가사노동을 통한 사회로의 진입: 다이앤서가 한 일

김여진 한국중앙영어영문학회 2019 영어영문학연구 Vol.61 No.1

This paper examines the significance and recognition of domestic labor as a means to free women from their domestic obligation and androcracy in Charlotte Perkins Gilman’s What Diantha Did. In Women and Economics, Gilman analyzes the sexuo-economic relation between men and women, and asserts the importance of economic independence of women on men. Futhermore, Gilman sets forth her views that reorganizing domestic labor as a specialized and public work is that women could attain the economic power through the most practical method. Gilman presents a memorable story through heroine Diantha Bell starts her career with domestic labor and to be a successful business woman. Gilman looks forward to changes in the structures of society as a necessary part of domestic revolution and concentrates on increasing the efficiency of capitalistic system. Diantha proves to employer’s family and community the benefits of professionalized housekeeping. What Diantha Did connotes Gilman’s feminist utopian, and Gilman publishes other utopian novels such as Herland, The Crux. But Gilman wants to be called a humanist not a feminist. Because her visions are idealized the gender equality and progress of society.

‘사랑의 신’의 양면성: 에리히 노이만의 위대한 어머니 여신 이론으로 읽는 샬롯 퍼킨스 길먼의 『허랜드』

박선화 한국문학과종교학회 2021 문학과종교 Vol.26 No.2

본 논문에서는 에리히 노이만의 위대한 어머니 여신 이론에 비추어 샬롯 퍼킨스 길먼의 『허랜드』에 재현된 길먼의 종교관을 살펴보고자 한다. 『허랜드』는 ‘사랑의 신’의 개념을 중심으로 하는 모신이 처녀 출산을 하는 허랜드에 가부장적 이데올로기에 젖어 있는 미국 남성들이 방문하는 것으로 전개된다. 처음에 밴딕은 여성만의 나라 허랜드의 처녀생식에 놀라고 이어서 허랜드의 놀라운 기술발전과 제도 및 훌륭한 운영방식에 감탄한다, 하지만 밴딕은 남성 중심의 기독교가 내세우는 부정적 양상을 인정하면서 동시에 모신을 중심으로 하나의 생물학적 성으로만 구성된 이상사회를 지향하는 허랜드에 내재화된 모순을 읽어낸다. 이런 점에서, 허랜드는 미국과 같은 양성 사회에서의 종교적 차별을 극복하기 위해 상상한 장소이기도 하지만, 역으로 모신을 중심으로 출산을 통제하는 우생학적 양가성이 드러나는 장소로 부각된다. 이에 의해 『허랜드』에서 차별을 극복하고자 하지만 오히려 위계를 유지하고자 하는 길먼의 모신이 드러내는 양면성을 짚어볼 것이다. This paper aims to examine Charlotte Perkins Gilman’s religious perspective as portrayed in her Herland from Erich Neumann’s theory of the Great Mother. In Herland, male Americans explore Herland where Mother goddesses with ‘Loving Power’ are capable of virgin birth. At the outset, Vandyck is impressed by its parthenogenesis, and then the advanced technology, systematic organization, and excellent management of the female community. Accepting several negative aspects of his country’s Christianity, he however begins to realize the contradictions internalized in Herlanders which result from establishing their own utopia. In this, Herland is seen as an imagined place to overcome the differentiation of patriarchal Christianity, but reversely Herland reveals its ambivalence of eugenics by controlling their fertility and furthermore maintaining their hierarchal system.

샬롯 퍼킨스 길먼의 『허랜드』에 드러난 인종주의와 우생학적 이데올로기

박선화 한국근대영미소설학회 2022 근대 영미소설 Vol.29 No.2

With the feminism movement in the 1960s and 1970s, Charlotte Perkins Gilman’s Herland was considerably discussed as a feminist utopian novel. Since the 2010s, however, Herland has been reconsidered with different approaches, including the most controversial aspects of the Herlanders’ racialism based on their homogeneous community with parthenogenesis, and the use of negative eugenics which allows sterilizing Herlanders alleged to have undesirable genes through their artificial selection and exclusion. To discuss the racialism and negative eugenics, this paper focuses on a male narrator who comes to perceive the idea of animality as encompassing a range of organic forms including asexual plants and animals. At first, he respects Herlanders by recognizing their high-level culture, education and economy. Later, he begins to feel uncomfortable about the ‘all-too-perfect’ community. Despite their civilization, Herlanders want to unite even with males for their evolution after learning other cultures. Therefore, this paper argues that Gilman uses the male narrator to reveal the problems of the Herlanders’ system and at the same time, more importantly, suggests another imagined utopia which can evolve with the harmony and unity of both sexes, not only women. .

