죠지 엘리어트의 문화적 페미니즘: 『플로스 강가의 물방앗간』을 중심으로

이순구 ( Soon Ku Lee ) 근대영미소설학회 1999 근대 영미소설 Vol.6 No.2

This paper proposes to study on George Eliot`s cultural feminism in The Mill on the Floss As a starting point for this argument, this paper accepts Josephine Donovan`s view that cultural feminism has been existed side by side with Enlightenment feminism during the nineteenth-century. That women were different from men and, in general, inferior to them was a Victorian commonplace. Accordmg to Donovan`s View Enlightenment feminism and cultural feminism explode this commonplace, but they do so in opposing ways: Enlightenment feminism by denying difference, evangelical feminism by extolling values rooted in female experience and culture. And this paper asserts that Eliot`s feminism is based on cultural feminism which is concentrated on extolling feminine characteristics such as maternity, empathy, and care. Maggie Tulliver, the heroine of The Millon the Floss, embodies these values of femininity which Eliot considered to be very important. Thanks to her own nature she responds to others` needs and desires sensitively and . would willingly take care of them while she would make light of her own needs and desires. The power to enter into others` feelings and thoughts and to suspend the judgement of others, and strong sense of solidarity are the virtues which her moral point of view has But in the end she is confronted with moral dilemmas where her ethic of care or responsibility for others doesn`t work for herself and even for others. She finds out that to live for others doesn`t mean always to be good, nor to live for herself always means to be selfish. So she realizes that she must turn her ethic of care or responsibility to herself too, that is, in makmg a moral decision she must refer to her own desires and needs as well as the others`. Through this realization she expands her ethic of care or responsibility more thoroughly, being more true to others as well as to herself. She becomes a morally flexible and mature woman in the end.

『급진주의자 필릭스 홀트』연구: 페미니즘적 고찰

이순구 ( Soon Ku Lee ) 근대 영미소설 학회 2003 근대 영미소설 Vol.10 No.2

This paper examines Felix Holt, the Radical from the perspective of psychological developmental theonsts of 1980s such as Nancy Chodorow and Jean Baker Miller. All these psychological theorists argue that Sigmund Freud is prejudiced when he suggests a hypothesis concerned about the psychological developments of a boy and a girl. His hypothesis is that the boy`s psychological development is normnal and natural because he achieves his independence from his mother without difficulty while a girl clings to her mother failing to achieve her detachment from her mother. So the girl`s psychological development is inferior, immature, or problematic according to Freud. However, these new psychological theorists insist that the feminine characteristics such as attachment, intimate relationship, mutual dependence shown in the woman`s psychological development are not weak points but strong points for human existence. Josephine Donovan calls feminism of these new psychological theorists as cultural feminism which has existed along with Enlightenment liberal feminism from the nineteenth-century on. Using the term of Donovan`s cultural femlinism I approach George Eliot`s cultural feminism of Felix Holt, the Radical. Especially I pay attention to how Esther Lyon, the heroine of the novel, develops morally from a conventional woman who wants to become a lady of the upper class society to a moral being who practices her feminine values for herself and for her society actively.

Ezra Pound의 “표의문자” 연구

이순구(Soon-ku Lee) 한국동서비교문학학회 1998 동서 비교문학저널 Vol.1 No.-

『등대로』에 나타난 인식론과 미학

이순구(Lee, Soon-Ku) 신영어영문학회 2015 신영어영문학 Vol.61 No.-

This paper aims at analyzing epistemology and aesthetics embodied in two main characters in Virginia Woolf’s To the Lighthouse, Mrs. Ramsay and Lily Briscoe. It explains Mrs Ramsay’s characteristic fusion between object and subject and tendency of extinction of self through the concept of “contemplation” of Schopenhauerean aesthetics. In the meantime this thesis examines Lily as a modern artist who knows the importance of distance in life and art and understands that there is a gap between the perceiver and the perceived in perception. This paper regards Lily’s view, not Mrs. Ramsay’s, as Woolf’s own and try to show how Lily in “The Lighthouse” deconstructs the world of part I constructed by Mrs. Ramsay’s ideals and reconstructs another world with new order and harmony according to her aesthetics of distance.

