19세기 영국 여성의 “성장”과 성장소설의 역동성

오정화 이화여자대학교 한국여성연구원 2012 여성학논집 Vol.29 No.2

본 논문은 19세기 영국 여성의 “성장”에 관한 소설들이 성장소설이라는 장르와 맺고 있는 복합적 관계를 역사적으로 살펴보고 성장소설이 가지고 있는 역동성을 잘 구현하고 있는 작품들이 여성의 “성장”에 관한 소설임을 밝히고자 한다. 일반적으로 18세기 말 독일에서 시작된 것으로 보는 성장소설은 자아의 발전을 통해 사회와 화해해가는 과정을 그린 것으로 논의되고 있다. 그러나 본 논문은 성장소설을 자아의 무한한 가능성을 이상화하면서 동시에 사회와의 통합이라는 제한적인 목표를 제시하는 데에서 오는 자아와 사회 사이의 갈등을 표현하는 서술 형식으로 파악하고, 그 갈등을 정치적·사회적 구조에 대한 비판과 연결시키면서 그 사이의 모순과 긴장을 드러낼 때 성장소설이라는 장르가 지닌 잠재적 전복성을 구현하는 역동성을 발휘할 수 있다고 본다. 성장소설이 지닌 이러한 잠재적 전복성을 잘 구현하고 있는 작품들이 19세기 여성 작가들이 그린 여주인공의 이야기라고 할 수 있다. 이들은 분리영역 이데올로기로 인하여 결혼 외에는 경제적으로도 사회적으로도 의미 있는 삶을 살아갈 수 있는 방법이 없었기 때문에 여성의 독립성이나 자율성을 근본적으로 불가능하게 하는 사회로부터의 소외를 절실히 체험하였다. 젠더라는 요소로 인해 자아의 발전과 사회와의 통합 사이의 갈등이 배가 되었던 여주인공의 한 예로 제인 에어를 들 수 있다. 『제인 에어』는 여성 성장을 이야기하되 모순적이고 반의적인 의미들을 다양하게 삽입시키는 수법을 통해 균열을 냄으로써 여성 “성장”의 의미를 새롭게 정의하고 자아의 발전을 불가능하게 하는 사회적 구조에 의문을 제기함으로써 성장소설이 가진 역동성을 발휘한 대표적인 작품이다. This paper attempts to examine complicated relations which the nineteenth-century English novel of female development has with the Bildungsroman genre, and to discuss that the story of female development effectively realizes the potential dynamics of the genre. It looks into the history of discussions on the Bildungsroman which began at the end of the nineteenth-century in Germany and developed among twentieth-century Anglo-American critics, and those on the female development which didn’t start until feminist criticism ventured out at the end of 1970s, and have developed into various perspectives ever since in accordance to the progress of feminist criticism. In general, Bildungsroman criticism considers that it portrays the process how the protagonist develops self and achieves an accommodation with society. However, this paper points out that the Bildungsroman is the narrative form which represents conflicts between self and society caused by idealizing the infinitive possibility of self-determination while simultaneously presenting the limited goal of social integration. It argues that the subversive dynamics of the genre can give full play to its potential when it reveals contradictions and tensions between individual subjectivity and integration into society and connects them with criticism of political and social structures. It is the stories of female Bildungshelds depicted by nineteenth-century female writers that exquisitely embody the subversive potential of the Bildungsroman. They acutely experience alienation from society where independency or autonomy is fundamentally impossible because the ideology of separate spheres does not allow them to live a meaningful life economically and sociologically outside the marriage. An example of a female Bildungsheld whose conflicts between development of self and integration with society are doubled by gender is Jane Eyre. Jane Eyre is a representative Bildungsroman with subversive dynamics, which tells the story of female development but splits itself through various techniques inserting contradictory and opposite meanings, thus resignifying female development and questioning social and political structures.

리브계 여성 교양소설로서 『애니 존』 읽기

정은숙 한국중앙영어영문학회 2011 영어영문학연구 Vol.53 No.1

The purpose of this study is to analyze Annie John as a female Bildungsroman. Female Bildungsromans structurally and ideologically prefer the autonomous individual who feels at odds with society. Female Bildungsromans don’t follow the development of a coherent universal subject and they don’t valorize social integration that requires the partial denial or repression of the subject’s identity like traditional male Bildungsromans. The subject of female Bildungsromans also chooses to remain marginalized at the end of their text. Female Bildungsromans also refuse closure by preferring an ambiguous textual ending that affirms the provisional nature of identity. Considering these characteristics of female Buildungsromans this paper focuses on Annie’s troubled relationship with her mother and the severance with her; her intense childhood friendships with Gwen and the Red Girl; her experiences as a black Antiguan who is taught in school to see life through an English point of view; her mysterious illness which symbolizes her death which plays a role as a metaphor of the irremediable loss of childhood innocence; obeah cure by Ma Chess and her rebirth through the image of the water; the gaining of independence by leaving Antigua for England.

