지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
오류제보하기
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.
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.
목차
Ⅰ. 서론
Ⅱ. ‘어머니’에 대한 부정과 전통 여성상의 해체
Ⅲ. 육체적 글쓰기의 두 가지 양상
Ⅳ. 결론
참고문헌
논문초록
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
해체, 글쓰기의 ‘여성적’ 실천: 식수(Cixous)의 ‘여성적 글쓰기’(écriture féminie)에 대한 하나의 독해
여성학논집
2015 .01
-
페미니즘 시(詩) 분석을 통한 여성의 몸에 대한 고찰
인문사회 21
2021 .08
-
최승자 시에 나타난 광기와 분노 사이의 시 읽기
동아시아문화연구
2019 .01
-
翟永明1980年代诗歌对普拉斯诗歌主题意识的接受與嬗变 — 以“黑色、女性、死亡”三種意识为中心 —
중국학보
2015 .02
-
일본 현대시와 페미니즘
일본연구
2016 .01
-
한시의 문학교육적 가능성과 활용 방안 탐구
한국어문교육
2021 .01
-
초등학생의 자연체험 활동을 통한 시 쓰기의 효과 검증 연구
환경교육
2015 .03
-
沈佺期 驩州 貶謫詩에 담긴 安南 지역에 대한 인식 考察
중국연구
2022 .12
-
문학상담 집단 프로그램에서의 시 쓰기 체험에 대한 가치 탐색 연구
문화예술교육연구
2024 .04
-
비평기반 시작(詩作)교육에 대한 경험적 연구 - 중국 문예가 유희재의 자연합일 개념의 적용을 중심으로
문화예술교육연구
2020 .01
-
詩僧 函可의 시가고찰
중국연구
2016 .03
-
최승자 시의 구조화 원리 연구 －반추와 예언의 순환적 나선 운동－
동아시아문화연구
2020 .01
-
왕자신(王家新) 시인의 러시아 시문학 관련 창작과 번역 연구
중국연구
2017 .01
-
한국과 이란의 현대시문학 흐름의 특성에 대한 분석- 대표적 현대시 비교를 중심으로 -
한국중동학회논총
2015 .01
-
미국 페미니즘의 새로운 경향: 육체적 페미니즘을 중심으로
정치정보연구
2020 .02
-
페미니즘의 재부상, 그 경로와 특징들
경제와사회
2018 .06
-
고급 학습자를 위한 한국 현대시 읽기 교육 연구 -대중가요와의 상호텍스트성을 중심으로-
한국어 교육
2019 .01
-
중국이 그려낸 북한여성상 — 한국전쟁 전후 중국 부련(婦聯) 간행물 『現代婦女』와 『新中國婦女』의 북한 관련 기사를 중심으로
중국학보
2023 .02
-
중국의 조선족과 그 문학 일고찰
동북아시아문화학회 국제학술대회 발표자료집
2016 .07
-
초등학생의 디지털 글쓰기에서 ‘좋은 글’에 대한 주관적 인식 연구
새국어교육
2021 .09
이 논문의 저자 정보
이 논문과 함께 이용한 논문
1990년대 여성소설과 여성적 글쓰기: 공지영과 공선옥을 중심으로
이양숙
인문사회과학연구
2023
.02
다중성, 혼종성, 여성성 - 니콜 브로사르 Nicole Brossard의 『일기 Journal intime ou Voilà donc un manuscrit』에 나타난 여성적 글쓰기
이송이
프랑스어권 문화예술연구
2021
.11
김승희 시에 나타난 여성주체의 자각과 여성적 글쓰기
김영춘
열린정신 인문학연구
2019
.12
[조흡의 영화이야기] 〈벌새〉: 상징적 폭력에 맞선 여성적 글쓰기
조흡
대한토목학회지
2020
.01
강신재 소설에 나타난 여성적 글쓰기 양상 연구
최선영
한국문학과 예술
2018
.12
최근 본 자료
댓글(0)
0