2022년 한국영미문학페미니즘학회 봄 학술대회 라운드테이블 토론—영문학 교육과 페미니즘

윤조원,최성희,육성희,엄동희,정서현,하민정 한국영미문학페미니즘학회 2022 영미문학페미니즘 Vol.30 No.2

미국의 성장기(成長記나의 안토니아가 재현하는 이질성과 다양성

윤조원 영미문학연구회 2005 안과 밖 Vol.19 No.-

이자벨은 어디로?: 『여인의 초상』의 행복/불행한 결말에 관하여

윤조원 韓國아메리카學會 2005 美國學論集 Vol.37 No.2

타자/텍스트의 불가사의(enigma)와 퀴어한 읽기: 「바틀비」와 바틀비

윤조원 미국소설학회 2019 미국소설 Vol.26 No.2

Herman Melville’s “Bartleby the Scrivener: A Story of Wall Street” is a tale borne of Bartleby’s strange desire—a desire barely discernible, yet discernibly aspiring to negativity. This study is a foray into the modes of inscrutability that Melville mobilizes in Bartleby the character as well as in the tale itself. For this, I question implications of a wide-spread reading that relies upon the uncorroborated rumor regarding Bartleby’s career at the dead letter office. For such a reading complies to, and replicates, the lawyer-narrator’s suggestive strategy of reading Bartleby within the limits of normative and normatizing epistemology. Borrowing Leo Bersani’s critical notion, I view the lawyer’s ineffectual yet stubborn attempts to diagnose Bartleby, identify the etiology, and cure his malaise as a “redemptive” project. A redemptive approach assumes that an opaque text’s hidden meaning is in need of redemptive excavation. This hermeneutic model operates under the premise of transparent meaning while subjugating the enigmatic otherness into the category of the incomplete/pathological/abnormal. The enigma of Bartleby is a kind of perversion, insofar as perversion in the Freudian scheme is a refusal or failure to complete or adhere to the teleological trajectory of heterosexual productivity. Bartleby neither conforms to the teleological mandates of the lawyer’s Wall Street law office, nor falls into conceptual categories or (ab)normality readily available to him who complacently inhabit such a space. The narrator is both terrified and fascinated by Bartleby, but his fear of Bartleby’s unmanning effect compels him finally to subsume Bartleby into his order by sneakily resorting to the ungrounded rumor of Bartleby’s association with dead letters. By pathologizing what can only be termed Bartleby’s queerness, the narrator explains away his negative desire and thereby coerces sense out of what defies sense; and it is this redemptive hermeneutics of the narrator that structures his narrative. “Bartleby,” then, is an exemplary queer text which lays bare the very process in which queer becomes pathological for its very incommensurability—the process in which hegemonic epistemology attempts to domesticate an enigmatic text/other by turning it into a pathological object for redemption and lamentation.

젠더 연구의 흐름과 비평적 독서의 변화

윤조원 영미문학연구회 2006 안과 밖 Vol.0 No.21

Interpretations and evaluations of Henry James’s works have been greatly influenced by recent discursive shifts in critical theories on gender and sexuality. It is partly due to James’s unusual insight into women’s reality, the often ambiguous biographical accounts of his own masculine identity, and also partly due to his intricate and fluid representations of the very difficulty in constituting one’s identity in the binary structure of gender. For this reason, James studies becomes the site where different perspectives and theories on gender and sexuality often compete with one another to test their validity and tenability. The gradual shift from woman­oriented feminism to gender studies and the ever­increasing interest in, and the relevance of, queer theory tend to bring about similarly inflected readings of James. This essay reviews this change and diagnoses the rise of male homosexuality in James studies as a symptomatic phenomenon of the so­called “post­feminist” era. At the same time, an attempt is made to rescue James from the critical efforts which try to claim him and his work for agendas of male homosexuality in the field of critical discourse, using his canonical status. Rather than arguing for any one theoretical framework or methodology that exclusively focuses on a particular gender or sexual orientation, this essay, acknowledging that feminism and queer theory share part of their theoretical grounds and political goals, criticize the limitations and problems of “queering” James; and examines how feminism and queer theory may each contribute to making James studies more productive and our understanding of sexuality and gender more fruitful.