I'll be like Princess Pari, and I’ll rescue you: Beccah’s Development into a Postcolonial Female Writing Subject in Comfort Woman

( Lee¸ Eun-joo ) 동국대학교 영어권문화연구소 2015 영어권문화연구 Vol.8 No.2

This essay discusses Beccah’s development into a postcolonial female writing subject represented in Nora Okja Keller’s Comfort Woman, to which critics have hitherto less paid their critical attention. Based on major theories concerning the Bildungsroman and the postcolonial female Bildungsroman, the essay begins its discussion by defining the novel as a postcolonial female Bildungsroman. The essay then investigates why her mother’s shamanism, which is the symbol of her postcolonial female legacy, functions as Bildung for Beccah’s development. Building on this investigation, the essay discusses not only what Beccah learns from Bildung from her mother’s postcolonial female shamanism but also how her development is differentiated from her mother’s shamanism. The later part of this essay dedicates itself to analyzing Beccah’s narrational strategies implied from formal and thematic characteristics of her narrative. It can be implied from this analysis that her authorship of the novel is her own way of realizing justice for her mother and other Korean comfort women. The ultimate purpose of this essay is to prove that Beccah’s writing Comfort Woman is itself not only the evidence of her development but also one example of a mature and responsible attitude as a writing subject.

여성 성장소설로서의 각성과 19호실로 : 비극적 결말을 통해 보는 기혼 여성의 성장

김초연 한국영미문학페미니즘학회 2019 영미문학페미니즘 Vol.27 No.2

The Bildungsroman has exerted its influence since its advent and become a substantial genre in the volatile realm of literature. Although the bedrock of the genre, Bildung, is a philosophical and educational belief which appreciates one’s potential and development, the genre and its discourse have become ossified by its emphasis on one’s conservative integration into the society which is primarily symbolized as marriage. Hence, novels that portray resistance or insubordination of the characters are diminished as mere failures in the genre of the Bildungsroman. This paper, however, attempts to re-evaluate Kate Chopin’s The Awakening and Doris Lessing’s “To Room Nineteen” as examples of a Bildungsroman of the married women, and argues that the gist of the genre is not the cohesion between the individual and society but the thorough cognizance of one’s actual position in society. This paper first traces the operation of the “separate spheres” ideology which hinges on gender, and examines the protagonists’ astute recognition of their restricted circumstances under a patriarchal system when they choose death. This paper proposes that The Awakening and “To Room Nineteen,” where an individual accurately perceives her limitations and potential, can be understood not as errant versions of the genre but a different kind of Bildungsroman.

여성적 교양의 곤경: 버논 리의 『미스 브라운』

성은애 ( Eunai Sung ) 영미문학연구 2016 영미문학연구 Vol.31 No.-

Miss Brown (1884), Vernon Lee`s first (and her last) roman a clef on the literary scenes of British Aestheticism during the fin-de-siecle, was condemned by contemporary critics and literary friends as nasty, immature and violent. This essay shows how she sought to articulate her own view on aesthetics and ethics in the form of female Bildungsroman. Walter Hamlin, suffering from ennui, represents the deadlock of male-centered circle of British Aesthetes, who only try to build their own paradise of beautiful forms, thoughts and impressions. While Anne Brown, Walter`s Galatea, seeks an identity different from the exotic Muse of the male-aesthetes or man-eating femme fatale (represented here by Sacha Elaguine), she struggles for her Bildung, only to be frustrated. Lee exposes seamy sides of British Aesthetes` circle, especially its social irresponsibility and misogynist assumptions, while not endorsing Richard Brown`s utilitarian radicalism. By using a half-Italian servant girl as her protagonist, Lee stages an encounter between aestheticism and social movements for the working class, when neither comes out as a desirable way for Anne because of the limited roles they offer women. Even the bizarre ending of Anne proposing to contemptible Walter reveals the difficulties any intellectual woman might encounter.

