Feminism and Korean Literature, The Academy Society of Feminism and Korean Literature

PDF Citaion A Study of The Women’s News (1988–1989) –The Birth of “Women’s Liberation Journalism” and Its Editorial Strategy

Jeong, Go Eun pp.6-44 https://doi.org/10.15686/fkl.2026..68.6

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Abstract

This article analyzes the inaugural year of The Women’s News to reconstruct its histo- ry and examine its role and significance as a feminist media outlet. Founded in the post-democratization era to amplify the voices of women historically marginalized in Korean society and media, the newspaper positioned itself as an alternative platform representing all women. Balancing its identity as a “ women’s liberation” publication resisting the dehumanization of women with its commitment to “popular appeal” add- ed layers of complexity to its early development. To effectively fulfill its role as a feminist newspaper, The Women’s News introduced new formats for page layout and cover design, and actively carried a variety of feminist special features. It also established an Education and Culture Center to provide general education for women and inaugurated the Feminist Literature Award. Furthermore, The Women’s News actively reported on discrimination against women in the labor market in the late 1980s. Through this, it documented the process of reconstructing workplace rules, culture, and laws centered on the experiences of working women, and played a role in shaping feminist discourse on women’s work. Ultimately, these endeavors established The Women’s News as a pivotal medium synthesizing the everyday lives and voices of contemporary women with the political praxis of the feminist movement.

PDF Citaion Popularizing the Women’s Liberation Media: Reader Discourse and Special Features in the Early Years of The Women’s News (1988–1989)

Yoon Joewon pp.45-75 https://doi.org/10.15686/fkl.2026..68.45

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Abstract

1988년 출범하여 오늘날까지 이어지고 있는 『여성신문』은 현대 한국 최초의 여성해방언론으로서 그 학술적 가치가 높음에도 불구하고, 관련 연구는 여전히 시작 단계에 있다. 특히 창간 초기 『여성신문』은 1990년대 페미니즘 대중화가 도래하기 전 여성 대중을 상상하고 호명한 물적·제도적 토대이자, 그를 둘러싼 다종다기한 인식론적 분출을 실시간으로 기록한 보고라는 점에서 의의가 있다. 이러한 맥락에서 이 글은 『여성신문』의 창간 후 일여년에 해당하는 0호부터 55호까지를 대상으로 삼고, 그중에서도 독자 담론과 기획에 주목한다. 독자는 신문의 생산과 수용을 상호적으로 구성하는 핵심 벡터로서, 『여성신문』이라는 매체의 특질을 이해하는 데도 필수적인 분석 대상이기 때문이다. 이를 통해 『여성신문』 에 관한 본격적인 학술 연구의 기반을 제공하고, 여성문화운동에 대한 이해를 언론매체와 수용적 차원으로 확장하고 심화하고자 한다. 그를 위해 이 글은 먼저 『여성신문』의 창간 맥락을 톺아보며 창간 당시의『여성신문』이 주창했던 독자상(像)을 고찰했다. 그 결과 『여성신문』이 언론민주화 국면을 맞이하여 여성운동의 엘리트주의와 결별하고 대중화를 도모하기 위해, 여성계를 매개하는 동시에 그 너머의 대중과도 조우하고자 탄생했음을 확인했다. 이후 창간 직후 『여성신문』의 독자 기획을 중심으로 『여성신문』이 어떻게 지면 안팎에서 범여성계 독자와의 상호 소통을 제도화하는 전략을 실천했는가를 규명했다. 한편 『여성신문』은 의견 수렴을 바탕으로 지면 개편이 이루어진 38호를 기하여 또 다른 국면을 맞이했다. 상업화를 경계하며 여성운동의 주체로 주부대중을 내세우는 초점화 전략으로 선회하면서, 중산층 편향적인 동시에 실제 주부 대중에 관해서는 몰이해적이라는 양가적인 비판을 마주한 것이다. 결국 『여성신문』에 나타난 대중화 전략은 실제 여성 대중과 유리되는 모순을 보인다. 그러나 차이로서의 여성 대중은 그 지면을 통해 비로소 가시화되고 있었다.

