한⋅중 ‘칙릿(Chick - Lit)’ 비교 - 『달콤한 나의 도시』와 『상하이 베이비』를 중심으로 -

mayan,김종수 우리어문학회 2016 우리어문연구 Vol.54 No.-

This paper is a comparative study between Korean chick-lit and Chinese chick-lit, which have received wide attention recently in both countries. Global capitalism has caused contemporary young women to internalize many contradictions in the attitudes to their urban life, consumerism, and love. This paper pays attention to this aspect and will show the differences between contemporary Korea and China, focusing on My Sweet Seoul by Jung Yi-hyun and Shanghai Baby by Zhou wei-hui. In Korean chick-lit, the female character seeks solace in 'luxury consumption' and stability within marriage institution even temporarily to solve her existent anxiety caused by employment instability of women workforce and irregular income. Meanwhile, Chinese chick-lit reflects an injustice of the city's plan between urban areas and less prosperous regions and the confusional relations between China and the West. Such contradiction between socialism and market economy leads the female character to seek 'self-display consumption' and express her identity as sexual subject through heterosexual pleasure with a western man so as to her mental anxiety. In Anglo-American chick-lit, it has a pervasive tone of humorous irony and allows the female characters to enjoy their pleasure and success. But in Korean chick-lit and Chinese chick-lit, the female characters are bothered by guilt with self-questioning, which sets the chick-lits of Korean and Chinese apart from Anglo-American chick-lits. This debunks the general discourse on the chick-lit genre of consumer capitalism. Simultaneously the paper exposes the meaning of popular literature through comparative study between Korean chick-lit and Chinese chick-lit. 칙릿은 소비자본주의 사회 속에서 살아가는 오늘날의 젊은 여성들의 일, 사랑, 소비를 그려냄으로써 현대 여성들의 삶의 양상을 다룬다. 본 논문은 최근 한국과중국에서 동시에 부상하고 있는 칙릿의 의미에 대하여 사회문화적인 접근을 시도하였다. 이를 위하여 양국의 대표적 칙릿인 정이현의 『달콤한 나의 도시』와 저우웨이후이의 『상하이 베이비』를 비교분석의 대상으로 삼았으며 양국 칙릿의 서사적특징을 소비와 연애라는 두 가지 범주에서 검토하였다. 한국 칙릿은 한국사회의 여성인력 고용불안정과 이 때문에 수입이 불규칙한한국의 현대 여성이 생존적 불안을 한시적으로 해소하기 위하여 ‘자기 위안적소비’를 추구하며 ‘결혼제도를 통한 안정’을 얻고자 하는 특징이 보인다. 이에비하여 중국 칙릿은 후진지역과 도심지역 간의 불공평한 도시계획, 중국과 서양간의 곤혹스러운 관계를 반영하고 있다. 사회주의와 시장경제의 제도적 모순에저항하는 여성인물이 정신적 불안을 해소하기 위해 '자기 과시적 소비'를 추구하며서양 남자와의 이성 관계를 통해 성적 주체로서의 자아를 표현하는 모습을 보여준다. 한⋅중 칙릿 속 여성인물들이 각자의 사회문화적 상황 속에서 자기정체성을 성찰하며 드러내는 불안과 죄책감은 자본주의적 성공신화에 집착하고 있는 영미권의 칙릿 속 여성인물들의 감수성과는 분명히 차별화된다. 한⋅중 칙릿에 대한비교연구는 동아시아의 젊은 여성들의 삶과 일상을 조명하는 한편 칙릿이라는장르에 내재된 소비자본주의의 신화적 기능을 폭로하는데 있어서 그 대중문학적의의가 있다.