Down Girl: The Logic of Misogyny Kate Manne. New York: Oxford University Press, 2017, 368 pages

윤조원 숙명여자대학교 아시아여성연구원 2018 Asian Women Vol.34 No.1

The Road to Knowledge: Signifying Space in What Maisie Knew

윤조원 미국소설학회 2014 미국소설 Vol.21 No.3

What Maisie Knew is an exemplar of James’s narrativistic rendition of how a consciousness develops into subjectivity, and how eventually it becomes an ethical subject that transcends existing discursive order. The gap between Maisie’s perceptions and her capacity for articulating her knowledge is one of James’s main concerns in the novel, from which germinates the meaning of the narrative itself. In short, the novel’s meaning lies mostly in the space between experience and utterance, between inchoate apprehension and articulate (and articulable) knowledge. What Maisie Knew involves a twofold endeavor to engage with a movement toward knowledge. On the one hand, it chronicles the little girl’s effort to navigate the division between experience and knowledge toward a fuller and more mature existence. On the other, the text incites our negotiation with this division in the act of reading. We may call the former the formation of a knowing self, and the latter the formation of a hermeneutic subject. While the narrative delineates the coming into being of a subject who knows more than what she perceives, it simultaneously prompts constructing a reading subject who reads more than what the pages offer. This paper is a study of this doubly formative aesthetic that What Maisie Knew instances. The question of epistemological uncertainties that preoccupied James in What Maisie Knew is aestheticized in an ethical turn, for Maisie’s growth into an ethical subject transforms the vulgar and vacuous reality into the métier of art. The text, in parallel, invites the reading subject to the possibility of an ethics of reading that simultaneously resides in, and exceeds, the text’s discursive content, for the space between perception and knowledge opened up on the pages of What Maisie Knew necessarily calls for critical hermeneutic exercise.

'이론 이후'의 이론?: 테리 이글턴의 비평과 윤리

윤조원 영미문학연구회 2011 안과 밖 Vol.0 No.31

[추천석사논문] 페미니스트의 돌봄—문화정치학 -무크지 『또 하나의 문화』를 중심으로

윤조원 상허학회 2022 상허학보 Vol.66 No.-

This study attempts to investigate the “care-cultural” politics of feminists by analyzing Mukeuji(Magazine-book) “Alternative Culture”(1985~2003). From becoming a community based on women’s self-narrative to organizing feminist children’s camp, curating alternative fairy tales and involving in communal childcare cooperative, ‘Alternative Culture’ pursued interdependent kinships outside the traditional family reproduction system. This study therefore claims the emergence of feminist “care-cultural” politics as the crux of ‘Alternative Culture’, tracing how the concept of care was culturally challenged and reconstructed through “Alternative Culture”. In the 1980s, “Alternative Culture” publicized the (re)production site of women and rediscovered the value of “living”(housekeeping). In order to cultivate a feminist culture for the next generation in daily life, “Alternative Culture” extricates care from women and family and conceives it as public ethics. Housewives, perceived unenlightened even amongst feminists, were rediscovered as a cultural, political subject in this process. In the 1990s, “Alternative Culture” encounters its limitations as it began to function as an intergenerational, interdependent “care-cultural” network. Successfully encouraging personal narrative writing through special issues to ‘rewrite’ culture, ‘Alternative Culture’ paved a way for intergenerational feminist solidarity including youth. Care, now outstretched beyond traditional kinships, was being practiced in diverse interdependent relationships. However, whilst ‘Alternative Culture’ ultimately sought to form a village community, young feminists’ demand to rethink familial relationship eventually disclosed the heteronormativity that was being persisted. Yet it was from these tensions that feminist alternative culture‘s’ emerged. 본고는 여성주의 문화 운동 단체 ‘또 하나의 문화’(또문)이 발간한 무크지 또 하나의 문화 (1985~2003)와 그 실천 활동을 중심으로 상호의존적 관계에 기반한 대안 공동체를 상상했던 페미니스트의 돌봄—문화정치를 규명하고자 했다. 본고는 또문이 도모했던 글쓰기 운동과 어린이 캠프, 공동육아와 같은 문화 실험 속에서 ‘돌봄’이 문화정치로 태동하고 있었다고 보고, 그 해체와 재구성의 과정을 추적하고자 했다. 1980년대의 초기 또문은 ‘다음 세대’를 위한 성평등 문화를 일상 속에서 이룩하고자 여성의 (재)생산 현장을 공론화하고 ‘살림’의 가치를 재인식하며 혈연가족주의를 넘어 공동체적 차원에서 돌봄을 사유하고자 했다. 계몽의 대상으로 인식되었던 주부는 대안 동화 운동과 어린이 캠프를 통해 학부모로 발견되며 점차 새로운 문화 정치적 주체로 거듭났으며, 그 연장선상에서 시도된 공동육아 운동은 돌봄 공동체를 위한 실천이었다. 그처럼 돌봄을 여성과 가정으로부터 탈각시키고 ‘다음 세대’를 위한 문화정치로 전유하고자 한 또문은 1990년대부터 상호의존적 관계에 기반한 출판 생활 공동체가 되어가며 균열과 한계를 마주했다. ‘새로 쓰기’라는 자기 서사 기획을 내세운 또문은 상호돌봄에 기반한 여성들 간의 유대를 공고했을 뿐 아니라 문화적 주체로서의 청소년과도 연대하며 상호의존적 돌봄을 실천했다. 마을 공동체에 대한 상상으로도 연계되는 이러한 행보는 당사자성에 머물렀다는 혐의와 함께, 이성애 가족주의에서 벗어나지는 못한다는 한계를 내포하고 있었다. 그러나 바로 이러한 균열을 통해 오늘날의 또 하나의 문화‘들’은 출현한 것이었다.

