in the spatial meditation of a new dimension (reality versus virtuality) is comparatively analyzed. The virual reality technology and bio-medical technology are combined to be represented in fashion to create a more realistic virtual world than the real one. Such a world may well be characterized by virtuality, artificiality, masquerade, and fantasy. The intrinsic values which are revealed as psychiatrical or psychological implicated values featuring virtual or artificial implications may well be characterized by distopia, hyper, hybridity and Sur Reality.