PDF Citaion Feminist Literature Networks and Women’s Liberation Democracy in The Women’s News during the Democratization Transition

Jung Hye Jin pp.76-118 https://doi.org/10.15686/fkl.2026..68.76

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Abstract

This paper illuminates the feminist journalistic cultural movement of The Women’s News, which navigated the dual landscape of “commercial mass media” and “activist politics journalism” during the late 1980s democratic transition. Focusing on first editor-in-chief Goh Jung-hee, this study examines the “feminist literature network” and the discourse of “ women’s liberation democracy” as a transition toward a feminist cultural movement. The Women’s News functioned as a hub for solidarity. feminist literature network persisted despite organizational shifts. Those popular practices were multi-layered projects of “ women’s liberation democracy, ” which signified democracy as the realization of women’s culture and deepened the democratic horizons of Goh’s poetry. Furthermore, the weekly newspaper format served as a medium to bridge commercialism and activism. Within this structure, feminist literature embodied popular mediality while imprinting a vision of systemic transformation.

PDF Citaion Features on Housewives in the Early Years of The Women’s News and Their Implications

JEONGEUN KIM pp.119-161 https://doi.org/10.15686/fkl.2026..68.119

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Abstract

This article examines how The Women’s News(Yeoseong Sinmun), founded amid the popularization of the women’s movement in the late 1980s, encountered “housewives, ” who constituted a large part of the female public, and explores the achievements and tensions of feminist journalism that emerged through this encounter. The Women’s News constructed women’s concrete experiences and emotions—including housewives’ suicide and hwabyeong, as well as feelings of guilt and responsibility surrounding child- care and care work—as matters of feminist “news value, ” and reinterpreted them as structural problems in which particular emotions and responsibilities were repeatedly assigned to women. At the same time, in repositioning housewives’ sensibilities of managing housing, consumption, and the living environment as resources for public solidarity and everyday-life politics, the newspaper also revealed tensions arising from its renewed affirmation of women’s “managerial affect” and reproductive roles. Rather than reducing these fissures to a lack of feminist commitment, this article understands them as emerging from the negotiation between visions of women’s liberation and the lifeworld of the female public. Through this analysis, the article illuminates the uneven temporality of women’s liberation, in which changes in women’s lives unfold at different speeds across multiple dimensions, while also examining the difficulties faced by a feminist medium addressing a mass female readership in negotiating with the concrete lifeworld of the female public.

PDF Citaion The Formation of “Women’s Media” and the Mediation of Sexual Knowledge in the Late 1980s: An Analysis of The Women’s News

Lim Jinha pp.162-199 https://doi.org/10.15686/fkl.2026..68.162

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Abstract

본 연구는 언론·출판 자유화 이후 ‘여성 언론’의 형성 과정을 『여성신문』의 성 담론을 중심으로 분석했다. 『여성신문』은 대표적인 여성주의 매체의 하나로서 의의가 인정되지만, 자체의 노선이 불분명하다고 평가되어왔다. 그러나 본고는 여성운동 단체, 시민사회, 학계 등의 담론을 교차시키고 매개한 공간으로서 『여성신문』의 매체 특성을 재규정했다. 아울러 『여성신문』의 담론이 사회적 쟁점에 대응하며 구성되고 조정되어갔다는 점을 짚고, 1980년대 말 공론장의 상황 속에서‘여성 언론’의 기획이 지닌 의미를 살폈다. 1980년대 말 『여성신문』은 성폭력과 인신매매 등을 민생치안의 의제로 묶고, 이를 통해 ‘보호받을 가치가 있는 성’을 판단하는 규범을 비판적인 논의의 대상으로 만들었다. 이는 한편으로 각종 성 문제의 원인으로 지목된 향락문화를 추방의 대상으로 규정하며 ‘건전한’ 성 윤리를 규범화하는 과정이었다. 본고에서 주목한 것은, 이때 추방의 대상이 된 출판물 등이 성 지식으로 유통되는 상황이 문제로 부상하였고, 그에 따라 새로운 성 담론의 생산과 유통이 과제로 제기되고 있었다는 점이다. 본고는 이 같은 공론장의 과제를 선명하게 드러내며 새로운 성담론을 지식의 형태로 매개한 공간으로서 『여성신문』의 역할을 밝히고, 1980년대 말 공론장에서 『여성신문』이 묶어낼 수 있었던 담론의 폭과 한계를 짚었다.

