해체적 글쓰기: 진 리이스의『 드넓은 사가소 바다 』 - 『 제인 에어 』와의 비교 연구-

김정매 ( Jung Mai Kim ) 한국영미문학페미니즘학회 1996 영미문학페미니즘 Vol.3 No.1

This paper aims to read Jean Rhys`s Wide Sargasso Sea from a deconstructivist viewpoint comparing it with Charlotte Bronte`s Jane Eyre, its host text. Although commonly considered as a British writer, Jean Rhys possesses a different perspective from those of the writers born and raised in Great Britain. Being Creole, she could provide us with a perspective of the third world, unlike those of British or Europeans. This difference in perspective stands out conspicuously in her fifth novel Wide Sargasso Sea. Reading Charlotte Bronte`s Jane Eyre, one of the 19th century British classics, she was disturbed with the characterization of Bertha, the Creole wife of Rochester. To Rhys, she was an impossible character representing only the British side of things, therefore a character to be rebuilt and humanly reformed. Rhys brought her out from behind the stage of Jane Eyre and gave her a voice to tell us her story. Rhys not only rebuilt the character of Bertha but also did other necessary changes in her novel. In a sense, she created a totally subversive discourse, giving voice to the `muted` and marginalized group in Jane Eyre. A product of deconstructive reading, it enacts the return of the repressed or recovery of female experience from the realm of `nonbeing.` Rhys renamed Bertha as Antoinette using her maiden name, implying that name is an important symbol representing one`s identity. In this sense, it is significant Rhys does not offer any name to the husband of Antoinette although she stages him as one of the narrators - one of the deconstructive strategies. Above all, the first-person narrator/heroine of the host text, Jane, never appears and there is no space whatever that suggests any sign of her presence in the guest text. As a symbiont, Wide Sargasso Sea succeeds to deconstruct the elements of Bronte`s Jane Eyre to create a territory of nightmarish atmosphere of anxiety and uncertainty, showing us the violent oppression of Antoinette/Bertha by the Wide Sargasso Sea from racism, imperialism and patriarchy. In short, Jean Rhys created a novel of postmodern psychology out of the Victorian romantic novel of realism.

뮤리엘 스파크의 여성 인물들 - 그 유형과 종교성

김정매(Jung Mai Kim) 한국영미문학페미니즘학회 1999 영미문학페미니즘 Vol.7 No.1

This paper aims to analyze the female characters of Muriel Spark from the viewpoint of religiosity. Unlike Graham Greene or Evelyn Waugh, Spark hardly uses religious theme in overt form, but rather in such an economic way that common readers easily miss it. An ardent admirer of Cardinal John Henry Newman and herself a Roman Catholic convert from Anglicanism, she states that she felt released from the oppressive stress of being a writer by her conversion. Her view of the novel changes as well. She started writing novels, utilizing them as a form in which to explore the ultimate religious meaning of human relationship or lack of it. She is always more interested in the spiritual status than the superficial social activities of her characters. Although she never openly claimed herself to be a feminist, Spark can be considered one in that she chose to edit the letters of Mary Shelley as well as those of Emily Bronte¨. Besides, most of her main characters are female. She stages not only women who attain self-discovery, maturity and dignity to encounter the Other and transcendental sensibility but also women of extreme egotism and blind selfishness who can never recognize or allow the otherness of the Other into their view of the world. This paper categorizes Spark`s female characters into four types: the woman of self recognition in personal hardship, the woman imitating God, the woman of transcendental vision of divine Providence, and the woman of narrow-mindedness who falls victim to her own selfishness. January Marlow of Robinson, Jean Brodie of The Prime of Miss Jean Brodie, Dame Lettie Colston. Charmien and Jean Taylor of Memento Mori aptly represent the four different types of Spark`s female characters.