성장 혹은 유예 – 1960년대 여성 성장서사 다시 읽기

강지윤 한국여성문학학회 2022 여성문학연구 Vol.56 No.-

This study focuses on several literary works that of 1960s Korean literature that resemble the characteristics of bildungsroman for women. In an effort to account for the specificities of female bildungsroman during this era, this article attempts the gendered re-contextualization of the general perception that romantic stories were a genre mainly for female writers while bildungsroman, a serious literary form of modern art, finally became fully developed by primarily male writers in 1960s Korean literature. At that time, romantic stories displayed the characteristics of bildungsroman, which emphasized the autonomy of female subjects by revealing the interiorities of heroines. However, the fact that the autonomous interiority of a female subject can actively function as a cultural component does not directly represent the social progress of women. Rather, it reveals that female writers were allocated a safe and subordinate site by accepting the dominant order of gender in the process of nation-state building. Nevertheless, it would be unfair to claim that the popular patterns of romantic stories at that time were completely blind to the fantasy of female autonomy. The dramatic dissolution by death, which was common in romantic stories, can be read as a symptom annihilating the endeavors of female subjects who appeared to search for the unity of love. 이 연구는 1960년대에 다수 창작된 여성 연애서사 속에 여성 성장서사의 특징이 발견되는 작품들이 많다는 사실에 주목하고, 이 시기 여성 성장서사의 특수성을 추출하는 한편, ‘남성–교양서사/여성–연애서사’가 분화되기 시작한 때로 인식되는 1960년대 문학장을 젠더적으로 재맥락화하고자 한다. 1960년대 여성 연애서사는 여성 주체의 내면을 서사에 전면화하는 기제를 통해 여성 주체의 자율성을 드러내면서 여성 성장서사의 성격을 보여주었다. 그러나 여성 주체의 자율적 내면을 문화적 기제로 활용할 수 있었다는 것은 여성의 자율성을 직접적으로 반영하는 것이 아니라 역설적으로 여성이 안전한 부속 공간을 할당받는 방식으로 젠더적 지배 질서의 차등적 위치를 수용하게 되었다는 것을 의미한다고 할 수 있다. 그러나 여성 연애서사가 주로 활용했던 대중서사의 문법이 여성 주체의 자율성이 가진 가상성에 맹목적이기만 했다고는 볼 수 없다. 이 시기 연애서사에 자주등장하는 죽음의 파국은 사실상 ‘사랑의 합일’을 찾아가는 주체의 노력을 무화시키는 징후로도 읽히기 때문이다. 반대로 같은 시기 이 가상적 자율성 자체를 질문함으로써 여성 주체의 ‘성장’이 가진 의미를 재구성하고 있는 작품들이 관찰된다는 사실에도 주목할 필요가 있다.

여성의 교양화 과정과 젠더화된 글쓰기의 이중 전략 -60년대 여성잡지의 연재소설을 중심으로-

김은하 ( Eun Ha Kim ) 성신여자대학교 인문과학연구소 2013 人文科學硏究 Vol.31 No.-

This paper tries to examine female writers` writing during the nation modernization period and the heterogeneous part of feminist literature that had been diminished as the conventional "female" and "the bring intelligence" at the same moment, which went to the flow all the while, as examining a work that negotiates the subject position of women within the relationship with the patriarchal modern nation of the long novels serially written by female writers in the main women`s magazine focused on the concept of ``refinement``. While the discourse of refinement that was developed based on a women`s magazine is a matter that creates the modern lifestyle, and, at the same time, ``an instrument of gender`` that builds the internal qualities of femininity, it is also a space where a crack may be occurred in the patriarchal discourse as the women`s desire is making itself. We need the change of sight to evaluate amicably the process that corrects the women`s modern subject, which the process of women`s refinement has become the dynamic space that upsets the value of patriarchal system, interrogates and deconstructs. The "refinement" and the discourses related with refinement were discussed positively for the wide knowledgeable public in the postwar and the 60`s, especially, female writers engaged actively in producing the discourse of women`s refinement focused on various media besides a women`s magazine. As a women`s magazine played a role as a literary teacher for an unprofessional woman reader, it led women readers to have a dream of being female writer, then literature was a hobby and was a space where the modern women`s refinement was formed. Moreover, on the one hand, feminist literature borrowed the men`s refinement discourse through the discourse such as the advance of modern and the enlightenment, human rights and the awakening of individual consciousness, on the other hand, it participated in making woman as a subject habituated who internalized self-monitoring for gender norms and sexuality, not a liberated modern, as spreading the gendered refinement discourse through sex-separatist that was focused on the mysterious power of femininity and an authority of maternity. However, it needs to discuss again more carefully around femininity and the popularity of feminist literature in the 60`s. This article tries to open the possibility of not only disruptive existence of female subjectivation, but also multiple culture that is made by encountering women with modern, as paying attention to both disciplining and reflection of the female bildungsroman for 『Chung Chunui Bulmunyul (An unwritten rule of youth)』, 『Taindeul (Strangers)』that were the novel serially written by Gang sin jae, Park kyung-ni respectively who were the regular authors of a women`s magazine in the 60`s.