한,중 “칙릿(Chick-Lit)” 비교 -『달콤한 나의 도시』와 『상하이 베이비』를 중심으로-

마염 ( Yan Ma ),김종수 ( Jong Soo Kim ) 우리어문학회 2016 우리어문연구 Vol.54 No.-

칙릿은 소비자본주의 사회 속에서 살아가는 오늘날의 젊은 여성들의 일, 사랑, 소비를 그려냄으로써 현대 여성들의 삶의 양상을 다룬다. 본 논문은 최근 한국과 중국에서 동시에 부상하고 있는 칙릿의 의미에 대하여 사회문화적인 접근을 시도하였다. 이를 위하여 양국의 대표적 칙릿인 정이현의 『달콤한 나의 도시』와 저우웨이후이의 『상하이 베이비』를 비교분석의 대상으로 삼았으며 양국 칙릿의 서사적 특징을 소비와 연애라는 두 가지 범주에서 검토하였다. 한국 칙릿은 한국사회의 여성인력 고용불안정과 이 때문에 수입이 불규칙한한국의 현대 여성이 생존적 불안을 한시적으로 해소하기 위하여 ‘자기 위안적소비’를 추구하며 ‘결혼제도를 통한 안정’을 얻고자 하는 특징이 보인다. 이에 비하여 중국 칙릿은 후진지역과 도심지역 간의 불공평한 도시계획, 중국과 서양간의 곤혹스러운 관계를 반영하고 있다. 사회주의와 시장경제의 제도적 모순에 저항하는 여성인물이 정신적 불안을 해소하기 위해 ``자기 과시적 소비``를 추구하며 서양 남자와의 이성 관계를 통해 성적 주체로서의 자아를 표현하는 모습을 보여준다. 한·중 칙릿 속 여성인물들이 각자의 사회문화적 상황 속에서 자기정체성을 성찰하며 드러내는 불안과 죄책감은 자본주의적 성공신화에 집착하고 있는 영미권의 칙릿 속 여성인물들의 감수성과는 분명히 차별화된다. 한·중 칙릿에 대한 비교연구는 동아시아의 젊은 여성들의 삶과 일상을 조명하는 한편 칙릿이라는 장르에 내재된 소비자본주의의 신화적 기능을 폭로하는데 있어서 그 대중문학적 의의가 있다. This paper is a comparative study between Korean chick-lit and Chinese chick-lit, which have received wide attention recently in both countries. Global capitalism has caused contemporary young women to internalize many contradictions in the attitudes to their urban life, consumerism, and love. This paper pays attention to this aspect and will show the differences between contemporary Korea and China, focusing on My Sweet Seoul by Jung Yi-hyun and Shanghai Baby by Zhou wei-hui. In Korean chick-lit, the female character seeks solace in ``luxury consumption`` and stability within marriage institution even temporarily to solve her existent anxiety caused by employment instability of women workforce and irregular income. Meanwhile, Chinese chick-lit reflects an injustice of the city``s plan between urban areas and less prosperous regions and the confusional relations between China and the West. Such contradiction between socialism and market economy leads the female character to seek ``self-display consumption`` and express her identity as sexual subject through heterosexual pleasure with a western man so as to her mental anxiety. In Anglo-American chick-lit, it has a pervasive tone of humorous irony and allows the female characters to enjoy their pleasure and success. But in Korean chick-lit and Chinese chick-lit, the female characters are bothered by guilt with self-questioning, which sets the chick-lits of Korean and Chinese apart from Anglo-American chick-lits. This debunks the general discourse on the chick-lit genre of consumer capitalism. Simultaneously the paper exposes the meaning of popular literature through comparative study between Korean chick-lit and Chinese chick-lit.