윌리엄 새커리의 『허영의 시장』-인생논평과 끝맺음을 중심으로

김정매 ( Jung Mai Kim ) 근대영미소설학회 1996 근대 영미소설 Vol.3 No.1

This paper aims to read William Makepeace Thackeray`s Vanity Fair paying special attention to the author`s criticism of life in relation to the significance of the novel`s ending. The novel, as its title Vanity Fair and subtitle A Novel without A Hero clearly tell, is a novel of anti-hero, apart from the traditional fiction of the romantic hero. This perspecrive derives from Thackeray`s view of life, especially that of contemporary society. To him the society of contemporary England, more specifically that of the upper middle class, was a confused fair in which snobs were busy, bustling about buying and selling the commodity called vanity, moral disguises, hypocritical pretensions in order to acquire material wealth and social titles. In this society called Vanity Fair, even William Dobbin, the righteous and self-sacrificing man of true love, and the tender-hearted and kind Amelia cannot be exempted from the category of vain characters, not to speak of Becky Sharp, who is the living embodiment of "inhumane" deceptions and moral hypocrisy. In the world of Vanity Fair, nobody is heroic enough to deserve the satisfying fulfillment of his or her desire or wish to the full. Even the reader is left unsatisfied and unhappy at the end because according to Thackeray life is "Vanitas Vanitatum!" and he endeavoured to depict life true to its reality, not following the conventional form of fiction, which is yet another form of vanity fair.

여성의식과 D.H. 로렌스의 여성상

金正梅(Jung-mai Kim) 성곡언론문화재단 1983 성곡논총 Vol.14 No.-

왜 많은 여자들이 로렌스를 좋아하는가? : 문화적 페미니즘 관점에서의 접근

김정매 ( Jung Mai Kim ) 한국로렌스학회 2003 D.H. 로렌스 연구 Vol.11 No.2

로렌스의 생태주의적 사유: 노마드적 "됨"과 끝없는 "탈주"

김정매 ( Jung Mai Kim ) 한국로렌스학회 2002 D.H. 로렌스 연구 Vol.10 No.1

『채털리 부인의 연인』 다시 읽기: 생태학적 텍스트로서의 의의

김정매 ( Jung Mai Kim ) 한국로렌스학회 2001 D.H. 로렌스 연구 Vol.9 No.2

여성주의 고딕소설 : 샬롯 길먼의 『 누런 벽지 』 Charlotte P. Gilman's Yellow Wallpaper

김정매 한국영미문학페미니즘학회 1995 영미문학페미니즘 Vol.1 No.1

베키 �事�허구적 ' 성공 ' : 『 허영의 시장 』 의 고찰 A Study of Vanity Fair

김정매 한국영미문학페미니즘학회 1997 영미문학페미니즘 Vol.4 No.1

This paper aims to read closely Becky Sharp's character and its significance in relation to the total picture of the "Vanity Fair" as well as to Thackeray's authorial intention. Although Thackeray subtitled Vanity Fair "A Novel Without Hero", most readers and critics agree that the unforgettable Becky Sharp is the heroine of the novel and plays the critical role in showing us the hypocrisy and vanity of the Victorian upper middle and high classes. Becky, in a sense classless because orphaned, is free to move between classes and is able to reach beyond her given social status by manipulating people's vanity and self-interest. She struggles by witty, yet painful, strategies to obtain a suitable husband - one with wealth and a recognised position in society. Although traditionally she has been regarded only as an embodiment of evil and an example of sinful deceit and false virtue, we can admire her various artistic talents and social graces providing characters with great pleasure and joy even though for limited periods, especially if we separate virtue from chastity in evaluating her strengths. Language plays a vital role in her social success. Even though she is accomplished at piano and charade, the main tool of her social ascent is her witty talk Thackeray seriously doubted whether art and language could genuinely represent the true state of human life. If we view the nature and role of Becky from this point of view, we can infer that Thackeray staged Becky to show the false limitations of art and language in addition to his attempt to mirror the artifices of the upper Victorian society. Besides he seems to have attempted to satirize the equally narrow Victorian concept of "virtue".

다시 읽는 『더버빌가의 테스』 : 테스의 정체성을 중심으로 Focusing on the Identity of Tess

김정매 東國大學校 1995 東國論叢 Vol.34 No.-

This paper aims to re-read Thomas hardy's Tess of the d'Urbervills focusing on the nature of Tess's identity as a woman. Until quite recently most of the received criticism, predominantly of male critics, has regarded Tess as an impotent, passive victim of Fate, having no control over her conducts. Certainly she shows, to a certain extent, passivity, ready to follow patriarchal value system, and to sacrifice herself for her family. Yet even these traits are connected with other aspects that are in conflict with the common image of "a passive victim." When we read the text more objectively, it provides us with a new perspective to deepen our understanding of the true nature of her identity. Her physical voluptuousness is nothing but an aspect of her female sexuality which also harbors an independent critical mind, a noble spirit that can sympathize with others' suffering. In short her female sexuality is the very source of perseverance, deep sympathy as well as violence when driven to the extreme. She is also a person who is capable of being in harmony with nature in full cosmic consciousness as well as a complex human being conscious of contradicting elements in her self and concretely reiterating the full vibrant rhythm of life.