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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국제임스조이스학회 제임스조이스 저널 제임스조이스 저널 제11권 제2호
발행연도
2005.1
수록면
225 - 249 (25page)

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The (non)relation between the private aesthetic space and the public politico-ethical sphere, together with the ambiguous connection between writing and experience, has produced continued discussions throughout Western thought, which is still evident in the ongoing controversies surrounding British modernism. Virginia Woolf's androgynous ideal, which calls for an impersonal writer, best represented in A Room of One's Own and Orlando, engages us in her complicated aesthetic, especially compared with the seemingly contradictory request for a feminine writing that uncovers the hitherto unknown experience of woman. Furthermore, her assertion of woman's remaining an outsider in a warmongering patriarchal society, as revealed in Three Guineas and "Professions for Women," seems to be incompatible with her aesthetic of disinterestedness for which retaining a room of one's own is a prerequisite. We explore Woolf's politics of space, focusing on spatial images disclosed in her works, surrounding A Room of One's Own, "Professions for Women," Three Guineas, Orlando, and "Street Haunting." Despite the appearance of contradictions, a parallel between retaining a room of one's own and woman's remaining an outsider signifies an inevitable liaison between the aesthetic space and a socio-political sphere, without the aestheticization of politics or the politicization of art. The boundary between a room of one's own and the streets is blurred; the room and the streets can be places where one's freedom is guaranteed while a certain sharing occurs, acknowledging the necessity of continuous oscillations of the borderline. Implying the permeability between the inside and the outside, by disrupting the binary oppositional structure, Woolf opens up a third, ethical place of writing (as) woman.

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