칙릿: 여성 대중서사의 한계를 넘어서

남희진(Nam Heejin) 새한영어영문학회 2010 새한영어영문학 Vol.52 No.2

Chick-lit, which is a compound word from the words “chick” (slang for young woman) and “literature,” has become the dominant contemporary female popular narrative. The genre focuses on the lives of modern women who live in metropolitan cities like New York and London. Even though chick-lit has become mainstream in women’s popular culture since the late 20th century, it faces two major criticisms regarding the romance plot and excessive consumerism in its novels. This paper seeks possible ways to overcome these criticisms. First, this paper reconsiders the status of women’s literature as well as examines the prejudice against the romance plot in women’s popular narratives. Traditionally, women’s literature has not been highly regarded or represented in major literary criticism, and women’s popular cultural productions, such as soap operas, romance novels and romantic comedy films, are often disdained as inferior. However, feminism movements as well as several female-audience researches have tried to overcome such disdain for women’s literature and culture. Nevertheless, chick-lit has also been attacked by some feminist circles because of the romance plot element. Against such attacks, we should remember that chick-lit has originated from the post-feminism movement, which emphasizes an awareness of women’s culture in order to upgrade the position of women in society. To defend chick-lit from the criticism on its excess reflection of consumerism, the peculiar culture and values of postmodern society should be reviewed. Postmodernism is distinguished by an emphasis on symbols and images that replace “reality.” Women’s deep attachment to consumerism in chick-lit largely reflects the reality that modern women face. However, the female characters in chick-lit rather have firm grasps of the facts that capitalism and patriarchy are closely related to female oppression. Therefore, they have abilities not to be indiscreetly carried along by consumerism. To sum up, chick-lit exhibits the potential to generate oppositional values in a society that is still under the influence of patriarchy. However, to fully function as the representative contemporary female popular narrative, chick-lit should demonstrate shrewd criticisms on current women’s problems and feature alternative ways to solve them.

칙릿과 정전의 기묘한 연계 -『악마는 프라다를 입는다』와『브리짓 존스』 시리즈의경우

오승아 ( Seung Ah Oh ) 한국현대영미소설학회 2014 현대영미소설 Vol.21 No.1

Since the publication of Bridget Jones`s Diary, chick lit has been associated with the legacy of canonical masterpieces, especially by female writers. Pride and Prejudice and Persuasion have been credited with lending plots and perspectives to the Bridget Jones series; Wharton, Bronte, and Woolf are among the names mentioned for their influence on the bestselling chick lit. While these names provide weight and authority to the new popular novels, comparisons with these literary godmothers inevitably devalue the modern sub-genre. Hence the trope of navel cord most interestingly encapsulates the relationship between canonical female writers and chick lit novels, as the former is not only able to throw a literary spotlight on the latter but also to outshine it instantly. The pairing of The Bell Jar and The Devil Wears Prada also demonstrates curious parallels. The latter`s brazen portrayal of a postfeminist heroine functions to better define the still-developing genre of chick lit, but an inevitable comparison not unexpectedly favors Plath`s canon. Finally, however, the recent publication of Bridget Jones: Mad about the Boy marks a point of departure in the history of chick lit; its new focus on post-Austen and post-happily-ever-after endings importantly interrogates and problematizes public understanding of the genre. Bridget`s possible rewriting of To The Lighthouse further humorously upturns chick lit`s godmother-goddaughter relationship with canonical writers. Bridget, who is one of the most representative chick lit characters, offers Woolf`s heroine an opportunity to live once again, but not vice versa.

