One of the most notable phenomenas in space of the Korean literature in the 1990 is the emergence of women writers. This study aims at reflecting on the discourse of women’s writings, from the viewpoint of a feminist critics. It moves, namely, in the space of in-between: on the one hand it deals wi...
One of the most notable phenomenas in space of the Korean literature in the 1990 is the emergence of women writers. This study aims at reflecting on the discourse of women’s writings, from the viewpoint of a feminist critics. It moves, namely, in the space of in-between: on the one hand it deals with the concept of ‘women’, through out the women's movement, femininity and women's experience. And on the other hand it concerns the category of ‘literature’, distinguished from the other cognitive systems by developing its own system of language, since the advent of modem ages. In doing so this paper stresses that ‘women’s experiences' the feminist criticism premises are splitted and double-structured at the same time. Although we cannot give up the context, 'experience’, the feminist criticism uses, which was already done but needed to be made, the experiences should not be simplified but should be constituted now. On this aspect, this study reconstitutes the critique discourse referred most often to the women's novels of the 1990s. They are the relations between realism and women’s novels; the symbolic position of women’s literature in the political, social, and cultural context of the 1990s; the correlationbetween the meaning of Bildungsroman in the Korean modern literature and the Bildungsroman written by women in the 1990s; the relation between the ‘home', ‘family', ‘motherhood’ and the women's literature. It must be limitative to evaluate women’s literature only through Lukcstic realism which defines novels as the text of a mature, 'masculine style' without considering other modern novel theory based on Walter Benjamin and such. If then, we cannot approach properly the ‘subject’ or ‘identity’ women’s literature describes and calls into question. The Bildungsroman of Korean modern literature has the important meaning, i.e., the narrative about the origin of individuals as well as of State, like all of the modem literatures in modem nation-states. No wonder women who have been excluded from the such narratives begin to write their own narrative about their origin. Home, family, and motherhood considered as women’s principal spheres are also described in women's novels of the ’90s in different ways. However women belong neither clearly nor simply to the home, family, and motherhood as most of the critical analyses shows. On the contrary, we would rather take into account that the strategies of women in their own existence both staying at home and always leaving home, wandering along the streets.
One of the most notable phenomenas in space of the Korean literature in the 1990 is the emergence of women writers. This study aims at reflecting on the discourse of women’s writings, from the viewpoint of a feminist critics. It moves, namely, in the space of in-between: on the one hand it deals with the concept of ‘women’, through out the women's movement, femininity and women's experience. And on the other hand it concerns the category of ‘literature’, distinguished from the other cognitive systems by developing its own system of language, since the advent of modem ages. In doing so this paper stresses that ‘women’s experiences' the feminist criticism premises are splitted and double-structured at the same time. Although we cannot give up the context, 'experience’, the feminist criticism uses, which was already done but needed to be made, the experiences should not be simplified but should be constituted now. On this aspect, this study reconstitutes the critique discourse referred most often to the women's novels of the 1990s. They are the relations between realism and women’s novels; the symbolic position of women’s literature in the political, social, and cultural context of the 1990s; the correlationbetween the meaning of Bildungsroman in the Korean modern literature and the Bildungsroman written by women in the 1990s; the relation between the ‘home', ‘family', ‘motherhood’ and the women's literature. It must be limitative to evaluate women’s literature only through Lukcstic realism which defines novels as the text of a mature, 'masculine style' without considering other modern novel theory based on Walter Benjamin and such. If then, we cannot approach properly the ‘subject’ or ‘identity’ women’s literature describes and calls into question. The Bildungsroman of Korean modern literature has the important meaning, i.e., the narrative about the origin of individuals as well as of State, like all of the modem literatures in modem nation-states. No wonder women who have been excluded from the such narratives begin to write their own narrative about their origin. Home, family, and motherhood considered as women’s principal spheres are also described in women's novels of the ’90s in different ways. However women belong neither clearly nor simply to the home, family, and motherhood as most of the critical analyses shows. On the contrary, we would rather take into account that the strategies of women in their own existence both staying at home and always leaving home, wandering along the streets.
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