PDF Citaion Cinema as Pungsokhwa: The Aesthetic Transformation of Korean Cinema around 1975 through The Heavenly Homecoming to Stars, The March of Fools, and Yeong-ja’s Heydays

Youngjae Yi pp.202-248 https://doi.org/10.15686/fkl.2026..68.202

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Abstract

This article examines the aesthetic transformation of Korean cinema in the mid-1970s through close analyses of The Heavenly Homecoming to Stars (1974), The March of Fools (1975), and Yeong-ja’s Heydays (1975). Previous studies have primarily understood these films in relation to youth culture, generational change, industrialization, and the emergence of mass culture. While such approaches effectively explain the historical conditions in which these films appeared, they do not sufficiently account for the transformation in the ways cinema perceived, depicted, and recorded the world. This study reconceptualizes pungsokhwa (literally, “genre painting”), a term repeatedly employed in contemporary Korean film criticism, as an analytical concept for understanding this transformation. From this perspective, it argues that Korean cinema in the mid-1970s developed a new visual practice centered on describing and recording everyday reality. The Heavenly Homecoming to Stars demonstrates how actual places and real people intervene in fictional space; The March of Fools explores how the cam- era’s indexical capacity records urban space and youthful bodies; and Yeong-ja’s Hey- days examines the commodified and fragmented body produced by industrialization. Rather than attributing the novelty of these films simply to the emergence of a new generation of filmmakers, this article argues that their significance lies in a fundamental transformation in the cinematic ways of depicting and recording the world. These films shifted away from organizing reality through historical narrative and instead turned toward the surfaces of the industrialized city, the people inhabiting its spaces, and the traces that this changing world inscribed upon the human body. In this sense, the article argues that the aesthetic transformation of mid-1970s Korean cinema can be understood through the emergence of pungsokhwa as a new visual regime for depicting and recording the world.

PDF Citaion The Remnants of Anti-communist Film and Kijichon Women: Focusing on Anna’s Will(1975) and Festival of Migrants(1978)

Jaerin Lee pp.249-291 https://doi.org/10.15686/fkl.2026..68.249

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This study reads two films from the 1970s, Anna’s Will(Anna-ui yuseo) and Festival of Migrants(Cheolsaedeul-ui chugje), through a cross-analysis of their screenplays and censorship documents, as texts that allow a glimpse into the realities of kijichon(military camptown) life—realities visible precisely in the gaps within their official designation as anticommunist films. Produced amid Yushin-era institutional rigidity, the popular culture boom alongside the hostess genre, and the U.S. military base issue’s rising prominence after the Nixon Doctrine, these films operate on a schema positioning North Korea as enemy, the U.S. military as ally, and kijichon women as sites of suffering, while simultaneously exposing structural violence and Korea-U.S. tensions. In the representational void this creates, traces of silenced lives emerge behind women cast as “legitimate victims.” This study thus seeks an approach to kijichon films that moves beyond essentializing these women into fixed symbols.

