고정희와 수팅의 여성시 비교연구 - 참여로서의 여성 쓰기 -
A Comparative Study on the feminism poetry of Go Jeong-hui and Su Ting
1
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
The purpose of this study is to compare Go Jeong-hui who went through the period of turbulence in the 80’s with a series of pro-democracy movements in Korea and Sū Tǐng who lived through the 80’s in China that was in the center of enormous social as well as economic transformation within the flow of new culture and ideology after the cultural revolution of major disturbance lasting for 10 years and consider how women’s writing was realized aesthetically as participation in the era when resistance against suppression took place explosively in the two areas equipped with different cultures and systems as capitalism and socialism. Go Jeong-hui and Sū Tǐng were both representative women oriented to the same path in the aspects of resisting against male authority and refusing male-dominated literary tradition; however, in the aspects of expression, they are characterized very differently. Go Jeong-hui established the identity of feminist poetry by dismantling poetic grammar that trapped the writers and disclosing the suppressive mechanism of poetic writing through explicit utterances while Sū Tǐng expressed what she wanted to say through misty poetry correspondingly to the circumstances in China. Go Jeong-hui reported physical suppression, substantial pain, and hardships in life that women had to go through in men-oriented society through female narrators either directly or indirectly whereas Sū Tǐng chose not to report such aspects of men directly but to negate the image of traditional women relying on and adapting to men and stress the importance of women having to become independent and subjective mainly. Also, in reporting the truth of external world symbolizing male authority, Go Jeong-hui tried to resist that through straight-forward expressions while Sū Tǐng suggested women them to look back on themselves first rather than to confront it directly through the use of exquisite analogy or metaphor. Lastly, about the possibility of overcoming it, Go Jeong-hui developed the possibility of building a new world through mothers’ sacrifice and sisterhood whereas Sū Tǐng brought macroscopic discourse as comparing mothers to the mother nation solely.
Abstract
The purpose of this study is to compare Go Jeong-hui who went through the period of turbulence in the 80’s with a series of pro-democracy movements in Korea and Sū Tǐng who lived through the 80’s in China that was in the center of enormous social as well as economic transformation within the flow of new culture and ideology after the cultural revolution of major disturbance lasting for 10 years and consider how women’s writing was realized aesthetically as participation in the era when resistance against suppression took place explosively in the two areas equipped with different cultures and systems as capitalism and socialism. Go Jeong-hui and Sū Tǐng were both representative women oriented to the same path in the aspects of resisting against male authority and refusing male-dominated literary tradition; however, in the aspects of expression, they are characterized very differently. Go Jeong-hui established the identity of feminist poetry by dismantling poetic grammar that trapped the writers and disclosing the suppressive mechanism of poetic writing through explicit utterances while Sū Tǐng expressed what she wanted to say through misty poetry correspondingly to the circumstances in China. Go Jeong-hui reported physical suppression, substantial pain, and hardships in life that women had to go through in men-oriented society through female narrators either directly or indirectly whereas Sū Tǐng chose not to report such aspects of men directly but to negate the image of traditional women relying on and adapting to men and stress the importance of women having to become independent and subjective mainly. Also, in reporting the truth of external world symbolizing male authority, Go Jeong-hui tried to resist that through straight-forward expressions while Sū Tǐng suggested women them to look back on themselves first rather than to confront it directly through the use of exquisite analogy or metaphor. Lastly, about the possibility of overcoming it, Go Jeong-hui developed the possibility of building a new world through mothers’ sacrifice and sisterhood whereas Sū Tǐng brought macroscopic discourse as comparing mothers to the mother nation solely.
