여성적 글쓰기 시각으로 본 최승자와 자이융밍(翟永明)의 시-1980년대 초반의 작품을 중심으로 (Poetry of Choi Seung-ja and Zhai Yong-ming analyzed by ‘écriture féminine’ Perspective-The focus of their early 1980s work)

서지정보

· 발행기관 : 동북아시아문화학회
· 수록지 정보 : 동북아 문화연구 / 1권 / 63호 / 103 ~ 118페이지
· 저자명 : 오혜영

초록

The paper examines the “écriture féminine” of Korean and Chinese female poets in the early 1980s through writing about the theme of “mother” and the “body writing,” which is represented in works by Korean poet Choi Seung-ja and Chinese poet Zhai Yongming in the early 1980s. By the 1980s, Korea and China had significantly improved the environment for women to receive education due to a combination of economic development, the construction of urbanization and the spread of education. And in this period, the two countries introduced western feminist ideas. So the women writers of the two countries have opened up a new way of writing. IIn the 1980s, the feminine poetry of China and Korea reached its peak, and many feminine poets appeared. To this day, they still occupy an important position in the Chinese and Korean poetry circles. If the female poets in the past were influenced by the traditional education and pursued the female image relative to the male image in their works, then the female poets in this period tried to cast aside the male image, examine the female with the female as the center, and try to write about the female in the way of writing. In this respect, women's poetry in China and Korea in the 1980s is of great research value at the level of “écriture féminine”. In this paper, we look at the beginning of the early 1980s of Choi Seung-ja and Zai Yong-ming, referring to the writing method from Helene Cixous‘s “Le rire de la méduse,” which we call the declaration of “écriture féminine”. The two poets'creative career began in the 1980s. They both admitted the cruelty of reality in non-traditional poetry and created works that were not available in literature before, which had a great impact on the poetry of the two countries at that time. According to research, there is no direct connection between their works, and there is no comparative study of the two poets in Korea and China. However, there are many studies about them in Korean and Chinese literary circles, including women's writing in their works and their relationship with Sylvia Plath. They are the leaders of Korean and Chinese contemporary women's poetry. They share the common characteristics of “écriture féminine” at that time, and have their own characteristics.

영어초록

The paper examines the “écriture féminine” of Korean and Chinese female poets in the early 1980s through writing about the theme of “mother” and the “body writing,” which is represented in works by Korean poet Choi Seung-ja and Chinese poet Zhai Yongming in the early 1980s. By the 1980s, Korea and China had significantly improved the environment for women to receive education due to a combination of economic development, the construction of urbanization and the spread of education. And in this period, the two countries introduced western feminist ideas. So the women writers of the two countries have opened up a new way of writing. IIn the 1980s, the feminine poetry of China and Korea reached its peak, and many feminine poets appeared. To this day, they still occupy an important position in the Chinese and Korean poetry circles. If the female poets in the past were influenced by the traditional education and pursued the female image relative to the male image in their works, then the female poets in this period tried to cast aside the male image, examine the female with the female as the center, and try to write about the female in the way of writing. In this respect, women's poetry in China and Korea in the 1980s is of great research value at the level of “écriture féminine”. In this paper, we look at the beginning of the early 1980s of Choi Seung-ja and Zai Yong-ming, referring to the writing method from Helene Cixous‘s “Le rire de la méduse,” which we call the declaration of “écriture féminine”. The two poets'creative career began in the 1980s. They both admitted the cruelty of reality in non-traditional poetry and created works that were not available in literature before, which had a great impact on the poetry of the two countries at that time. According to research, there is no direct connection between their works, and there is no comparative study of the two poets in Korea and China. However, there are many studies about them in Korean and Chinese literary circles, including women's writing in their works and their relationship with Sylvia Plath. They are the leaders of Korean and Chinese contemporary women's poetry. They share the common characteristics of “écriture féminine” at that time, and have their own characteristics.

참고자료

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