칙릿소설, 결혼 비즈니스의 파산과 여성 커리어 2000년대 초반 정이현 소설을 중심으로

류수연 국제비교한국학회 2024 비교한국학 Comparative Korean Studies Vol.32 No.1

2000년대 한국에서 칙릿소설은 양가적 평가 속에 놓여 있었다. 서구에서 유행한 칙릿에 대한 열광이나 긍정적인 평가와 달리 한국형 칙릿에는 비판적인 시각이 더 팽배했기 때문이다. 일과 연애/결혼에 대해 이야기하는 것은 어느 정도 받아들여졌지 만, 소비와 섹스를 이야기하는 것에는 부정적인 편견이 뒤따랐다. 여전히 근대적 가 부장제가 강력한 규범으로 작동하고 있는 한국사회에서, 칙릿은 발랄함보다 ‘방종’과 ‘일탈’로서 비난의 대상이 되기도 했다. 하지만 칙릿의 영향은 대중문화와 대중서사 양면에서 현재까지 지속되고 있다는 점에서 여전히 유효성을 지닌다. 특히 웹 플랫폼 을 기반으로 한 장르문학의 대유행이 칙릿소설과 일정하게 연결되어 있다는 측면에 서 칙릿소설에 대한 연구는 보다 본격화될 필요가 있다. 정이현은 그 전환점을 직접적으로 견인한 작가라는 점에서 중요한 의미를 가진다. 본고는 이러한 정이현의 작품 을 중심으로 1990년대를 넘어 현재까지 이어지는 여성서사의 전환점으로서 그 의미 망을 구축하고자 한다. In the 2000s, Korean chick-lit novels were placed under ambivalent evaluation. This is because, unlike enthusiastic and positive evaluations of Western chick-lit, critical views were more prevalent in Korean chick-lit. Talking about work/dating/marriage was accepted to some extent, but talking about consumption and sex was followed by a negative bias. In Korean society, where the modern patriarchy still works as a strong norm, chick-lit became the subject of criticism as 'indulgence' and 'deviation' rather than lively. However, the influ- ence of Chick-lit is still effective in that it continues to this day in both popular culture and popular narrative. In particular, since the trend of genre literature based on web platforms is related to it, research on chick-lit novels should be more in earnest. Jeong Yi-hyeon has an important meaning in that he is a writer who directly drove the turning point. This paper intends to establish a meaning network as a turning point in women's narratives that have continued from the 1990s to the present, focusing on the works of Jeong Yi-hyeon.

The ABC in Chick Lit: the Consumption of Asian America in The Dim Sum of All Things

정혜연 한국영미문화학회 2018 영미문화 Vol.18 No.1

This essay aims to examine chick lit written within the Asian American context. For the most part, the chick lit genre has been typically regarded as a site to study contemporary white women's experiences and to debate the genres’ credentials as feminist literature. Though some may disagree, there is general consensus that chick lit has fallen out of vogue after reaching its peak in the first decade of the new millenium.; nevertheless, it is being revisited by readers and critics alike as it has recently re-emerged as a location upon which to examine how race and gender inform notions of national belonging and female subject formation in the twenty-first century. To this end, this essay reads Kim Wong Keltner’s The Dim Sum of All Things (2004). Keltner’s protagonist Lindsey Owyang is yet another twentysomething “chick” looking for love, self, independence, and success in the huge megalopolis of San Francisco. What sets Lindsey apart from the chick prototype is that she is a third-generation ABC (American-born Chinese) and issues relevant to Asian America frequently make their way into Lindsey’s narrative. Though it is generally considered as standing a “few notches above the standard chick-lit fare” (Stover n. pag), I would argue that meaningful reflections on many of the major pillars of Asian American literature, history, and cultural politics are glossed over in favor of cursory musings about the daily vicissitudes of Lindsey’s life. This essay thus takes to task Ferriss’s claim that a “serious” consideration of chick lit “brings into focus many of the issues facing contemporary women and contemporary culture – issues of identity, of race and class, of femininity and feminism, of consumerism and self-image” (2). I contend that a close examination of Keltner’s The Dim Sum of All Things discloses that the chick lit format undermines a “serious consideration” of Asian American issues by presenting in particular a highly problematic representation of race and of Asian American femininity.