PDF Citaion The Drama of Self-Definition in Noh Cheon-myeong’s Late Literary Works :Focusing on the Prison Experience and the Modes of Response to Power

jang seo-lan pp.292-326 https://doi.org/10.15686/fkl.2026..68.292

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Abstract

본고는 노천명의 감옥 시편과 출소 이후 텍스트를 대상으로 감옥 체험을 통해 구성된 체험성이 시인의 자아 형성에 있어 어떻게 작동하는지를 푸코의 권력·주체이론 및 고프만의 논의를 통해 분석한다. 반공을 국시로 내걸었던 남한 정부에 의해 용공 부역 혐의로 수감된 노천명에게 감옥은 상징 질서의 욕망을 체화하는 ‘주체’를 생성하는 공간으로 기능하였다. 감옥 시편에서 드러나는 격리, 자아 오염, 이름의 박탈이라는 일련의 메커니즘은 기존 자아를 위협하고 죄수로서의 자아를 수용하는 서사적 흐름을 형성한다. 출소 이후 작품에서는 반공·애국 이데올로기를 통해 강화된 ‘주체화’된 자아가 나타나는 한편, ‘이름’을 폐기하려는 욕망과 지속되는 억압의 이미지는 ‘주체화’의 균열을 드러낸다. 이처럼 ‘주체화’된 자아와 균열의 지점이 공존하는 양상은 노천명의 텍스트를 자기–정의의 드라마로 읽게 하며, 감옥이라는 공간이 억압과 생산을 동시에 수행하는 권력의 장소임을 보여준다.

PDF Citaion Women’s Strategies for Writing Historical Fiction : Failure and Sideways Inheritance within Park Wan-suh’s Mimang

Pak Joon Hoon pp.327-362 https://doi.org/10.15686/fkl.2026..68.327

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Abstract

본 연구는 박완서의 『미망(未忘)』을 여성의 역사소설 쓰기 전략의 사례로 재독한다. 조앤 스콧이 지적하였듯 여성을 ‘평등’한 역사의 일부로 가시화하면 보편으로 전제된 역사의 남성중심주의를 비판할 수 없게 되고, 반대로 ‘차이’를 지닌 별도의 범주로 설정하면 여성사를 역사 일반의 부록처럼 제시하게 된다. 역사 서술이 이 역설을 제시해야 한다면, 여성의 역사소설 쓰기는 이를 허구적 글쓰기의전략적 자원으로 삼을 수 있다. 이 글이 주목하는 실패는 인물들이 스스로 세운 의도와 기획에 비추어 좌절한 사례들이다. 잭 핼버스탬을 경유하여 본 연구는 이 좌절을 결핍으로 읽는 대신, 좌절 이후에 무엇이 남고 무엇이 이어지는가를 묻는다. 전처만의 마음기운, 홍씨의 살림 능력, 재득의 흙기운에 대한 앎은 의도와 기획에 따라 곧게 전달되는 대신, 그 전달이 실패한 자리에서 한 세대를 비껴 우발적으로 되살아난다. 이 ‘비스듬한 계승’은 젠더와 계급, 죽은 자와 산 자, 망각과 기억을 가로지른다. 나아가 분단으로 닿을 수 없게 된 고향을 소설로 불러내는 박완서의 소설 쓰기 자체가 그러한 계승의 실천에 해당한다. 이를 통해 본 연구는 여성역사소설 연구의 출발점으로서 『미망』의 의의를 제시한다.

PDF Citaion Writing through the “False” and Queer Literary Communities : Affective Writing on Korea’s PC Communication Networks and the Early Internet, 1990s–2000s

