여성 고딕 다시 쓰기와 여성 주체성 (재)구성

강영아(Young Ah Kang) 신라대학교 여성문제연구소 2011 젠더와 사회 Vol.22 No.-

본 논문은 안젤라 카터의 『서커스의 밤』(Nights at the Circus, 1984)이 여성 고딕을 다시 쓰고 있을 뿐만 아니라 여성의 주체성을 재구성하는 작품임을 살펴보고자 한다. 『서커스의 밤』은 페미니스트 작가로서 카터의 젠더와 고딕 장르의 상호성에 대한 통찰력의 산물이다. 이 텍스트는 고딕적 플롯을 통해 주체와 객체, 남성과 여성, 인간과 동물, 사실과 허구간의 이분법에 도전한다. 즉, 카터는 종의 경계에 있는 존재들로서 새-여성 페버스와 다른 괴물스러운 여성들과 같은 여성들의 경험을 묘사하기 위해 고딕적 대본을 전유하고 있다. 그러나 『서커스의 밤』이 전유하는 여성의 몸을 저당물로 이용하고, 납치, 공격, 폐기시키는 고딕적 대본은 ‘희생’과 ‘권력’의 이분법적인 구조에 갇힌 여성의 현실을 조명하기 위한 전략적 장치로 볼 수 있다. 왜냐하면 카터는 여성적 경험으로서 감금과 고통의 장소에 유폐된 여성 인물들이 겪는 고통을 그들의 수동성과 직접적으로 결부시키고 있기 때문이다. 『서커스의 밤』은 가부장제가 규정하고 강요하는 여성의 희생과 수동성을 내면화한 여성 인물들을 통해 여성의 장소와 지위 부재를 다룬다는 점에서 여성고딕의 전통을 계승하고 있다. 그러나 새 여성(New Woman) 주체의 모델로서 고딕 문학에 반 테제적인 ‘나쁜 여성’들을 창조함으로써 고딕은 물론 여성고딕 장르의 경계를 확장시키고 있다. 카터는 고딕문학의 전통과 언어를 전유하여 서구문화에서 가장 오래된 ‘괴물스런’ 타자의 이미지들을 재현하는 새-여성(bird-woman) 페버스와 다른 위반적인 여성들의 경험을 다룬다. 이 여성 인물들이 점차 다른 여성들과의 자매애를 통해 자신을 희생자로서 보는 인식의 틀을 깨뜨리고 자신의 육체적, 정신적 식민 사태를 종식시키는 것에서 여성 고딕의 여성 희생화의 이데올로기를 넘어서고 있다. 무엇보다 이 텍스트의 정치성은 가부장제의 금기와 억압으로부터 탈구된 욕망을 탐험하고 희생적 여성의 본질을 가정하지 않는 것으로 여성고딕의 한계를 넘어서고 새로운 여성 주체성의 가능성을 모색하는데 있다. This paper aims at examining Angela Carter’s Nights at the Circus(1984) which is not only to rewrite ‘Female Gothic’ but to reconstruct woman subjectivity. Nights at the Circus is the product of Carter’s insight into the reciprocality of gender and the genre of Gothic as a feminist writer. The text challenges the dichotomy between subject and object, male and female, human and animal, and fact and fiction through a gothic plot whose script depicts women’s experiences such as a bird-woman, Fevvers and other monstrous women as ‘being on the borderline of species’. Carter, however, brings out several questions on the limits of gothic literature tradition which has disdained the value systems of our contemporary institutions in the text. Nights at the Circus pushes the limits of the genre of female gothic by creating ‘bad’ women as models of new women subjects, who are antithetic of gothic literature. Although Carter exploits the tradition of gothic literature to express women’s experience of being confined and suffering, she goes beyond the ideology of the women’s victimization of female gothic. In the text, Carter demonstrates the possibilities of ending women’s inner and physical colonization and changing the gender hierarchy when those women are finally aware of their viewing themselves as victims, stop doing so, and they begin to take active approaches to the world through their sisterhood.

