• Journal of English Language & Literature
• /
• v.58 no.6
• /
• pp.1167-1191
• /
• 2012

For Romantic women writers the paratext itself is essentially a masculine literary space affiliated with established writing practices; however, this paper suggests that Charlotte Turner Smith's mode of discourse in her use of notes and their relation to the text proper are never fixed in her contemplative blank-verse long poem, Beachy Head (1807). Even though the display of learning in the paratext partly supports the woman writer's claim to authority, this paper argues that Smith's endnotes also indicate her way of challenging the double bind for women writers, summoning masculine authority on the margins of her book while simultaneously interrogating essentialist thinking and instructions about one's identity in a culture and on the printed page. The poem shows how the fringes of the book can be effectively transformed from a masculine site of authority to an increasingly feminized site of interchange as Smith writes with an awareness of patriarchal, imperial abuses of power in that area of the book. There is a persistent transgression of cultural/textual boundaries occurring in Beachy Head, which explores the very scene and languages of imperial encounter. Accordingly, if Wordsworth's theory of composition suggests a subjective and abstract poetic experience-an experience without mediation-in which its medium's purpose seems to be to disappear from the reader's consciousness, an examination of the alternative discourse of self-exposure in Smith's poem reveals the essentially fluid nature of media-consciousness in the Romantic era, which remains little acknowledged in received accounts of Romantic literary culture.

• Korean journal of communication and information
• /
• v.27
• /
• pp.63-91
• /
• 2004

The purpose of this study is to investigate the gender discourse of Korean newspapers. For this, the study analyzes the frames of frames of crime news on Chosun Daily and Hangyurae Newspaper for 2 years. The data are collected using KINDS, and include 265 crime articles involving woman. According to the results of this research, the episodic frames are used in the most of crime news. The five frame devices are founded in the episodic frame articles; the male subjectivity and the female objectivity, the male-oriented perspectives which reporters have, the abused sexual details and sensationalism, the emphasis of women body's fragility which imply woman's unavoidability as victims, and finally, blaming women who are victims of crimes. And in the articles of thematic frames, the similar frame devices are found. In particular, they only emphasize the problem of crime and fail to suggest a concrete resolution. Finally, the study discusses the findings relating to the patriarchal news making convention and the commercialism of newspaper industry. The two newspapers have been pursuing quite different political lines in Korean society. It is generally considered that Hangyurae newspaper is progressive and Chosun Daily is conservative. However, this study reveals that the way dealt with women in the crime news are not different. It is concluded that Korean newspapers still produce the gender discourse based on male-centric perspective and patriarchal ideology.

• Review of Culture and Economy
• /
• v.21 no.2
• /
• pp.197-229
• /
• 2018

This study investigates the social discourse for Korean women's leisure culture and analyzes the conflicts between the ideologies which affected to the women's leisure issues with the social and cultural context. For this purpose, this study analyzed a sum of 652,513 words of 4,614 news articles about Korean women's leisure by applying semantic network analysis. In the 1960s, both the enthusiasm for 'modernization' and 'good wife and wise mother' ideologies were simultaneously affected to women's leisure discourse. 'The good wife and wise mother' ideology have a stronger impact on women's leisure culture in the 1970s. In the 1980s, even though the Korean women had higher education background and advanced social status compared to the former periods, both 'good wife and wise mother' ideology and 'modern career women' ideology conflicted each other. The conflicts between the two ideologies were intensified in the 1990s and the women tended to sacrifice their leisure in the course of the ideological conflicts in the 2000s. In the 2010s, women who exhausted due to the intensified conflicts between the two ideologies showed preference for passive forms of leisure.

• SUVANNABHUMI
• /
• v.5 no.2
• /
• pp.81-99
• /
• 2013

Đoạn tuyệt is the representative of not only Nhất Linh's literary life but also of the Tự Lực Văn Đoàn [Self-Strength Literary Group]. Đoạn tuyệt's contributions are emphasized in the following aspects: 1) critique of the feudal family model, 2) an advocate of female and individual liberation, 3) nationalistic content, though rather vague. Based on analysis of gender power relations in the masculinization of femininity exemplified in the character Loan of the novel, this paper addresses the following points: - In Đoạn tuyệt, the woman is eager to free herself from feudalist ties not to construct her own identity but to identify her with men's identities. - The construction of new feminine identities was conditioned in new rising discourses of Western modernity-based nationalisms in pre-revolutionary Vietnam. - The feminization of masculinity echoes the crisis of Vietnamese masculine in facing colonial power.

