선정소설 쓰기를 중심으로 본 Little Women
Little Women: Focusing on Writing of Sensation Fiction
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This paper explores how woman's writing, especially that of sensation fiction, is dealt with in Louisa May Alcott's Little Women. Sensation fiction was considered as a cheap, but morally harmful, entertainment with little literary quality in the 19th century. In the 1970s, feminist critics rediscovered sensation fiction, emphasizing woman's agency against the patriarchy. Then, Lyn Pykett criticizes such feminist reevaluation of sensation fiction in that it reinscribes essentialist concept of ‘the feminine’ and replicates the prejudice of the 19th century in a reversed way. Instead, she argues, the criticism of sensation fiction should be about unfixing and transgressing boundaries regarding gender stereotypes, sexuality, class, family, and marriage. Drawing on Pykett's argument, this paper analyzes how the message of true womanhood that Little Women intends to convey as a domestic fiction is diverted and complicated by having Jo, Alcott's fictional persona, as a writer of sensation fiction, the identity Alcott hid in her real life. Proper femininity, which the domestic fiction posits as a norm, is once more disturbed when Jo quits writing sensation fiction in the work while Alcott does not in her real life. Consequently, this paper insists that Alcott considered writing of sensation fiction as important as, or rather, more important than that of domestic fiction in her writing career, as a means of questioning and disturbing the category of womanhood itself.
Abstract
This paper explores how woman's writing, especially that of sensation fiction, is dealt with in Louisa May Alcott's Little Women. Sensation fiction was considered as a cheap, but morally harmful, entertainment with little literary quality in the 19th century. In the 1970s, feminist critics rediscovered sensation fiction, emphasizing woman's agency against the patriarchy. Then, Lyn Pykett criticizes such feminist reevaluation of sensation fiction in that it reinscribes essentialist concept of ‘the feminine’ and replicates the prejudice of the 19th century in a reversed way. Instead, she argues, the criticism of sensation fiction should be about unfixing and transgressing boundaries regarding gender stereotypes, sexuality, class, family, and marriage. Drawing on Pykett's argument, this paper analyzes how the message of true womanhood that Little Women intends to convey as a domestic fiction is diverted and complicated by having Jo, Alcott's fictional persona, as a writer of sensation fiction, the identity Alcott hid in her real life. Proper femininity, which the domestic fiction posits as a norm, is once more disturbed when Jo quits writing sensation fiction in the work while Alcott does not in her real life. Consequently, this paper insists that Alcott considered writing of sensation fiction as important as, or rather, more important than that of domestic fiction in her writing career, as a means of questioning and disturbing the category of womanhood itself.
참고문헌 (25)
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