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.

아동 문학과 고딕-1960, 70년대 『소년세계』를 중심으로-

한민주 한양대학교 동아시아문화연구소 2024 동아시아 문화연구 Vol.96 No.-

이 논문의 연구 목적은 1960-70년대 발간된 월간 아동 잡지 『소년세계』를 주요 연구대상으로 삼아 청소년기 개념의 구성, 그리고 ‘고딕 소녀’에 투사된 젠더 기획의 의미를 탐구하는 데 있다. 청소년기는 ‘사춘기’, 즉 호르몬의 영향으로 겪는 신체상의 변화뿐만 아니라 심리적, 사회적, 정신적 변화를 포괄하는 시기이다. 그래서 아동 청소년 문학에서는 변화를 강조하고 그것을 촉발시키기 위해 기이한 것들이 등장한다. 특히 고딕적 모티브는 변칙적이고 기괴한 괴물성을 청소년 정체성의 변화에 대한 은유로 사용한다. 이같이 하위문화로서의 고딕 작품을 생산하는 문화적 기획 속에는 여러 체제의 의도가 내포되어 있다고 볼 수 있다. 한국형 고딕 문화의 근원을 탐구하려 한 제2장은 대중문화 속 여성 고딕 영화에 주목하고, 이 작품들이 재현하는 여성의 고통과 희생을 분석하여 그 유산이 당대 아동문학 속 고딕 소녀들의 재현에 어떻게 이어지는가를 추적하는 연구의 근간을 마련하는 작업이었다. 3장은 『소년세계』에 수록된 고딕 작품들을 분석하여 고딕 소녀와 구분되는 아동 고딕의 특징을 탐구하였다. 이를 통해 체제 수용적인 아동 고딕의 재현은 과거의 부활을 강조하고 ‘미친 과학자’ 모티프 재현에 집중하며, 아동ㆍ청소년을 과거 청산의 주체로 상정하여 과학적 성장의 주체로 호출하는 면모를 살필 수 있었다. 4장은 ‘순정괴기’로 지칭된 여성 고딕 서사에 등장하는 소녀 괴물의 존재론적 의미를 분석하고자 했다. 이를 위해 잡지에 실린 소녀문화가 여성 청소년기의 작동 방식에 이바지한 바를 살피고, 괴물성을 지닌 소녀의 섹슈얼리티에 대한 함의를 분석하였다. ‘순정괴기’로 지칭된 고딕 서사 속 소녀들의 재현을 주제로 한 이 논문은 궁극적으로 고딕 소녀들의 ‘걸 파워(Girl power)’가 갖고 있는 당대 젠더정치학적 함의를 해석해 보려 하였다. The purpose of this paper is to explore the construction of the concept of adolescence and the meaning of gender projections projected in the ‘gothic girl’, using the monthly children’s magazine Boy World, published in the 1960s and 1970s, as the main object of study. Adolescence is a period that encompasses psychological, social, and spiritual changes as well as the physical changes that occur during puberty, or hormonal influences. Therefore, in children’s and young adult literature, the uncanny appears to emphasize and trigger change. Gothic motifs, in particular, use anomalous and strange monstrosities as metaphors for adolescent identity transformation. In this way, we can see the intentions of various systems implicit in the cultural project of producing gothic works as a subculture. Chapter 2, which attempts to explore the roots of Korean gothic culture, focuses on female gothic films in popular culture and analyzes the suffering and sacrifice of the women they represent, laying the groundwork for a study that traces their legacy to the representation of gothic girls in contemporary children’s literature. Chapter 3 explores the characteristics of children’s gothic by analyzing the gothic works in Boy World. It emphasizes the resurrection of the past and focuses on the recurrence of the ‘mad scientist’ motif, and examines how children and adolescents are repeatedly invoked as subjects of scientific growth and as agents of the liquidation of the past. Chapter 4 seeks to analyze the ontological meaning of the girl monster in female Gothic narratives, referred to as the ‘pure uncanny’, by examining the contribution of girl culture in magazines to the operation of female adolescence and analyzing the implications of monstrous girl sexuality. By focusing on the representation of girls in Gothic narratives as “pure uncanny,” the paper ultimately attempts to interpret the gender politics of Gothic girls’ girl power at the time.

