90년대 여성시의 탈-여성적 좌표-이원과 황인숙의 경우

Abstract

This article examines the poetry of Hwang In-sook and Lee Won, two representative women poets of the 90s. By analyzing the features of utterance in their poems as going beyond the ‘scream’ and ‘confession’ that are commonly characterized as the feminine voice in Korean current affairs, I try to expand the achievement of women’s poetry in the 90s as ‘de-feminized’ and ‘de-discursive’ at the same time. This is not to say that Hwang In-sook’s and Lee Won’s achievements as women’s poetry are completely unrelated to so-called normative femininity, but rather to note the way they deconstruct it in light of the ‘discourse of femininity’. Lee’s poetry, which needs to be actively reevaluated as a pioneering poet who borrowed the changed media environment of the 90s as a material for her poetry, sought to write women’s poetry in a way that deconstructs the ‘essence of femininity’ by recreating a ‘virtual woman’. The unique attitude of ‘distancing’ in Hwang In-sook’s poetry constantly reverses the positions of subject and object, making ‘confession’ as a poetic utterance impossible. Through this reading of Lee Won and Hwang In-sook’s poetry, this article aims to distinguish the achievements of women’s poetry in the 1990s and the limits of criticism. If Lee and Hwang’s poems were not actively read as women’s poetry in the 90s, it is important to consider that it is because their poems made unique attempts that cannot be easily reduced to ‘discursive femininity’ by the texts of the time. And by examining the attempts of 90s women’s poetry to traverse this ‘discursive femininity’, the poetic achievements of 90s women’s poetry can become more complex and diverse.