샬롯 퍼킨스 길먼의 『허랜드』가 그리는 페미니스트 유토피아

김미정(Mijeong Kim) 한국비평이론학회 2020 비평과이론 Vol.25 No.3

페미니즘은 지배 논리 혹은 다수의 논리에 의해 억압되거나 배제된 자들의 침묵당한 목소리들을 회복시키고 함께 연대하여 폭력적인 사회구조를 바꾸어 나가는 것을 지향한다는 점을 고려할 때, 페미니스트 유토피아는 더 이상 변화가 불가능한 하나의 완벽한 닫힌 세계가 아니라, 수 없이 다양한 목소리들과 존재 방식들이 서로 부딪히고 갈등하는 불안정성을 감수하고서라도 함께 공존하며 끊임없이 유동적으로 변화하는 열린 세계여야 할 것이다. 그러므로 그러한 이상향을 그리는 페미니스트 유토피아 문학의 현대적인 의의 또한 현실과 동떨어지고 더 이상의 변화의 가능성이 없는 완벽한 세계를 말하기 보다는, 이상적 사회상을 성취하는 ‘과정’ 자체에 의미를 두고, 바람직한 미래사회를 향해 계속 진행 중인 공동체적 실천을 키우는 영양분이 되어주는 데 있다. 이런 맥락에서 본 논문은 최초의 본격 페미니스트 유토피아 소설로 손꼽히는 샬롯 퍼킨스 길먼의 『허랜드』를 분석한다. 우선 길먼이 『허랜드』를 쓰던 당시 사회적/시대적 배경을 살펴봄으로써 그녀가 주장한 ‘모성의 사회화’가 무엇이며, 왜 사회개혁의 논리로 ‘모성(애)’를 강조하는지 살펴볼 것이다. 또한, 많은 후대 비평가들이 지적하는 한계들에도 불구하고 길먼의 『허랜드』가 페미니스트 유토피아를 향한 선구적 목소리를 내고 있다면, 그녀의 글쓰기가 왜 엘렌 식수(Hélène Cixous)와 뤼스 이리가레(Luce Irigaray)가 설파한 정치적 실천행위로써 여성적 글쓰기(feminine writing)로 해석될 수 있는지, 그리고 그것이 왜 질 들뢰즈(Gilles Deleuze)의 이론에서는 기존 사회의 억압적 규범/규율체계에 저항하여 수많은 ‘탈주선’을 생성시키는 창조적 작업일 수 있는지 분석할 것이다. 마지막으로, 『허랜드』에 내재해 있는 디스토피아적 요소들을 이론적인 맥락에서 살펴본 후, 그럼에도 불구하고 길먼이 추구하는 페미니스트 유토피아가 닫힌 정적 세계가 아닌 유동적으로 열린 공간, 혹은 그 ‘열림’을 향한 지속적인 운동을 뜻한다면, 결론적으로 『허랜드』의 현대적 의미와 유토피아적 상상력의 의의를 짚어볼 것이다. Considering that feminism aims to restore the muted and silenced voices of those oppressed, marginalized, or excluded by the logic of the majority, and to change the violent social structure by banding together in solidarity, the feminist utopia should not be a complete closed world where any change is no longer possible, but an open world where countless different voices and ways of existence collide and coexist with each other, enduring instabilities and conflicts and always changing fluidly. Therefore, feminist utopian literature has the modern significance when it nurtures and nourishes ongoing communal practices for a desirable future society, putting more weight on the ‘process’ of achieving it, rather than merely talking about a perfect world that is far from reality and has no potential for change. In this context, this paper first explores what Charlotte Perkins Gilman argued for the socialization of motherhood and why she emphasized motherhood as the logic of social change by examining the historical backdrop of Herland. If Gilman’s Herland is a pioneering voice for a feminist utopia despite its limits pointed out by many later critics, this paper argues why her writing can be interpreted as ‘feminine writing’ as a political practice preached by Hélène Cixous and Luce Irigaray, and how it can be a feminist performance that creates numerous ‘lines of flight’ resisting the repressive norm of disciplinary society in terms of Gilles Deleuze’s theory. Lastly, after examining the dystopian elements inherent in Herland, if the feminist utopia pursued by Gilman is not a closed static world, but a fluidly open space, or a continuous movement toward the ‘openness,’ this paper points out the significance of Herland and its utopian imagination in the modern sense.