여성적 고딕소설 다시 쓰기 : 마가렛 애트우드의 도둑 신부

주재하(Ju, Jaeha) 조선대학교 국제문화연구원 2020 국제문화연구 Vol.13 No.2

This paper, dealing with Margaret Atwood’s The Robber Bride, examines not only the process by which the three secluded pasts of Tony, Charis and Roz are revealed through Zenia, a female gothic double who appears as an intruder and performs as the robber bride, but also rewriting ‘Female Gothic’. Although Atwood follows the tradition of gothic literature to deal with the victimized women and suffered women by the patriarchy, she crosses the limit of female gothic by creating the female bad character, Zenia as model of the new woman subject, who is contrary to gothic literature. To begin with, this paper examines the characters as victims of the comtemporary power system and analyzes the processes of their overcoming the system and achieving new identities. Because the characters pasts include mistreatment and sexual abuse by their parents when they were young, they try to repress their real identities. After meeting the new woman, Zenia, however, they recognize that she is their second ego and double. Also, they can see the truth of their fractured identities through her. Atwood demonstrates the possibilities of ending women’s mind and body’s colonization and changing the gender hierarchy, and making the true female community after they are aware of their depressed self, stop thinking of themselves as victims, and recognize their subjectivity.

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.

『프랑켄슈타인』에 나타난 ‘괴물 어머니’ - ‘빅터’의 모성을 중심으로 -

이유진 ( Lee Yoo-jin ) 충남대학교 인문과학연구소 2022 인문학연구 Vol.61 No.1

본 논문은 『프랑켄슈타인』(Frankenstein)을 ‘여성 고딕’(female gothic)의 범주에 포함시키고, 작품 속에서 모성의 부재가 반복적으로 제시되는 점에 주목했다. 이에 따라 빅터(Victor)의 모성을 언캐니(uncanny)의 관점에서 생각해 보고, 괴물의 타자성 분석에 있어 대상관계이론(Object relations theory)을 접목시켜 작품을 분석했다. 빅터는 잔인한 모성의 표본으로, 괴물을 탄생시키고도 철저하게 외면하고 동정조차 베풀지 않았다. 이로 인해 괴물은 ‘빅터’라는 어머니를 상실하고 세상에 철저하게 버려진 후, 홀로 생존을 위해 분투한다. 빅터가 괴물에 대해 느끼는 낯설음과 혐오, 즉 언캐니는 생명 창조의 금기를 위반한 그의 억압된 죄의식, 비틀어진 욕망, 극한의 절망감이 괴물에게 투사된 것이다. 이러한 모성의 부재와 사랑의 결여로 인해 괴물은 우울증적 불안감을 느낀다. 빅터의 모성은 무한한 사랑으로 자녀를 양육하는 모성의 신비화가 아니며 오히려 공포감을 주고 처벌하는 심판자이다. 이 때문에 괴물의 가학적 증상은 점차 심화되고 빅터 주변의 많은 사람들이 희생되며, 빅터와 괴물 역시 비참한 최후를 맞이한다. 이름을 지어줄 틈도 없이 사망한 메리 셸리(Mary Shelley)의 딸처럼 괴물은 이름도 없이 살아가며 비극을 맞이하고, 작가는 그 고통을 날카롭게 통찰하고 있다. 어쩌면 작품 속의 괴물은, 메리의 분신이라고 할 수 있다. 메리는 자신의 죄책감, 상실감, 공포와 불안, 정신적 방황을 『프랑켄슈타인』이라는 한편의 작품을 탄생시키는 출산의 과정을 통해 극복했고, ‘여성 고딕’의 새로운 지경을 열며 무한한 가능성을 제시했다. This thesis analyzes Victor’s motherhood from the point of uncanny, grafting that the otherness of the monster onto the Object relations theory. This novel discusses how the female gothic handled the issue of maternal absence. The story of the creature’s transformation into the monster, driven by the Victor’s abandonment is an important note in the study. Mary Shelley highlights the importance of maternal care, depicting the monster as being deprived of his identity and dignity. The unfamiliarity and disgust ― the uncanny ― that Victor feels towards the monster is suppressed guilt, twisted desire, and extreme despair, which are projected to the monster. Victor deserted the monster, not extending his sympathies to it. So, the monster had to struggle in order to survive, suffering from the depressive anxiety due to the maternal absence. Victor’s motherhood is not the mystification of maternal love, but rather the cruel judgement, which metes out continuous fear. For this reason, the symptom of monster’s sadism deepens, and Victor’s family members and friends are sacrificed including Victor and the monster. The writer keenly considers the anguish and tragedy of the nameless monster in all its aspects, reminding her of her dead daughter. The monster in Frankenstein is the double of Mary Shelley, and she overcame the sense of guilt, loss, terror, and anxiety in the process of giving a birth to the novel Frankenstein, presenting the great potential of the female gothic.

