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편지 쓰기, 상상적 여성 담론 공동체와 마가렛 카벤디쉬의 『사교 편지』
지승아 ( Seung-a Ji ) 한국영미문학페미니즘학회 2016 영미문학페미니즘 Vol.24 No.2
Margaret Cavendish`s Sociable Letters is not a collection of her letters to real persons but that of her fictional letters to an imagined female addressee. Cavendish discusses a variety of social, political, and cultural issues with the addressee, and her letters can be read as a critical epistolary conversation. As early modern English women were generally unable to participate in political events and public discourses, they used letters as a medium of self-expression and social interaction. Letter writing was for them a self-conscious activity through which they intervened in a masculine world of learning and constructed an alternative female discursive community. Cavendish gives advice on love and marriage, discusses political issues, and criticizes literary works in her letters. I pay particular attention to the way in which Cavendish constructs epistolary space as a form of theater. In this epistolary theater, I contend Cavendish builds an intellectual female network, constituting women as reading and writing subjects. Though her letters are fictional, it is crucial that they are not one-sided interchange but mutual, intersubjective cultural practices. Ultimately letter writing is for Cavendish a creative, rhetorical strategy designed to generate a reading public that responds to a wide variety of her thoughts and writings.
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“I Never Made / So Sweet a Bargain”
Ji, Seung-a(지승아) 새한영어영문학회 2013 새한영어영문학 Vol.55 No.2
In Thomas Middleton and William Rowley’s The Changeling, attempts to institute patriarchal control come to a double failure: tragic in the main plot and comic in the subplot. As marriage is primarily a family business, a chaste marriage is crucial to the upper class for the legitimate succession of property and the security or advancement of status. For this functional significance of female virginity as a marketed commodity, patriarchal authority dictates chastity in maids, but female sexuality is not entirely under the male control. A virginity test and the surveillance of women per se do not guarantee female chastity and obedience. Virginity is even purchased and faked. This forged virginity reflects the female fear of sexual guilt and responsibility but at the same time, shows how regulatory control over female sexuality is ineffective and ridiculous. Female characters ceaselessly attempt to de-territorialize themselves from masculine enclosure. The impasse of male mistrust and constraints exemplifies Michel Foucault’s argument about the inherent nature of resistance within power. The resilience of female sexual transgression in resistance to masculine power suggests that a boundary between chastity and whoredom is always porous and permeable.
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호두 껍데기, 자궁, 그리고 햄릿의 감옥 ―『햄릿』과 매큐언의 『호두 껍데기』
지승아 ( Seung-a Ji ) 21세기영어영문학회 2021 영어영문학21 Vol.34 No.4
This article examines Hamlet’s dilemma that turns his ontological question into an ethical practice in Shakespeare’s Hamlet and its adaptation in McEwan’s Nutshell. As a prequel to Hamlet, Nutshell rethinks Hamlet’s dilemma from the perspective of a nine-month-old fetus Hamlet. Hamlet, who feels trapped in a nutshell, wants to die to end his weary life. On the contrary, the fetus Hamlet, who is enclosed tightly in a womb, has a strong will to live. While Hamlet hesitates to avenge his father’s death because he is skeptical about the ghost’s claims, the fetus Hamlet casts aside his thought of revenge even though he witnesses the murder of his father by his mother and uncle. The fetus Hamlet should acquiesce to the murder to be born safe and free outside the prison. Here is his ethical dilemma between his filial duty and desire to experience the world. Hamlet’s death remains in silence, while the fetus Hamlet’s life remains in chaos. The birth of the fetus Hamlet sets him free from the womb but will bring him ceaseless bad dreams. Although Nutshell can be read as McEwan’s answer to Hamlet’s silence, the fetus Hamlet’s chaos, however, like a Möbius strip, seems to curve back to the enigmatic silence. This claustrophobic loop symbolizes Hamlet’s dilemma from the womb and the prison to the castle Elsinore and the nutshell. The enigmatic silence in Hamlet still leaves us a very tough task to report Hamlet’s tragic narrative properly.
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경계 가로지르기: 『정숙한 창녀』에 나타난 교화한 창녀와 제멋대로인 아내
지승아 ( Ji Seung A ) 한국현대영어영문학회 2014 현대영어영문학 Vol.58 No.3
Thomas Dekker and Thomas Middleton’s The Honest Whore, Part I, and Dekker’s sequel, The Honest Whore, Part II, dramatize a whore named Bellafront, who repents of her sin and becomes an honest wife. Despite her repentance, Bellafront’s reformed life continues to be tested, and her chastity is at stake due to her abusive husband. Her sexual conversion is proved only when she completely internalizes patriarchal gender ideology that imposes submissive roles on women. Ironically, it is respectable wives, not the whore, who challenge the patriarchal authority by sexual transgression. Both Infelice and Viola energetically explore the ways to fulfill their desires within the limitations of gender roles. Crossing the boundary between chastity and whoredom, they become whores. As the term “whore” in early modern England was not restricted to a prostitute but broadly referred to any woman who was in breach of socially inscribed gender norms, Infelice and Viola are called whores. Examining a wide spectrum of female sexual performances in the plays, this paper argues that women’s boundary- crossing demonstrates the paradox of whoredom that chastity is always already negotiable, and desire and chastity are compatible.
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