한국적 칙릿의 특성-정이현 소설의 자기 풍자

이선옥 한국여성문학학회 2014 여성문학연구 Vol.31 No.-

칙릿은 문화번역으로서의 의미를 지닌 장르이다. 여성의 성과 사랑, 결혼, 일, 우정 등 일상의 갈등과 성장을 다루는 특징을 지닌다. 미국의 시리즈물인 『섹스 앤 더 시티』류의 작품들이 소개되면서 한국 소설계에도등장한 이 장르는 늘 ‘된장녀 담론’이라는 비판과 ‘여성성장서사’라는 옹호가 대립되어 왔다. 이 논문에서는 정이현 장편 『달콤한 나의 도시』와소설집 『낭만적 사랑과 사회』를 대상으로 칙릿의 한국적 변용을 살펴보았다. 정이현은 중심모방의 삶을 그림자도시로 그려내고 그림자의 세계에 갇힌 여성인물들을 냉소적 주체로 그려내고 있다. 주변부 여성현실에대한 자조적인 자기풍자로 판단된다. 그러나 자기 몸과 화해하고 맨 몸의육체를 대면하는 것으로 풍자의 세계가 폐쇄되지 않을 가능성도 엿보인다. 진정한 문화번역이 그대로의 번역이 아니라 국경을 넘어 달라지는 정치적 효과를 생산하는 것이라면 정이현의 칙릿은 주변부세계의 중심모방이 지니는 복제된 삶에 대한 자기풍자의 의미를 생산한다 This study tries to analyze so called Korean-style ‘Chick-Lit’through a textual analysis of Jung Yi-hyun’s novels, 『My SweetCity』(2006) and 『Romantic love and Society』(2003). Chik-lit, one ofmodern fiction’s genre, deals with love, marriage, work, friendshipand other features that lead success or create conflict in women’sdaily life. Also this genre has a value as a cultural translation. Since thisgenre like “sex and the city” was introduced, in Korea, the opinionson ‘Chick-Lit’ have been sharply divided into two; the story ofextravagant young women, called ‘Doengang girls’, and thewomens initiation story. AAnndd ssoo tthhiiss ssttuuddyy aims at being somepossibility of new women discourse in terms of sexuality, marriage,consumption and desire in Korean-style chick-lit which is differentfrom western one. The writer, Jung Yi hyun, depicts the life of mimicry as“shadowcity” and also depicts the women’s characters that are captured inthis shadow city as cynical subject. I think that this point is one ofsatires on modern women’s life and situation including the writer’sown life. On the other hand, Jung Yi-hyun’s chick-lit novels asmimicry genre codes also suggest the solution to face their ownlife and body. If Chick lit produces political effect through theprocess of border-crossing cultural translation, her Novels as one of Korean style chick lit creates the self satire on the situationwhich the minor copies the major.

Green Light-emitting Diodes Light Stimuli during Incubation Enhances Posthatch Growth without Disrupting Normal Eye Development of Broiler Embryos and Hatchlings

Zhang, L.,Zhu, X.D.,Wang, X.F.,Li, J.L.,Gao, F.,Zhou, G.H. Asian Australasian Association of Animal Productio 2016 Animal Bioscience Vol.29 No.11

Monochromatic green light-emitting diodes (LED) light stimuli influences the posthatch growth performance of chicks. This study was undertaken with the following objectives: i) to examine whether the green LED light stimuli induces an overheating effect by determining weight loss rate of fertile eggs during incubation period; ii) to look for the development of eyes and other primary organs at different ages of embryos and newly hatched chicks. Arbor Acres fertile broiler eggs (n = 480) were randomly assigned to 3 incubation groups and exposed to continuous white light, green light, or a dark environment (control) from the first day to 19 d of incubation. The light sourced from LED lamps with the intensity of 30 lx at eggshell level. The results showed that either green or white light stimuli during incubation did not significantly affect the weight loss rate of fertile eggs, hatching time, hatchability, chick embryo, or body weight (BW), the weight percentage of heart, liver, and eyes, as well as obvious systematic abnormalities in eye weight, side-to-side, back-to-front, or corneal diameter from 15 d of embryogenesis to 6 d of posthatch (p>0.05). Compared with the dark condition, green light stimuli during incubation tended to increase feed intake (p = 0.080), improved the BW gain of chicks during 0 to 6 day posthatch (p<0.05), and increased the percentage of pectoral muscle to the BW on 3- and 6-day-old chicks. In addition, embryos or chicks in green light had lower weight percentage of yolk retention on 19 d of embryogenesis and 1 d of posthatch in comparison to those in dark or white group (p<0.05). These results suggest that providing 30 lx green LED light stimuli during incubation has no detrimental effect on the development of eyes, heart and liver of embryos and hatchlings, but does have potential benefits in terms of enhancement of the chick growth during the early posthatch stages. In addition, the fertile broiler eggs stimulated with 30 lx green LED light during incubation does not cause an overheating effect.