현실을 넘어, 역사를 넘어: 소파이어 리의 『암굴』

김순원 ( Soon Won Kim ) 근대 영미소설 학회 2005 근대 영미소설 Vol.12 No.2

The name of Sophia Lee and her novel The Recess may have little prominence not only in the English literature in general but also in the genre of Gothic proper. The Recess has failed to arouse critics` interests, which is rather unusual considering its enormous popularity in both England and Europe. This novel, however, requires our attention today in that it tries to re-construct the reality of the 16th century England of "Elizabethan court" and re-write the contemporary history from the viewpoint of women instead of men. In this re-written history, women, with their long suppressed strong passion for physical love, are restored into their rightful place which the recorded history has denied them. It is the rivalry of women Queen Elizabeth and Mary the Queen of Scots, not kings or male heroes that shapes the course of history. Moreover, this re-written history traces the matrilineal line instead of the patrilineal line. It is also noteworthy that though this novel appropriates the mode of romance where the heterosexual relationship is completed when love is explored with marriage as the eventual destiny, Lee demystifies the myth of romance and marriage. Here most women are forced into a hateful marriage of convenience or they find that their love marriage can not secure them eternal happiness. On the contrary, female relationships of every sort such as sisterly (Matilda-Ellinor), mother-daughter (Mary-Matilda-Mary), and friendly (Matilda-Rose Cecil/Lady Arundel, Ellinor-Lady Pembroke/Lady Southampton) last longer and more supportive of each other with genuine sympathy and care or practical aid, relieving pain and sorrow of everyday life hostile to women. It seems that Lee confides in the power of female solidarity and the unacknowledged power they can wield in a patriarchal society, offering a budding form of female community as an alternative to marriage or celibacy. Lee undoubtedly allows women to speak out with their own voice and enjoy their due part in history. However, Matilda, whose letters begin and end the novel, is rather an obedient and conventional woman, deprived of passion especially at the end of the story. This is the very strategy of the novelist who has to speak the "unspeakable" without being severely punished. Lee, the gothicist, adopts the one typical gothic device of narrating from diverse perspectives, and successfully illustrates the female reality of being nameless and "entombed alive" through the ironically "entombed" narration of Ellinor. With Ellinor`s story, which is interspersed with female romantic adventures, Lee restores women from tomb to life.

여성 고딕 소설에 나타난 진실과 미덕의 문제: 『이태리인』, 『여성의 억물함』, 『노생거 사원』을 중심으로

류혜원 ( Hye Won Ryu ),권수미 ( Su Mi Kwon ) 근대 영미소설 학회 2009 근대 영미소설 Vol.16 No.3

『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.