여성의 도시 걷기/쓰기: 울프의 「거리 출몰하기—런던 모험」과 바르다의 <5시부터 7시까지의 끌레오>에 나타난 여성적 공간 실천 = Women’s Walking/Writing the City: Female Spatial Practices in Woolf’s “Street Haunting: A London Adventure” andVarda’s Cléo de 5 à 7

다국어 초록 (Multilingual Abstract)

Virginia Woolf and Agnès Varda, respectively the modernist novelist of the first half of the twentieth century and the Novelle Vague director of the second half of the century, share in common their artistic creativity unfolded in the modern city through the figure of flâneuse. This paper offers comparative reading of Woolf’s essay “Street Haunting: A London Adventure” and Varda’s film Cléo de 5 à 7 in respect of women’s walking/writing the city and female spatial practices. Woolf’s narrator, while walking the streets of London, rewrites her desiring subjectivity against the backdrop of the dominant gender ideology that restricts female urban experience as undesirable. Like her walking as the expression her desiring subjectivity, the camera walk of Varda's L'Opéra-Mouffe does not hesitate to reveal the (un)conscious desire and angst of the female subjectivity, which, in this short film, are mainly brought up with pregnancy. Cléo Victoire, Varda’s eponymous heroine of Cléo de 5 à 7, is also dominated by angst, this time angst of death. She strolls the streets and boulevards of Paris while waiting the result of autopsy that might turn out to be fatal to her life. Nonetheless, while walking the streets of Paris, from right to left, from 17h to 19h, she embraces more liberating perspectives on her body, on her way of looking and being looked, and, most of all, on her subjectivity so far mainly constructed from the fantasizing gaze that interpellates her as goddess-like-Cléopatra. Thus this paper argues that Cléo's itinerary of dérive delineates the time-space of détournement that shares the utopian impulse of everyday life with the Woolf's haunting the streets of London.

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