Abstract
In novels by Kim Yi Seol, familial relationship is developed based on a plot of ‘mother-daughter’. It is opposed to ‘Family Romance’ of S. Freud, which is unfold on a basis of the Oedipean relation between ‘father and son’. The feminist defiance to a normal family centered on a man, which has become prominent since 2000, is being realized as the ‘Feminist Family Romance’. In other words, in novels by Kim Yi Seol, female characters maintain the relationship of non-separation with their mother from whom they were forced to be separated to go into paternal order and stay in ‘semiosphere chora’. Making a crack in ‘The Symbolic’ centered on father, they also show the flexibility to reject idealization of maternity at the same time. (Chap. 2). In addition, as for the relation with their father(husband), they not desire but reject them. Therefore, even if a female body comes to arrive at abjection, they disturb ‘The Symbolic’ while actively struggling against the violent reality.(Chap. 3) As such, daughters who are not isolated from their mother and reject their father become a mother themselves(daughter-mother) or remain as the daughter of the mother(mother-daughter), sharing the female identity. Hence, rather than the vertical dominance shown from the Oedipean relation between father and son, they show the horizontal solidarity centered on the sisterhood.(Chap. 4). In such a context, ‘Feminist Family Romance’ which conducted the feminist appropriation of the existing family romance reveals Intersectionality, in which two voices made by mother and daughter interact with each other. Accordingly, Feminist Family Romance of Kim Yi Seol has significance in that it embodied the historicity and politicality of the feminist family that has been left out so far.
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