길먼의 『누런 벽지』에 나타난 고딕 가정 공간과 고딕 주체성

정희원(Heewon Chung) 19세기영어권문학회 2018 19세기 영어권 문학 Vol.22 No.1

This paper reads Charlotte Perkins Gilman’s famous short story “The Yellow Wall-paper” as a fiction of gothic domestic space that constructs the female gothic subject. Since Gilbert and Gubar’s groundbreaking study on the relationship between the architectural space and the female subject, Gilman’s novel has been acclaimed as the exemplar female gothic fiction of the turn of the century. Rather than reading Gilman’s fiction as a female bildungsroman that tends to focus on the liberation of repressed female desire, this study emphasizes how gothic space writes on the subjectivity of the narrator and constructs its textuality. Using Eve Kosofsky Sedgwick’s theory of gothic space and Eric Savoy’s theorization of American gothic, this paper pays attention to the way the wall(paper) as the metonymy of the house builds the narrator’s consciousness, while she projects herself onto it and, simultaneously, is inscribed by it as gothic subjectivity. Thus this study attempts to map and remap the spatiality represented in the novel in the tradition of the female gothic and American gothic.

샬롯 퍼킨스 길먼: 사회를 치료하는 여성 작가/의사

손정희,한우리 한국외국어대학교 영미연구소 2014 영미연구 Vol.32 No.-

This paper aims to argue that an act of writing, for Charlotte PerkinsGilman, becomes a medium of political intervention into social reform aswell as a kind of therapeutic process not only for healing herself but alsofor affecting the fate of other women of her time. It is well known that Dr. Mitchell who treated Gilman with ‘rest cure’ supposedly changed histreatment after reading “The Yellow-Wallpaper.” This anecdote shows howGilman's writing served as a kind of medical treatment of a woman doctor,which influenced other fellow doctors. By analyzing her short stories suchas “The Yellow Wall-paper,” “Dr. Clair’s Place,” “Old Water,” “Making aChange,” “Beewise,” and “If I Were a Man,” and a poem “To the YoungWife,” this paper examines Gilman’s attempt to rectify the typical imagesof feminine women and to provide alternative images of healthy women,and by extension, a healthy society. Proposing a new paradigm for health,Gilman as woman writer/doctor becomes an active social reformer whoenvisions a feminist utopia.

샬롯 퍼킨스 길먼의 가정공간개혁운동과 도시공동체 실험

정희원(Heewon Chung) 19세기영어권문학회 2016 19세기 영어권 문학 Vol.20 No.2

This article traces the ways in which Charlotte Perkins Gilman explores the possibility of rebuilding and reforming the domestic and private spaces, and as its consequence, of construction of experimental urban communities. Starting with her most famous short story “The Yellow Wall-paper,” this study reads Women and Economics, The Home: Its Work and Influence, and other fictions from the journal Forerunner, focusing Gilman’s ideas of reformation of general feeling concerning the domestic spaces in order to achieve the liberation of women that will necessarily yield the common good as well as the private good. As a member of the material feminists who saw that a collectively innovative architecture would be important to the empowerment of women, Gilman claims that the apartment as a new urban community does not need an individual kitchen in each housing for which will be substituted by communal kitchens that would serve excellent meals by professional social workers. Gilman’s ideas of socialization of domestic labor and provision of day nurseries and kindergartens in the apartments are currently realized in our society, but without the crux, the reformation of gendered domestic spaces that will lead to the achievement of common weal in the ideal feminist cities.

