This paper explores how Evan Boland’s and Goh Jung Hee’s poetry reconstruct the silenced and marginalized female voices in male dominant literary tradition and history. Boland argues that Irish women have been symbolized as the enigmatic image of powerlessness within the literary history and myth. Her poems deconstruct the ornamentalising and distorting images of women from the old literary conventions, deliberately subverting them to express new realities of women. Boland deploys the domestic and artistic discourses of women, focusing on the ordinariness of the living experience.Furthermore, Goh Jung Hee mimes the origin of Korean women’s suppression,primarily generated by the Confucianism in Chosun dynasty; she rewrites the stories of three women--Hwang Jin Yi, Shin Saimdang, Hur Nansulhyun from a feminist’s perspective, shattering the distorted material realities of historic Korean women. Goh Jung Hee’s poetry re-locates these historical female figures in the history of women as the precedent feminists. Both Boland and Goh Jung Hee examine the challenges of speaking about the dispossessed and disenfranchised female subjects which the dominant narratives of patriarchal history and literature have either over-looked or excluded.
This paper explores how Evan Boland’s and Goh Jung Hee’s poetry reconstruct the silenced and marginalized female voices in male dominant literary tradition and history. Boland argues that Irish women have been symbolized as the enigmatic image of powerlessness within the literary history and myth. Her poems deconstruct the ornamentalising and distorting images of women from the old literary conventions, deliberately subverting them to express new realities of women. Boland deploys the domestic and artistic discourses of women, focusing on the ordinariness of the living experience.Furthermore, Goh Jung Hee mimes the origin of Korean women’s suppression,primarily generated by the Confucianism in Chosun dynasty; she rewrites the stories of three women--Hwang Jin Yi, Shin Saimdang, Hur Nansulhyun from a feminist’s perspective, shattering the distorted material realities of historic Korean women. Goh Jung Hee’s poetry re-locates these historical female figures in the history of women as the precedent feminists. Both Boland and Goh Jung Hee examine the challenges of speaking about the dispossessed and disenfranchised female subjects which the dominant narratives of patriarchal history and literature have either over-looked or excluded.
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