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목차
I. 시작하는 말―파운드와 여성성
II. 파운드와 이리가리, 크리스테바―젠더의 수행성과 몸담론
III. `흉내내기`―파운드의 거울보기
IV. 끝내는 말―또 하나의 새로운 유토피아를 향하여
인용 문헌
**한글97
II. 파운드와 이리가리, 크리스테바―젠더의 수행성과 몸담론
III. `흉내내기`―파운드의 거울보기
IV. 끝내는 말―또 하나의 새로운 유토피아를 향하여
인용 문헌
**한글97
본문내용
gmund. Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey. Vol 23. London: Horgarth P, 1953-74.
Gibson, Mary Ellis. Epic Reinvented. Ithaca: Cornell UP, 1996.
Gilbert, Sandra and Susan Gubar. No Man's Land: The Place of the Woman Writer in the Twentieth Century. Vol. 2. New Haven: Yale UP, 1979.
Irigaray, Luce. This Sex Which Is Not One. New York: Cornell UP, 1985.
Kristeva, Julia. Powers of Horror. Trans. Leon S. Roudiez. New York: Columbia UP, 1982.
Lacan, Jaques. "God and the Jouissance of The Woman." Feminine Sexuality. Ed. Juliet Mitchell and Jacqueline Rose. London: The Macmillan P, 1982.
Pound, Ezra. Collected Early Poems. Ed. Michael John. Intro. Louis L. Martz. New York: New Directions, 1976.
_____. "Doggerel Section of Letter to Marianne Moore." Gender of Modernism. Ed. Bonnie Kime Scot. Bloomington: Indiana UP, 1990. 362-5.
_____. Gaudier-Brzeska. New York: New Directions, 1960.
_____. Guide to Kulchur. London: Peter Owen, 1938, 1966.
Riviere, Joan. "Womanliness as a Masquerade," 1929. Formations of Fantasy. Ed. Victor Burgin, James Donalds, and Cora Kaplan. New York: Methuen, 1986. 35-44.
Pound and Irigaray: Mirroring and Mimicry
Abstract Geun Young Jang (Korea University)
This essay explores the locus of the fluidities, the discourse of the body, in Pound's poetic writings as well as Luce Irigaray. Utilizing Irigaray's strategy in Speculum of the Other Woman, mimicry, I examine English, French feminist tradition and Pound. Rather than fixed categories of the feminine or the masculine, I attempt to find the locus of the blurring of gender in Pound's poetry and poetics, and this blurring appears to be an ambivalence or ambiguity. While Pound scholars argue that Pound's gender representation is contradictory, I argue that his gender representation is fluid, somewhat ambiguous or ambivalent, in that he appropriates and deploys the feminine fluidities. Psychoanalysis is presented as about sexuality, and, above all, the body which has been repressed, and I mainly discuss Pound's fluid experiments with gender (his use of personae) in terms of English and French feminist approaches. This is also about his connection of the feminine with the Orient, seeing Pound's objectification of the feminine and Oriental Other as a paradoxical combination of absence and excess. Pound's anti-Semitism is explained as a mother sacrifice in terms of Kristeva's notion of the abject and Freud's totem. Yet, as several critics note, this nothing and excess belong, rather than to the feminine or the Orient, to Pound, because he presents his own ambivalence and ambiguity through these mirrors of the Other. Citing Irigaray's notion of fluids, I argue that Pound's appropriation of the fluidities results in his own nothing/excess, because these fluidities blur the boundaries of fixed categories such as poetics, economics, and politics. This blurring and transgression ultimately create his own marginalization and victimage.
Gibson, Mary Ellis. Epic Reinvented. Ithaca: Cornell UP, 1996.
Gilbert, Sandra and Susan Gubar. No Man's Land: The Place of the Woman Writer in the Twentieth Century. Vol. 2. New Haven: Yale UP, 1979.
Irigaray, Luce. This Sex Which Is Not One. New York: Cornell UP, 1985.
Kristeva, Julia. Powers of Horror. Trans. Leon S. Roudiez. New York: Columbia UP, 1982.
Lacan, Jaques. "God and the Jouissance of The Woman." Feminine Sexuality. Ed. Juliet Mitchell and Jacqueline Rose. London: The Macmillan P, 1982.
Pound, Ezra. Collected Early Poems. Ed. Michael John. Intro. Louis L. Martz. New York: New Directions, 1976.
_____. "Doggerel Section of Letter to Marianne Moore." Gender of Modernism. Ed. Bonnie Kime Scot. Bloomington: Indiana UP, 1990. 362-5.
_____. Gaudier-Brzeska. New York: New Directions, 1960.
_____. Guide to Kulchur. London: Peter Owen, 1938, 1966.
Riviere, Joan. "Womanliness as a Masquerade," 1929. Formations of Fantasy. Ed. Victor Burgin, James Donalds, and Cora Kaplan. New York: Methuen, 1986. 35-44.
Pound and Irigaray: Mirroring and Mimicry
Abstract Geun Young Jang (Korea University)
This essay explores the locus of the fluidities, the discourse of the body, in Pound's poetic writings as well as Luce Irigaray. Utilizing Irigaray's strategy in Speculum of the Other Woman, mimicry, I examine English, French feminist tradition and Pound. Rather than fixed categories of the feminine or the masculine, I attempt to find the locus of the blurring of gender in Pound's poetry and poetics, and this blurring appears to be an ambivalence or ambiguity. While Pound scholars argue that Pound's gender representation is contradictory, I argue that his gender representation is fluid, somewhat ambiguous or ambivalent, in that he appropriates and deploys the feminine fluidities. Psychoanalysis is presented as about sexuality, and, above all, the body which has been repressed, and I mainly discuss Pound's fluid experiments with gender (his use of personae) in terms of English and French feminist approaches. This is also about his connection of the feminine with the Orient, seeing Pound's objectification of the feminine and Oriental Other as a paradoxical combination of absence and excess. Pound's anti-Semitism is explained as a mother sacrifice in terms of Kristeva's notion of the abject and Freud's totem. Yet, as several critics note, this nothing and excess belong, rather than to the feminine or the Orient, to Pound, because he presents his own ambivalence and ambiguity through these mirrors of the Other. Citing Irigaray's notion of fluids, I argue that Pound's appropriation of the fluidities results in his own nothing/excess, because these fluidities blur the boundaries of fixed categories such as poetics, economics, and politics. This blurring and transgression ultimately create his own marginalization and victimage.
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- 등록일2003.02.23
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