길먼의 『면죄』에 나타난 중세적 억압에 대항하는 여성주체

손정희 ( Jeong Hee Sohn ),한우리 ( Woo Ri Han ) 한국아메리카학회 2012 美國學論集 Vol.44 No.2

This article is to examine Unpunished: A Mystery, Charlotte Perkins Gilman`s final detective novel, by reading it as a female gothic novel and a survival story of a postmodernist female subject. The narrative of this novel changes the fundamental question of a detective novel, ``who killed the dead man,`` into why the murderer has to kill this man. By doing so, the novel focuses on an aggressor who deserves to die and a female victim released from domestic violence. This novel is, thus, a female gothic novel which reveals the life of a suffering heroine who is sexualized as an object of desire and victimized by a powerful male villain. The heroine, Jacqueline, deliberates the survival strategies of role-playing and masquerade. She challenges the oppression of a villain, Mr. Vaughn, with studied posture of conformity as if she acted on stage. With scars on her face, which serve as a mask to hide her feeling, Jacqueline acts as a perfect housekeeper. Moreover, Jacqueline makes Mr. Vaughn die from heart attack by wearing a mask of Iris, her sister, who was victimized by Mr. Vaughn and committed suicide. This doubly masked Jacqueline is not only an active heroine in the female gothic novel but also a gender performative subject who takes up not only femininity but also masculinity. Jacqueline`s gender performance is well represented in her three different names, Mrs. Warner/ Jacqueline/ Jack. Mrs. Warner seems to represent a woman who safely settles in the male-dominant patriarchal society. Yet she is also called as Jacqueline, an equal pair of Iris, her sister. However, called as a male name Jack, she plays a role as protector of children and her sister. This protean changeability of her names embodies her gender-flexibility which makes her survive despite patriarchal oppression. To sum up, in Unpunished, Gilman depicts a postmodernist female subject who successfully overthrows the Father`s law and survives mediaeval gothic conventions imposed on woman.

「누런 벽지」의 페놉티콘 : 얼굴 없는 응시의 광기

조미정 한국중앙영어영문학회 2012 영어영문학연구 Vol.54 No.1

Charlotte Perkins Gilman’s “The Yellow Wallpaper” primarily focuses on exposing how patriarchy can lead to women’s mental illness. Women in the 19th century were trapped by the myth of ‘The Angel in the House’, which caused ‘hysteria’ for many Victorian women. This paper examines the madness of women in the 19th century with reference to Michel Foucault’s Panopticon. The narrator-wife was destroyed by the experience of being confined in a bedroom. This room, surrounded by a yellow wallpaper, functions as a symbol of constant surveillance like the tower in the Panopticon. However, the bedroom in “The Yellow Wallpaper” is a hidden place where the wife writes her journal. Writing is a way of looking, knowing and establishing one’s identity. So the power relationship between the visible subject(wife) and the invisible observer(husband) can be reversed in this bedroom. The narrator’s insanity was a result of her repressed anger and enforced passivity. In a male-dominated Victorian society, women had no rights, identity or existence. Women’s hysterias were psychological enactments of insignificant roles they were allowed to play in a patriarchal society. Therefore, in Lacanian terms, she shifts from the Symbolic realm to the Imaginary realm. Through this shift she can deconstruct the false text of contentment she has created in her journal. Upon entering the Imaginary realm, the narrator believes that the woman behind the wallpaper is her double and alter-ego. Madness became not only a form of rebellion but an intelligible response to conflicting social demands. The narrator’s madness is presented as a form of epiphany toward independence and liberation. She awakens from a male-defined world to a world defined by her own feeling and judgement.

메두사의 후예들영미여성 문학텍스트의 여자 괴물 되기

차희정 ( Hee Jung Cha ) 조선대학교 인문학연구원 2011 인문학연구 Vol.0 No.41

While defining a mythical creature, Medusa, in terms of feminine anger and creativity, this paper discusses female monsters in women`s texts such as Charlotte Perkins Gilman`s The Yellow Wallpaper (1892) and Jean Rhys`s Wide Sargasso Sea (1966). In doing so, the paper attempts to answer some questions including what makes a woman a monster?, what does the female monster symbolize?, who/what defines (a)typical femininity?, and how is female madness interpreted in relation to identity, sexuality, and gender? As women`s texts have demonstrated, traditionally, a woman has been seen either as ``an angel in the house`` or ``a witch/monster`` in a male-centered society. Through autobiographical writing or writing the body in Cixous`s words, women writers have deconstructed such the patriarchal binary mechanism and empowered marginalized and silenced women with angry voice and madness. In Gilman`s The Yellow Wallpaper, against the wishes of her doctor-husband who diagnoses her illness as temporary nervous depression, the nameless wife-narrator keeps writing secretly which reveals the process of her becoming a monster in a haunted house. Likewise, in Rhys`s Wide Sargasso Sea which deconstructs Jane Eyre, a creole wife, Antoinette, is renamed as Bertha and locked in the attic of an old mansion by her English gentleman-husband who considers her emotional fragility as inherited mental illness. In the end, even though delusional and paranoid, these wife-narrators come to reject the feminine images or normality produced by patriarchal society and are reborn as Medusa`s daughters aggressive and creative. Put another way, in women`s texts, becoming Medusa or a female monster signifies transforming a silenced and subordinated female self to a ``speaking subject`` who dares to stare at men and makes new stories.