• International Journal of Advanced Culture Technology
• /
• v.10 no.3
• /
• pp.104-110
• /
• 2022

This paper aims to analyze discourse metaphors by paying attention to Seoul mayoral by-election, mainly focusing on election campaign and its related news articles. The 2021 Seoul mayoral by-election was held because the former mayor died in an apparent suicide after he was accused of years of sexual harassment to a former secretary. But in the run-up to the by-election, the newly coined word 'alleged victim' from the ruling party caused a big controversy because the party attempted to deny the authenticity of the secretary's claim by calling her "an alleged victim," instead of "a victim" to defend the former mayor who is a member of the ruling party, implying that the woman's claim is just an allegation with no proof. Thus, this paper has analyzed how news stories were reported with regard to the word 'alleged victim' poser on news stories in two Korean quality newspapers, a conservative newspaper (Chosun Ilbo) and a liberal newspaper (Hankyoreh) from March 1 to April 1, 2021 and analyzed them with the framework of Lakoff and Johnson's Conceptual Metaphor Theory(1980). The findings are as follows: (i) the conservative newspaper reports this issue much more than the liberal newspaper; (ii) both quality newspapers follow the metaphor principles by Conceptual Metaphor Theory; (iii) the conservative newspaper is more likely to follow the Strick Father model (a conservative model) while the liberal newspaper is to follow the Nurturant Parent model (a liberal model), thus indicating that each newspaper's ideology is well represented by the models of Conceptual Metaphor Theory

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.45-73
• /
• 2018

In this paper, I examine how the voice of Simcheong is reproduced and the meaning of it by examining the reconstruction method and characteristics of . And I tried to explore the possibilities and directions of contents based on classical literature by exploring the way in which this text reintermediation, and recreates the narrative of . This work deals with the story of ShimChung, and sees the problematic aspects of ShimChung's sacrifice and death through the gaze of the surrounding people such as the Namkyeong merchant and Guideok's mother while excluding the central characters Shimcheong and Shimbongsa. In the process, the voice of Simcheong was discovered as a victim and social hit. And It connects this with the discourse of filial duty and virtuous woman which regulates the life of women in the patriarchal society and establishes the place of social public opinion about the life of the women of the Joseon era. In this way, is presented the possibility of a new interpretation of . Also readers and audiences of present-day have an opportunity to reconsider the 'sacrifice' of social subordinate based on deep understanding of .

• Journal of English Language & Literature
• /
• v.57 no.2
• /
• pp.191-215
• /
• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

• Journal of English Language & Literature
• /
• v.58 no.1
• /
• pp.163-183
• /
• 2012

This paper is one of those attempts to explore some possibility of agreement between feminist discourse and postcolonial discourses through the approach of postcolonial feminism in the reading of the controversial novel, So Far from the Bamboo Grove and Year of Impossible Goodbyes. So Far from the Bamboo Grove, when read from the perspective of postcolonial feminism, reveals 'domestic nationalism' of imperial narratives in which the violence of imperial history in Korea is hidden behind the picture of every day lives of an ordinary Japanese family and Japanese women. Furthermore, postcolonial feminist's perspective interprets Yoko family's nostalgia for their 'home,' Nanam in Korea, as 'imperialist nostalgia' working as a mask to hide the violent history of colonization of Empire. In this way, postcolonial feminist reading of the story detects the ways the narrative of Empire appropriates women, family image and even nostalgia for childhood. At the same time, this perspective explains the readers' empathy for Yoko family's suffering and the concerning women issues caused by wartime rape and sexual violence by defining Yoko as a woman of Japanese Empire, whose life of interstice between imperial men and colonial men cannot be free from violence of rape during anti colonial wars. Year of Impossible Goodbyes as a counter discourse does not overcome the traditional binary opposition of nationalism which quietens gender and class issues. As an attempt to fill in the interstice between the two perspectives of feminism and postcolonialism. postcolonial feminist reading turns out to be a valid tool for the reading of the two novels chosen here.

• Journal of English Language & Literature
• /
• v.56 no.2
• /
• pp.329-356
• /
• 2010

Coleridge's fame as a poet rests on the achievement of the mystery poems, "The Anceint Mariner," "Kubla Khan," and "Christabel." Coleridge's achievement in "Christabel" goes far beyond what previous critics have imagined. Coleridge is one of a handful of great writers who are included as representatives of androgyny. Throughout his life, Coleridge was accustomed to point out feminine qualities within himself. "Christabel" exemplifies the kind of writing contemporary feminist theories call l'écriture féminine. L'écriture féminine is not necessarily the creation of women but may rather be the works of those who refuse to identify with the father and the laws of paternal discourse. "Christabel" becomes Coleridge's most daring symbolic story. "Christabel" appears in its full significance as a vehicle for some profound insights into the dynamics of relationships between men and women, fathers and daughters. Through her deformity, Geraldine is actually the casualty of her father's hatred of women, and is the embodiment of all its anti-virtual aspects. The poem shows no bitterness against women, only compassion and remorse. Coleridge is sympathetically presenting Christabel's suffering as a woman at the hands of an overmastering man. Also, "Christabel" demonstrates woman power as well. In fact, the one person whose tales have any real effect within this narrative is the ambiguous Geraldine. Geraldine excels at story-telling, at making words act for her. Perhaps, despite the appearance of the surface, in which men hold all the cards, it is in fact women, or the feminine, so necessary to procreation and creativity, who hold sway here. This apparent dominion of the feminine derives at least partly from Coleridge's use of the conventions of that feminine genre, the Gothic romance. L'écriture féminine is a concept defined by its divergence from a dominant cultural norm. One may speculate that the fragmentary state of "Christabel" and "Kubla Khan" is in fact congruent with this mode of writing. If these poems imply a theoretical écriture féminine, they are by definition "incomplete," for completeness is a standard of patriarchal language and culture. More perplexing even than the other "mystery poems," "Christabel" is the true fragment of the three.

• Journal of English Language & Literature
• /
• v.56 no.5
• /
• pp.947-971
• /
• 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.