Virginia Woolf’s Voyaging Out: Woman, Travel, and Englishness in The Voyage Out

김영주 한국제임스조이스학회 2008 제임스조이스저널 Vol.14 No.2

Published in 1915, Virginia Woolf’s first novel, The Voyage Out, a novel of courtship and engagement, strongly draws on the narrative convention of voyage. In the novel, a young woman of inexperience and naïveté sets out on a voyage into South America out of cloistered domesticity in England, during which she grows into the awakening of her own sexuality as well as the ways of the world. The interpellation of the narrative of female initiation into the narrative of voyage in Woolf’s first novel is both particularly fitting and problematic. As the title of the novel allegorically suggests, the young woman’s maiden voyage undergoes a trajectory both physical and metaphorical. While the female traveler sets out a voyage “out” of the sheltered enclosure of domesticity at home in The Voyage Out, however, the trajectory of the narrative of courtship and engagement enforces her to expect a voyage back to “home.” Thus, the schematic opposition between adventure and domesticity collapses in The Voyage Out. In the novel, the conflation and the collapse of the domestic placement and the adventurous mobility in the novel are registered in the destiny of the female protagonist: the development of Rachel Vinrace’s initiation into female sexuality leads into a dead end when she suddenly dies of a fever as her awakening—both sexual and social—is about to culminate in marriage. Noting such structural collapse of the adventurous mobility and the domestic stability registered in The Voyage Out, this paper aims to illustrate that Woolf’s transgressive voyage into and out of the literary tropes posits the question of the female sexuality and subjectivity within the discursive terrain of English epistemology as well as imperial history.

90년대 여성성장소설 연구

유소홍(Xiao-Hong Liu) 한국엔터테인먼트산업학회 2017 한국엔터테인먼트산업학회논문지 Vol.11 No.3

성장소설은‘개인적인 삶을 중시하며 끊임없이 변화하는 평범한 인물인 미성숙한 존재가 이항대립적인 경험을 통하여 성장의 길로 나아가는 과정을 통해 독자들도 함께 성장할 수 있는 작품들’을 지칭한다. 성장소설에서의‘성장’은 육체적인 성장 뿐 아니라 정신적인 성장이 조화를 이루어야 한다. 성장이 육체적인 성장이나 정신적인 성장 둘 중에 어느 한 쪽으로 치우쳐 있다면 아직 미성숙한 상태이다. 보통 성장소설의 주인공들은 미성숙한 인물인 어린이나 청소년 혹은 젊은이들이다. 이들은 성장과정에서 시련과 아픔을 겪고 난 후에 성숙된 모습으로 변화하는 삶을 보여준다. 그들이 겪는 시련과 고난의 성장과정에는 주인공의 의지와 선택과는 별도로 역경이 기다리고 있다. 그리고 그 현실을 어떻게 극복하고 일어서는가는 전적으로 주인공의 의지에 달려있다. 은희경의 〈새의 선물〉은 1969년 지방 소도시 일상을 회상하는 액자식구성의 성장소설로, 12 살 여자아이의 내면 성장기를 통해 현실의 단면을 정밀하게 재현하고 있다. 이 작품은 상처를 안고 있는 여성인물들의 성장경로를 제시하였다. 작가는 문학작품 속에서 그동안 제3자에 불과했던 여성의 목소리로 이야기를 이끌어 나가는 것은 물론이고 여성의 삶에 관한 문제들을 제시하였다. 그리고 여성작가들의 세밀한 시선과 작은 것을 바라볼 수 있는 특유의 섬세함으로 여성들의 일상적인 욕망과 고통을 풀어냄으로써 90년대 문학을 이끈 가장 큰 힘으로 작용한다. 이에 본고에서는 대표적 여성성장소설이라 할 수 있는 은희경의 〈새의 선물〉을 탐색함으로써 주요 인물들의 여성성장의 특징과 그 의미를 고찰해 보았다. Bildungsroman is also called enlightenment novels, which is to depict a person’s inner struggle, spiritual hesitation, and awakening about the world from his childhood, through youthful days and till the adult world. To put it simply, this kind of stories depict the process of the leading role’s initiation from his childhood, his teenager till adult. Maybe after entering the society to suffer losses and bear hardships, he slowly understands hard career and sinister heart. Reading bildungsroman can find memories and achieve resonance. Bildungsroman make people laugh, sign and mediate, which is its glamour. In 90s of 20c, this time is the rapidly developing period for women’s self-cognition. There were a lot of female writers appearing. During the time, women tried every effort to break away the restrictions of parents and actively took part in political, cultural and social life to improve their own social position. 〈The present of a bird〉> of Eun Hee Gyeong is a work, which depicts the growing process of a 12-year-old girl living in a city to reflect the social reality at that time. The work depicts the female figure’s growing experience, whose heart has been hurt badly, so as to reveal people’s inner mind which is full of hatred to the daily life. The article researches and discusses the bildungsroman in the 90s of 20c.

『작은 아씨들』: 여성 성장소설에 나타난 여성 억압의 문제

민경택 ( Kyung Taek Min ) 미국소설학회 2007 미국소설 Vol.14 No.2