세계화의 여성주의적 전유 : 린 노티지의 『폐허』에 나타난 코스모페미니즘 연구
Feminist Appropriation of Globalization: Cosmofeminism in Lynn Nottage’s Ruined
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In l ig ht o f recent t heoretical d iscussions on c osmopolitanism and cosmofeminism, this article sets out to find a new feminist vision and aesthetic in Lynn Nottage’s 2009 Pulitzer Prize winning play Ruined(2009) that can counteract both nationalism and globalization. First, problematizing both the patriarchal ideology of nationalism and its counterforce globalization, which is easily coopted by neoliberalist global capitalism, I suggest cosmopolitanism as an alternative ethical/aesthetic project determined to conceptualize and develop communities across cultural borders. Second, I trace the genealogy of cosmofeminist discourses that combine cosmopolitanism and feminism from Virginia Woolf’s Three Guineas a nd R obin M org an’s “ Global S isterhood” to t he most recent addition of Susan Stanford Friedman’s thesis on “cosmofeminism from the side.” Thirdly, drawing on Friedman’s delineation of “cosmofeminism from the side,” I analyze how Ruined challenges not only patriarchal nationalism and global capitalism but also the binary rhetorics of cosmopolitanism of “above” and “below,” “old” and “new,” “elite” and “vulgar,” and thereby creates a space for “horizontal cosmopoetics.” The essay particularly delves into how the play conceives ‘home’ as a part of the cosmopolitan that is itself a vital interlocutor in public laws and ethics and how Nottage’s dramaturgy achieves “gentle balance” and “fragile hope” by valorizing affective emotions and popular culture that had been ostracized by second-wave feminism. Finally, in the conclusion, I discuss three choices given to millenium feminist drama－postfeminism, postmodernism, cosmofeminism－of which I turn to the last as the most viable direction we should take.
Abstract
In l ig ht o f recent t heoretical d iscussions on c osmopolitanism and cosmofeminism, this article sets out to find a new feminist vision and aesthetic in Lynn Nottage’s 2009 Pulitzer Prize winning play Ruined(2009) that can counteract both nationalism and globalization. First, problematizing both the patriarchal ideology of nationalism and its counterforce globalization, which is easily coopted by neoliberalist global capitalism, I suggest cosmopolitanism as an alternative ethical/aesthetic project determined to conceptualize and develop communities across cultural borders. Second, I trace the genealogy of cosmofeminist discourses that combine cosmopolitanism and feminism from Virginia Woolf’s Three Guineas a nd R obin M org an’s “ Global S isterhood” to t he most recent addition of Susan Stanford Friedman’s thesis on “cosmofeminism from the side.” Thirdly, drawing on Friedman’s delineation of “cosmofeminism from the side,” I analyze how Ruined challenges not only patriarchal nationalism and global capitalism but also the binary rhetorics of cosmopolitanism of “above” and “below,” “old” and “new,” “elite” and “vulgar,” and thereby creates a space for “horizontal cosmopoetics.” The essay particularly delves into how the play conceives ‘home’ as a part of the cosmopolitan that is itself a vital interlocutor in public laws and ethics and how Nottage’s dramaturgy achieves “gentle balance” and “fragile hope” by valorizing affective emotions and popular culture that had been ostracized by second-wave feminism. Finally, in the conclusion, I discuss three choices given to millenium feminist drama－postfeminism, postmodernism, cosmofeminism－of which I turn to the last as the most viable direction we should take.
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