부산대학교 도서관

In this paper, I would like to criticise Ma, Kwangsoo's two novels, happy Sara and Returned Sara, in view of the sadian woman, which Angela Carter focuses on the person who realizes her desire in real life by receiving the law of survival in the masculine power and politics world. It was represented in Sade's novel, prosperity of vice. I compare the consciousness and behavior of the Sadian woman, Juliette and Sara, and examine the subversive attitudes and limitations of Sara in Korean society. From the standpoint of a Sadian woman, even though Sara takes a position of the subject of jouissance, she also shows its limitations. Because Sara frankly talks about her desire as a first narrater, but Ma Kwangsoo's unconsciousness permeates into her language. So Sara still remains in the sexual object for him in the plot. On the surface, it seeks the sexual enjoyment of Sara, but behind it, the desire of the masculine subject is concealed. In the novels of Ma, kwangsoo, the drive of original father who located in superego and enjoys limitless pleasure is revealed. Although Sara created by Ma, kwangsoo is limited to a Sadian woman, she has a unique position in Korean literature. Because she is a symbolic character who explicitly enjoys sexual pleasures of women and has become a signal to release the notion of women's sexual purity and various taboos in which patriarchal oppression of Confucianism remained. Sara breaks away from her parents' education and social norms, enjoys her sexual enjoyment, and breaks the social structure that is based on heterosexuality. It will be the meaning of the Ma, Kwang soo's novel to provide an opportunity to reflect on the exclusion or excesses due to the ethical norms or morals. It is a necessary point in modern Korean society to reconstruct the notion of sex and gender. As a Sadian woman, Sara has a limitation in political and economic aspects, but occupies a unique point in pursuit of sexual enjoyment of female subject.