페미니즘 리부트 시대 여성문학의 계보 만들기 : 한국여성문학사와 여성문학 앤솔로지의 필요성과 내용을 중심으로

Abstract

This article attempts to create a genealogy of women’s literature by exploring the need to write an independent women’s literary history and the necessity, ideology, and content of an anthology of women’s literature as a source for women’s literature history. First, I argue that an independent history of women’s literature should be written that encompasses the formation and development of women’s literature. Regarding the methodology for writing such a history, first, women must be understood as existing at the intersection of various social categories, such as nation, class, and sexuality. Second, women’s literature is not a history of complete continuity and linear development; rather, it is a history of fissures, resistances, and heterogeneous voices that coexist. Second, I propose a “feminism” canon as a canon of materials that archives the trajectory of the origin, formation, and development of women’s literature. I propose the following periodization, which focuses on the rise and fall of heterogeneous women’s writings and voices competing within the dominant social order and the emergence of major writers and works that clearly demonstrate the transformation of women’s literature history. (1) In the early modern era, the emergence of educated women of Choseon and the rise of the individual; (2) the emergence of socialist women and reflective female intellectuals in response to colonial reality; (3) gendered experiences of the post-liberation period and the Korean War and the emergence of bad woman; (4) the emergence of intellectual female subjects who criticized developmentalism and masculinity; (5) the emergence of hysterical writing by middle-class women and autobiographies by female laborers in response to gender repression that began in the 1970s; (6) the emergence of “writing as a movement” for interrogating the intersection of nation, people, and gender with the rise of the people’s movement, literature, and women’s liberation consciousness; (7) and the emergence of “gendered individual subjects” and “feminine writing” following the 1987 regime. Based on this periodization, this feminism anthology is able to encompass various forms of writing, such as novels, poems, plays, essays, declarations, memoirs, and more. The classificatory methodology of this open anthology differs from that of traditional anthologies in that it considers not only social changes but also the dynamics of women’s literature, knowledge, and writing, and finds remnants and surpluses in the writing traditions of each era. In conclusion, women’s literary history and an anthology of women’s literature, as starting points and sources of feminist literary pedagogy, are expected to benefit the writer- reader commons after the feminism reboot. And the feminism anthology proposed in this article can rewrite existing anthologies, or serve as a starting point for writing new anthologies.