"언어의 연막" : 『나사의 회전』의 해석과 여성성의 문제 Interpreting The Turn of the Screw and Feminity

윤조원 한국 헨리제임스 학회 2001 헨리 제임스 연구 Vol.- No.6

This essay examines the representative indeterminacy (and multiple interpretive reactions to it) inscribed in Henry James's 1897 The Turn of the Screw through explicating the notion of "verbal smoke," an expression used by a contemporary reviewer of James's novella. While existing criticisms of The Turn of the Screw largely bifurcate into two camps-one contemplating the symbolic nature of "evil" represented by the ghosts and the other attributing the supernatural experience of the governess to her repressed sexuality and resultant psychical state -I approach the narrative's deployment of ambiguity from the perspective of late nineteenth-century epistemological indeterminacy regarding the nature of femininity. James's use of language in this novella obfuscates a clear mooring of the story 's "truth" to definite events or causal relations depicted in it. By thus clouding the cognitive vision of the reader with vagueness both in content and form, The Turn of the Screw represents the limitation of knowledge that relies upon vision and also the impossibility of representing "truth" through language. The governess's position in this mystifying representation of limited knowledge that has to rely on interpretation in crucial. Her role in this story reflects the popular nineteenth-century notion of woman as a being spiritually and psychically close and susceptible to forces beyond the boundaries of reason and logic. The contrasting notions of woman prevalent in the late nineteenth century-woman at once as a pious demestic angel and as a mysterious,dark, devouring force-reveal the masculine logic of defining the feminine as something excluded from reason, that is, something outside the constitutive force of progressive history. This epistemological exclusion results in the impossibility of defining the feminine in terms commensurable with the masculine language of reason, except in images or metaphors that always displace the identity of woman.Woman thus remains an unknown, unknowable object within masculinist discourses. The co-existiong possibilities of interpreting the governess as an exemplary Christian woman who desperately tries to protect her charges from uncontrollable forces from the other world and as a mad woman driving an innocent child to a violent death, bespeak the ultimate indeterminacy of the story's meaning, and this indeterminacy is the only fact solid and stable in this marrative of elaborate ambiguity. The Turn of the Screw, I argue, represents the epistemological indeterminacy regarding the feminine by carefully rehearsing, through its verbal smoke, seemingly incompatible images of woman fostered by masculinist discourses of the time.