조도가 육계 병아리의 생산성, 혈액성상 및 면역 수준에 미치는 영향

김희진(Hee-Jin Kim),손지선(Jiseon Son),전진주(Jin-Joo Jeon),김현수(Hyun-Soo Kim),유아선(Are-Sun You),강환구(Hwan-Ku Kang),강보석(Bo-Seok Kang),홍의철(Eui-Chul Hong) 한국가금학회 2021 韓國家禽學會誌 Vol.48 No.3

본 연구는 육계 병아리 시기(0∼7일령)에 조명의 조도 차이에 따른 생산성, 혈액 조성 및 스트레스 수준에 미치는 영향을 대하여 조사하였다. 육계(Ross 308) 초생추(48.0±0.2 g) 수컷 240수를 조도에 따라 3처리구(20, 30 및 50 lx)로 나누어, 처리구 당 4반복, 반복 당 20수를 완전임의 배치하였다. 7일령에 체중, 사료요구율, 가슴육과 간의 무게, 소장 길이를 측정하였으며, 혈액을 채취하여 혈구, 혈청 생화학 조성, corticosterone, IL-6 및 TNF-α을 분석하였다. 체중, 증체량, 가슴근육 및 간 무게는 20 lx 처리구보다 50 lx 처리구에서 유의적으로 높게 나타났으나(P<0.05), 사료 섭취량, 사료 요구량, 소장 길이는 유의적인 차이를 보이지 않았다. 혈구 분석 결과, 백혈구, 적혈구, 혈소판 조성, 혈청 생화학 성분(glucose 및 IP 제외)은 처리구 사이에서 유의적인 차이가 보이지 않았다. Corticosterone과 IL-6은 20 lx 처리구에서 높은 농도를 나타내었다(P<0.05). 결론적으로, 육계 병아리 시기에 조도를 50 lx로 처리하였을 때 증체량 및 가슴근육 비율이 증가하였으며, corticosterone 및 IL-6는 낮은 함량을 나타내었다. 따라서 병아리 시기의 높은 조도는 생산 능력, 스트레스 및 면역 상태를 개선하는 것으로 사료된다. In this study, we investigated the effects of light intensity on broiler chick growth performance, blood parameters, and stress levels. A total of 240 one-day-old male Ross 308 broilers (47.97±0.166 g) were subjected to three different intensities of light (20, 30, and 50 lx), with each treatment being conducted with four replicates. On the seventh day, the growth performance (body weight, feed conversion ratio, and breast muscle and liver weights) and blood parameters were determined; the levels of serum corticosterone, interleukin-6 (IL-6), and tumor necrosis factor-α were also evaluated. The body weight, weight gain, liver weight, and breast muscle weight of chicks exposed to a light intensity of 50 lx were significantly increased compared with those of chicks subjected to 20 lx (P<0.05). No significant differences were observed in the leukocyte, erythrocyte, and platelet counts and the biochemical profile exceptions being the levels of glucose and inorganic phosphorus in the blood of the chicks in the three light intensity groups. However, serum corticosterone and IL-6 levels were the highest in chicks exposed to a light intensity of 20 lx (P<0.05). In conclusion, the findings of this study indicate that broiler chicks exposed to higher light intensity (50 lx) show significant improvements in terms of weight gain and corticosterone and IL-6 levels. Thus, high light intensities enhanced the growth performance, stress levels, and immune status of broiler chicks.