빅토리아조 페미니즘과 『 미들마치 』읽기

이순구(Soon Ku Lee) 한국영미문학페미니즘학회 1999 영미문학페미니즘 Vol.7 No.1

This article accepts some critics` view that evangelical feminism existed side by side with Enlightenment feminism during the nineteenth century. That women were different from men, and in general, inferior to them was a Victorian commonplace. According to these critics` views, Enlightenment feminism and evangelical feminism explode this commonplace, but they do so in opposing ways: Enlightenment feminism by denying difference, evangelical feminism by extolling virtues rooted in female experience and culture. This paper asserts that Eliot`s feminism is based on evangelical feminism, which concentrates on extolling feminine characteristics. Additionally, I argue that Eliot admits the good points of Enlightenment feminism such as equal rights, autonomy, and self-realization, while still maintaining the feminine characteristics as useful and essential values. Eliot`s feminism can be seen as eclectic and synthetic, merging opposite streams of feminism of that time. A close study of Dorothea Brooke`s moral development would confirm these aspects of Eliot`s feminism Dorothea Brooke, heroine of Middlemarch, embodies the values of femininity which Eliot considered important. The power to enter into the feelings of others and to suspend judgement of others, are the virtues found in Dorothea`s moral viewpoint. By the novel`s end, however, she is confronted with moral dilemmas in which her ethic of care or responsibility for others does not work for herself or for hers. Dorothea learns that living for others does not always mean being good, nor does living for herself always mean being selfish. The concepts of rights, autonomy, and self-realization, previously understood by Dorothea to belong only to the masculine realm, are realized as important in her own life as well.

『행복한 왕자 외』와 『석류나무 집』: 와일드의 기독교 사회주의

이순구 ( Soon Ku Lee ) 한국근대영미소설학회 2011 근대 영미소설 Vol.18 No.3

This paper aims at analysing Oscar Wilde`s fairy tales in The Happy Prince and Others and A House of Pomegranates in terms of Christian Socialism. Its assumption is that in Wilde`s tales there are two kinds. In one kind all the morally excellent heroes die in the end without any rewards for their Christian suffering and self-sacrifice for others. This pattern makes the readers question consistently the capitalist society in which those heroes live and suggests that Christian beliefs like self-sacrifice or love for others cannot be solutions to solve the problems of the capitalist society. Instead those Christian virtues consolidate the capitalist social system that contributes only to the comfort and wealth of the middle and upper class. Moreover this kind of tales suggests a widely renovative change of social structure itself into another form of social paradigm. In another kind of tales, Wilde shows that along with the socialist line of thought all the evils of social problem of the capitalist society can be conquered by sharing the wealth and joy together while removing private property system out of that capitalist society. As a socialist Wilde is quite different from other socialists in the sense that in his socialism there are Jesus Christ`s teachings at the center. In the meantime, he doesn`t believe in the Christian virtues like pain, self-sacrifice and love for others.

유미주의 문학과 와일드의 1차 재판

이순구(Lee, Soon-Ku) 신영어영문학회 2014 신영어영문학 Vol.57 No.-

This article examined Wilde’s trial in terms of conflict between two distinctive perspectives toward the art. The first perspective was that of Victorian conventional realists. These writers strongly believed that literature is a copy of reality and thus authors should be able to mirror the nature and life and imply a moral lesson at the same time. The second perspective came from the aestheticism at the end of the 19th century which believed that literature exists for its own sake. The aesthetes disapproved the claim that the literature exists for morality, ethics, or politics. Under the assumption that this tense conflict between 19th century conventional realism and aestheticism at the end of 19th century, which preceded 20th century modernism, took place on the stage of Wilde’s trial, this article argues that Wilde’s aestheticism is correct, for his aestheticism revived in the form of modernism in the early 20th century and it still consistently plays a crucial role in contemporary world of criticism, nonetheless the defeat of Wilde in the first trial.

죠지 엘리어트의 『로몰라』 : 페미니즘적 접근

이순구 평택대학교 2002 論文集 Vol.- No.-