참고문헌 (41)
- 고정희, "고정희 시전집 1․2" (2011), 또하나의문화
- 舒婷, "舒婷詩" (2012), 長江文藝出版社
- 강금숙, "한국 페미니즘의 시학" (1996), 동화서적
- 안네트 콜로드니, "페미니즘과 문학" (1988), 문예출판사
- 黃修己, "20世紀中國文學史 下卷" (2004), 中山大學出版社
- 김난희, "1980년대 한국 여성시에 나타난 웃음과 그 시적 언어의 정치성", 여성문학연구, (34), pp.231~268 (2015), 한국여성문학학회
- 김승희, "한국 현대 여성시에 나타난 제국저의의 남근(Phallus) 읽기", 여성문학연구, (7), pp.80~104 (2002), 한국여성문학학회
- 김양선, "486세대 여성의 고정희 문학 체험- 80년대 문학담론과의 길항관계를 중심으로", 비교한국학 Comparative Korean Studies, 19(3), pp.39~63 (2011), 국제비교한국학회
- 김향라, "한국 현대 페미니즘시 연구 : 고정희·최승자·김혜순의 시를 중심으로", 박사, 국어국문학, pp.2010
- 박주영, "신화 · 역사 · 여성성 : 이반 볼랜드와 고정희의 다시 쓰는 여성 이야기", 비교한국학 Comparative Korean Studies, 19(2), pp.231~274 (2011), 국제비교한국학회
- 정종민, "한국 현대 페미니즘 시 연구 : 사적 전개 양상을 중심으로", 박사, 현대문학, pp.2008
- 조혜진, "고정희, 최승자, 김승희 시에 나타난 여성성의 타자성 연구 - ‘병’과 ‘욕설’의 결합으로서 ‘미친년’의 서사를 중심으로 -", 한국문예비평연구, (53), pp.73~102 (2017), 한국현대문예비평학회[DOI]
- 이경희, "고정희 시 연구", 박사, 국어국문학, pp.2010
- 이경희, "고정희 시의 여성주의 시각 연구", 돈암어문학, 21, pp.169~222 (2008), 돈암어문학회[DOI]
- 이소의, "한국 현대 여성시에 나타난 몸과 주체형성 연구", 박사, pp.2015
- 이소희, "“고정희”를 둘러싼 페미니즘 문화정치학", 젠더와 사회, 6 (2007), 한양대학교 여성연구소
- 이소희, "<밥과 자본주의>에 나타난 “여성민중주의적 현실주의”와 문체혁명: 「몸바쳐 밥을 사는 사람 내력 한마당」을중심으로", 비교한국학 Comparative Korean Studies, 19(3), pp.99~144 (2011), 국제비교한국학회
- 이소희, "고정희 글쓰기에 나타난 여성주의 창조적 자아의발전과정 연구-80년대 사회운동 및 사회문화적 담론과의 영향을 중심으로-", 여성문학연구, (30), pp.221~318 (2013), 한국여성문학학회
- 이연화, "한국 현대시에 나타난 탈식민성 연구", 박사, 국어국문학과, pp.2014
- 이혜원, "한국 여성시의 탈식민주의 페미니즘 연구: 고정희, 김승희, 허수경의 시를 중심으로", 여성문학연구, (41), pp.321~353 (2017), 한국여성문학학회
- 윤향기, "한국 여성시의 에로티시즘 연구", 박사, 국어국문학, pp.2009
- 彭慶敏, "1980년대 한·중 여성주의 시 연구", 박사, 국어국문학과 현대문학전공, pp.2013
- 한병인, "고정희 詩에 나타난 변형구조 - J. Kristeva의 이론을 통해서 본 여성주의 -", 현대문학이론연구, (61), pp.439~457 (2015), 현대문학이론학회
- 辛梅, "呼喚女性獨立意識的贊歌—談舒婷 ≪致橡樹≫ 中女性愛情觀的現實意義", 吉林廣播電視大學 學報 (2011)
- 董秀麗, "20世紀90年代女性詩歌研究" (2010), 南開大學
- 黃曉東, "舒婷的文學創作與女性主義", 當代文壇, 2 (2010)
- 修磊, "20世紀90年代女性詩歌研究" (2009), 吉林大學
- 張曉紅, "女性詩歌中的女性身份、作者身份及互文聯系", 當代作家評論, 3 (2008)
- 馮齊林, "淺論女性意識— ≪致橡樹≫ 的解讀", 教育前沿(綜合版), 6 (2007)
- 朱美華, "舒婷詩歌 ≪致橡樹≫ 的女性意識解讀", 文教資料, 14 (2007)
- 何世龍, "舒婷詩歌的抒情技巧", 安康師專學報, 6 (2005)
- 紀芳芳, "當代女性詩歌中母女關系主題的書寫與流變—以舒婷、翟永明、尹麗川的詩歌爲例", 保 定師範專科學校學報, 3 (2005)
- 謝超, "陳曉濤. 女性意識的“破”與“立”—舒婷的 ≪致橡樹≫、≪神女峰≫ 解讀", 新餘高專學報, 4 (2004)
- 王雅平, "女性生命和情感的寫真—舒婷詩歌創作回眸", 求索, 1 (2003)
- 劉雙貴, "女性自尊的覺醒—舒婷的 ≪致橡樹≫ 解讀", 北方論叢, 6 (2001)
- 王莉, "女性文學視野下的舒婷詩歌", 樂山師範學院學報, 5 (2001)
- 王泉, "龔蕾. 簡論舒婷詩歌的女性意識", 益陽師專學報, 4 (2001)
- 吳思敬, "舒婷: 呼喚女性詩歌的春天", 文藝爭鳴, 1 (2000)
- 胡兆明, "新時期女性詩歌的嬗變", 華僑大學學報, 3 (1994), 哲學社會科學版
- 程光煒, "由美麗的憂傷到解脫和粗放—新時期女性詩歌嬗變形態內窺", 文藝評論, 1 (1989)
- 陳素琰, "美麗的憂傷—舒婷的 ≪惠安女子≫", 名作欣賞, 1 (1987)