또 하나의 집회

Another Assembly: The Third Placement of the Feminist Cultural Movement Tomoon

This article first pays attention to the fact that “Soyang, ” a female college student from a middle-class family in Kang Seok kyung’s novel “Room in the Forest(1985), ” died without harmony between the two extremes presented as the dominant lifestyle at the time. The fact that Soyang was blocked from speaking out as a woman is an important reason why the novel cannot simply be seen as revealing the “truth of the gray zone.” The feminist cultural movement held by the coterie “Another Culture” (hereinafter “Tomoon”) is drawing attention at this point because the group was creating a safe place for women who were suffering from linguistic alienation like Soyang to tell their stories. Tomoon was also a “third place” where the experiences and voices of women who were not recognized as “true women” were becoming visible not only within established Korean society but also within the progressive social movement in the 1980s. This article aimed to contextualize the part where female intellectuals and the female public were rewriting the relationship between “women and culture” together by reviewing the newsletter “Coterie Bulletin” , which was published by Tomoon as well as the mook. In particular, through collaboration and trying to form an alternative knowledge system through “gathering” , it was highlighted that women emphasized not only their own room but also having a “community room” to hang out with colleagues who will find language. It was also inferred that the focus of questions should change in the study of women s literature and writing through paying attention to this aspect. Tomoon leads us not to what women write, but to what cultural trends they want to produce “women who write.” By spreading the democratic idea of writing that anyone can write and they also raised the potential of the female public by affirming “marginality” , and above all, female intellectuals provided a safe place for women who were not recognized as “true women” to tell their stories through the platform called “Tomoon” rather than speak for subaltern women. In the Tomoon’s logic that reflectivity can originate from any “location, ” women of the next generation and readers who read Tomoon could be the true main characters of Tomoon, not women intellectuals who planned the Tomoon. A common room where women gather together asks us to change our notions of resistance. In addition, another assembly was being held at the Tomoon beyond the dichotomy of “room” and “square”.