Choi Dajeong pp.363-405 https://doi.org/10.15686/fkl.2026..68.363

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Abstract

This article examines the queer literary communities that emerged through South Korea’s PC communication networks (commercial dial-up online services) and the early internet from the late 1990s through the 2000s, with particular attention to the communal writing they fostered. Against the backdrop of the unprecedented visibility queer literature has gained since the mid-2010s through self-representation and autofiction, the article takes the question “Who can occupy the position of the self-narrating subject today?” as a method for rereading the texts that preceded this turn, thereby opening another route for discussing queer literature. In the late 1990s, queer literary communities developed at the intersection of “new generation” culture and a broader media transition, creating an independent literary ecology that linked online writing groups, literary websites, and print publication, in which writing functioned as a medium of mutual affective response. Kim Bee, a trans woman writer who began her career in these communities, presents in her first story collection, Nananunana (2006), narrators who gaze at the lives of others rather than foregrounding themselves, and a narrative mode that, moving between first-person and third-person narration, never resolves into confession. The article interprets this withdrawal of the “I” and its turn toward others as a narrative form shaped by the media conditions under which personal experience was externalized as communal record, and by the affective force of what Kim herself calls the “false”. It argues that the “I” in this writing was not owned and displayed by an individual but circulated and shared within a community. Attending further to the strikingly different ways the same writing has been read under changing political conjunctures, the article shows that the queer literature of the past and that of the present are at once discontinuous and connected, and proposes that writing through the “false” be revisited not as an origin retrospectively inserted into a linear literary history but as a counterpoint to the contemporary dominance of self-representation, and as a historical point of reference for a form of writing that reaches others like oneself without claiming ownership of the “I”.

PDF Citaion The ‘Regretful Male’ and Women’s Revenge Narratives in Early 2000s Korean Romance Novels

Son Jin-won pp.406-440 https://doi.org/10.15686/fkl.2026..68.406

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Abstract

이 논문은 2000년대 초 한국 로맨스 소설에 등장하는 ‘후회남’이라는 인물형과 여성 복수 서사를 분석하였다. 후회남 로맨스는 당대 기혼 여성의 사회구조적 취약성을 다루어냈다. 가족주의를 내면화고 각종 의무를 짊어진 아내로서의 정체성을 받아들일 수밖에 없던 2000년대 기혼 여성에게, 남자 주인공의 배반은 사적인 관계의 신뢰를 깨뜨리는 것을 넘어 취약한 여성의 지위를 흔드는 것으로 여겨졌다. 이 글은 먼저 ‘후회남’ 인물형이 주목받게 된 계기였던, 이지환의 『이혼의 조건』(2002)이라는 작품 속 여성의 분노를 탐구하였다. 이 작품은 여성의 분노를 이혼이라는 형태로 표현해냈으며, 당대 독자들의 호응을 이끌었다. 반면 『이혼의조건』 이후에 등장한 후회남 로맨스는 그 분노를 전략적으로 감추고 용서를 통한 아내 지위 탈환의 서사로 변모시킨다. 이 분노와 용서의 의미는 무엇인지 마사 누스바움의 논의에 기대어 분석하면, 용서는 부당 행위자의 자기비하적 참회를 요구하는 통제적인 행위로 복수의 윤리와 병치한다. 즉, 후회남 로맨스는 가족내 아내로서의 헌신을 정당하게 평가받고 남편에 대한 통제력을 탈환하고자 하는 당대 기혼 여성의 욕망을 서사화한 여성 복수 서사였다.

PDF Citaion From Social Stigma to a Glamorous Commodity : The “Sister Boy” in Tea and Sympathy and Queer Culture in 1950s Japan

Seong Un Kim pp.441-477 https://doi.org/10.15686/fkl.2026..68.441

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Abstract

This article traces the changing meanings of “sister boy” as the term traveled from the United States to Japan in the 1950s. It examines the production and censorship of Tea and Sympathy (1956), MGM Japan’s publicity campaign, biographical accounts of Akihiro Maruyama, and contemporary magazine coverage. In the United States, “sister boy” functioned as a derogatory label for a boy who deviated from the norms of heterosexual masculinity. It also served as a language of the closet, indirectly invoking homosexuality under a regime that prohibited its explicit representation. In Japan, however, the term was detached from this original context and recast through the combination of film publicity and Maruyama’s androgynous stage persona. It came to signify an attractive and fashionable queer figure, while Maruyama’s success contributed to the expansion of gay bars and the growing visibility of “gay boys.” This transformation was made possible by Japan’s existing cultural traditions of gender nonconformity and by the commercial culture of the postwar period. Yet such visibility remained conditional: queer bodies and gender expressions were accepted primarily when packaged as entertainment. The journey of the “sister boy” thus reveals how queer culture in postwar Japan emerged through the simultaneous processes of visibility, marginalization, liberation, and commodification.

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