1990년대 소설가 되기의 여성적 욕망 –신경숙의 『외딴방』을 중심으로

강도희 한국여성문학학회 2023 여성문학연구 Vol.58 No.-

The purpose of this paper is to analyze how the desire to become a novelist in the 1990s is reflected in the self-confessions of female writers. The Girl Who Wrote Loneli ness(1995) tells the life story of a girl and embodies the desire to become a novelist. Writing, which intervenes in the vicissitudes of her life, becomes a means to differentiate her from rural and factory women and generate the originality and expertise like the great writer with whom she identifies. While the form and direction of the protagonist’s desire to become a writer dynamically changes, the critics at the time tended to highlight the female writer’s desire according to three major approaches: the absence, the motherhood, and the individualization of desire. Thus, attempts to build a universal aesthetics of feminine writing focus on strategies that highlight only women’s (un)desire as an alternative modernity and discourage female writers who write stories about me rather than us, as well as the female characters who perceive literature as a means rather than an end. However, there exists a desire for originality on a formal level rather than a desire for authenticity on an ethical level, and it suggests that we must examine the confessional writing not just as an individual self-expression but as a more organized genre of women’s literature. 이 글은 90년대 문학잡지·문화산업·문예교육의 변화가 추동한 소설가 되기의욕망이 신경숙 소설에 반영된 양상을 분석함으로써 소설가의 솔직한 자기 고백이 개인의 실존적인 자기 표출 욕구와는 다른 사회적 욕망이며, 글쓰기 주체가처했던 환경과 맥락을 참조해야 함을 밝힌다. 『외딴방』(1995)은 고유성을 향한소설가 되기 욕망이 소녀의 생애 서사로 구현된 작품이다. 생애의 굴곡마다 개입하는 글쓰기는 농촌 및 공장 여성들과는 다른 길을 가는 수단이자 동일시 대상들과의 만남 속에서 그 전문성과 고유성을 확보한다. 소녀는 이제 대학과 일터에서작가적 계보와 현장을 접하고 자기 문체를 소유하게 된다. 『외딴방』의 ‘나’가 실현하는 소설가적 욕망이 탈출에서 진입으로, 부정에서동일시로 변화하는 한편, 비평 장에서 신경숙 문학의 욕망은 주로 ① 욕망의 부재 ② 욕망의 모성화 ③ 욕망의 개인화로 규정된다. 90년대 여성문학 대중화 속에서 나타난 여성적 글쓰기 담론과 욕망 이론의 유구한 근대 비판을 결합한 비평들은 여성 욕망을 특수하게 과소/과잉화하면서 ‘우리’의 이야기가 아닌 ‘나’의이야기를 쓰는 여성 작가, 문학을 목적이 아닌 수단으로 삼는 신경숙의 여성 화자들이 머뭇거리게 한다. 그러나 이 여성적 부끄러움이 윤리적 진정성보다도 형식적 고유성을 획득하려는 여성 작가의 욕망에서 비롯됐다는 점은 ‘사적인’ 고백적 글쓰기나 성장 서사를 여성문학의 한 장르로 다시 보게 한다.

여성 이야기를 통해 본 20세기 초 소설 시장의 변모 -이해조 <원앙도>,<모란병>을 중심으로-

주형예 ( Hyung Ye Joo ) 한국고전여성문학회 2011 한국고전여성문학연구 Vol.0 No.22

이 논문은 소설 시장이 19세기에서 20세기 초까지 어떤 방식으로 연계되며 성장했는지 여성 이야기를 대상으로 하여 논의의 실마리를 찾고자 하였다. 분석 결과, 19세기를 이어 20세기 소설 시장에서도 여전히 여성이야기가 중요한 소재였으나, 이야기를 포착하는 서술 시선에서는 차이를 보였다. 이것은 여성 이야기를 이야기하는 새로운 서술자/소설가의 등장과 관련된다. 새로이 한글 소설시장에 진입한 서술자/소설가는 전대의 독자를 승계했지만 자신이 자라온 시정의 통속적 유흥과 상식의 시선을 견지하였다. 이는 여성 이야기를 여성 독자들의 욕망에 동일시하여 전개하였던 전대와 비교하여 좀 더 당대의 일반적 시선을 여성 이야기에 투영시킨 것이다. 그러나 새로운 여성 이야기의 보편적 성향은 여성을 수동적 반응과 윤리적 영역에 가둬 놓는 결과를 초래하였다. This study examines that novel market was how to grow. Major interest is what methods relate to the 20th centuries novel market and the 19th centuries market. For this, I analyzed women- arratives that are read in that time. As a results, women-narratives were still popular in the 20th centuries novel market, but a narrater was not identical. This phenomena is related new novelist appeared. They newly entered the Hangeul-novel market and succeeded a previous market readers, but held on civic common sense. Compared to the women narratives of the previous market, that of the 20th centuries are more general. But new women narratives caused women character become passive and impounded in the moral boundary.