인도네시아 칙릿(Chick-lit)에 나타난 여성의 독신과 미(美)에 대한 담론 연구

이연(Lee, Yeon) 한국외국어대학교 외국문학연구소 2018 외국문학연구 Vol.- No.70

본 연구논문은 알베타인 엔다와 이차 라흐만띠의 작품들을 중심으로 칙릿의 공통적 서사 구조 중 하나인 ‘여성의 독신과 미(美)’에 대한 담론들이 인도네시아 칙릿에서 어떻게 재현되는가를 살펴보았다. 1990년대 이후 출현한 칙릿이란 장르는 현대 사회에서 독신 여성이 점차 증가되는 추세를 반영하여 예전과는 달라진 현대 여성의 능동적이고 적극적인 모습을 그려내었다는 호평을 받았다. 그러나 인도네시아 칙릿의 여주인공들은 공적인 영역에서 여성이 이룬 성취보다 결혼이라는 여성의 섭리를 이행하였는가의 여부를 중요시 하는 가부장적 이데올로기를 내면화하는 모습을 보여주고 있다. 이들이 사고하는 미의 개념은 자연 혹은 신으로부터 부여받은 것이며, 자기만족보다는 남성에게 보여 지고 남성에 의해 평가 받는 것을 중시하는 성차별적인 미의 개념이다. 아름다움을 추구하는 목표 역시 남성에 의해 ‘선택되기 위함’으로, 이는 여성을 수동적 위치에 자리매김 하는 전형적인 가부장적 이데올로기를 재현하고 있다. 인도네시아 칙릿에서 나타나는 여성의 독신과 미(美)에 대한 담론은 가부장 사회의 젠더 이데올로기를 내면화한 여주인공을 통해 기존 젠더 관계가 재생산되고 공고화되는 방식을 보여주고 있다. This paper is aimed to discuss how women’s singleness and beauty have been represented in Indonesian chick-lit. It examines how the discourses about those issues have been constructed in Indonesian society, and how the representations and discourses have been interpreted from the perspective of feminism. Based on the analysis, the paper comes to the conclusion that there is no change of discourses over those issues from the past. The heroines in Indonesian chick-lit consider women’s singleness as an abnormal or wrong state of being. The heroines value beauty because it appeals to men rather than self-satisfaction. The paper concludes that the sense of value and gender ideology related with women’s singleness and beauty are strengthened by women’s amenable attitude. 본 연구논문은 알베타인 엔다와 이차 라흐만띠의 작품들을 중심으로 칙릿의 공통적 서사 구조 중 하나인 ‘여성의 독신과 미(美)’에 대한 담론들이 인도네시아 칙릿에서 어떻게 재현되는가를 살펴보았다. 1990년대 이후 출현한 칙릿이란 장르는 현대 사회에서 독신 여성이 점차 증가되는 추세를 반영하여 예전과는 달라진 현대 여성의 능동적이고 적극적인 모습을 그려내었다는 호평을 받았다. 그러나 인도네시아 칙릿의 여주인공들은 공적인 영역에서 여성이 이룬 성취보다 결혼이라는 여성의 섭리를 이행하였는가의 여부를 중요시 하는 가부장적 이데올로기를 내면화하는 모습을 보여주고 있다. 이들이 사고하는 미의 개념은 자연 혹은 신으로부터 부여받은 것이며, 자기만족보다는 남성에게 보여 지고 남성에 의해 평가 받는 것을 중시하는 성차별적인 미의 개념이다. 아름다움을 추구하는 목표 역시 남성에 의해 ‘선택되기 위함’으로, 이는 여성을 수동적 위치에 자리매김 하는 전형적인 가부장적 이데올로기를 재현하고 있다. 인도네시아 칙릿에서 나타나는 여성의 독신과 미(美)에 대한 담론은 가부장 사회의 젠더 이데올로기를 내면화한 여주인공을 통해 기존 젠더 관계가 재생산되고 공고화되는 방식을 보여주고 있다. This paper is aimed to discuss how women’s singleness and beauty have been represented in Indonesian chick-lit. It examines how the discourses about those issues have been constructed in Indonesian society, and how the representations and discourses have been interpreted from the perspective of feminism. Based on the analysis, the paper comes to the conclusion that there is no change of discourses over those issues from the past. The heroines in Indonesian chick-lit consider women’s singleness as an abnormal or wrong state of being. The heroines value beauty because it appeals to men rather than self-satisfaction. The paper concludes that the sense of value and gender ideology related with women’s singleness and beauty are strengthened by women’s amenable attitude.