조선조소설과 여성작가

정병설 이화여자대학교 한국어문학연구소 1998 한국어문학연구소 학술대회 Vol.1998 No.-

연구 논문 : 프랑켄슈타인과 19세기 영국 여성문학 - "모호한 정체성"의 문제를 중심으로 -

고원 ( Won Koh ) 영국사학회 2004 영국연구 Vol.12 No.-

1950년대 전시소설에 나타나는 이념과 전통주의 양상 연구 - 전시 여성작가의 소설을 중심으로 -

신은경 한국문화융합학회 2023 문화와 융합 Vol.45 No.11

The purpose of this thesis is to examine novels by two-kinds of female writers published during the Korean War of the 1950s, and then to discuss epistemic differences in war and nature of the place for wartime literature. Thus, a study on the wartime female literature should be discussed by subdividing it into war literature and non-war literature, which was the method of working in the Korean War. The novels by war female writers include the traditional consciousness and ideology of South Korea. However, the novels by female writers who did not follow the war pay attention to the fear and tragedy caused by the war itself. Based on such discussions, this thesis aims to examine the consciousness of the times and the actual status of war perceived by each kind, by comparatively analyzing novels by two-kinds of wartime female writers, which has not been researched yet.

『노생거 사원』에 나타난 이중적 서술과 여주인공의 성장

전미경 ( Mi Kyoung Jeon ) 근대 영미소설 학회 2006 근대 영미소설 Vol.13 No.1

“The crisis of values” marked the period in which Jane Austen worked as a female writer. This was so because many prejudices had been eliminated and yet still many values coexisted. One of the most remarkable things in Austen`s time was the attempt to redefine the notion of femininity by feminist writers, which was closely related with the cultural milieu in which women emerged as producers as well as consumers in the literary market. The literary world was, however, still under the control of male writers. So not only was there the ideological pressure on women`s self-expression, but also writing a novel seemed too improper a career for women. Therefore Austen employed a strategy of indirect discourse to gain approval from the public about her narrative of women`s experience in her time, the narrative device of a double vision. So there are two conflicting standpoints in her novel. While the first-person narrator in the novel pretends to conform to the values and views that suppress women and their self-expression, the other persona assumes critical attitude toward the ideological pressure on women. Northanger Abbey, in particular, has a double structure of meaning, and by so doing reveals Austen`s awareness of the strained relation between the old vision of society and the new one of it. In particular, the central concern in the novel is with the conflict between the conservative view of femininity and its new interpretation. Its “official” plot parodies the improbable and sentimental romance. The first-person narrator portrays Catherine, the heroine of the novel, as a simple, immature girl. But Austen`s real motive is to attack the patriarchal society whose false moral standard, the domestic ideology, confuses women`s sense of identity and weakens their autonomy in the society.

에로티시즘에서 교훈주의로: 엘라이자 헤이우드의 『분별없는 벳시의 이야기』

문희경 ( Hi Kyung Moon ) 근대 영미소설 학회 2005 근대 영미소설 Vol.12 No.2

Recent attempts to rescue Eliza Haywood and her amatory fiction from oblivion by feminist critics have done much to re-establish her reputation. This paper attempts to place Haywood in the formation of the English novel and explore how Haywood, responding to the changing literary taste in the mid-eighteenth century, turns from earlier amatory fiction to the more respectable form of the courtship and domestic novel. In Betsy Thoughtless, she moves away from eroticism to a new didacticism and creates a novel which contains many of the features that are to become integral to the novels by women novelists such as Frances Burney and Jane Austen. In the process of becoming more "elevated", however, "amatory" elements are deliberately reworked and absorbed to work against the grain of her moralized novel. Betsy Thoughtless reflects a moment in the formative years of the English novel when the novel attempts to negotiate between the claims of entertainment and of morality.