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This paper aims to examine the literary and cultural historical significance and context of the ¡®Women¡¯s Full-Length Novel Contest¡¯, which began in 1967 after the reissued collection of ¡°Women Donga¡±, a magazine that advocates a comprehensive life culture magazine. This study focused on the self-identity of writers who debuted through the ¡°Women Donga¡± as novelists and discussed how their literature and activities in the literary world functioned as a borderland between pure literature and middlebrow literature at the time. The ¡°Women Donga¡± served as a symbolic bridge, connecting the reader¡¯s realm to the author¡¯s domain as a platform for debut, but it did not guarantee the elected writer¡¯s position in the literary field. Despite the fact that most of the elected writers were educated elite women, their identity as novelists converged toward a sense of ¡®shame¡¯ under the symbolic violence imposed by established literary groups.
On the other hand, the novels of the winners of the ¡®Women¡¯s Full-Length Novel Contest¡¯ will function as a Borderland across the boundaries of pure literature and popular literature. In particular, their works were so self-reflective that they were considered close to ¡°nonfiction,¡± and this way of writing is outside the genre and institutional grammar of established novels. The scenes of new female writers appearing in the novel contest, which was conducted with high manuscript fees, were also commercialized by magazine editors, attracting public attention. In addition, some of the works are recreated into movies, and the range of readers of the works extends beyond the magazine readership to the general public, and from this perspective, their works have meaning as ¡®middlebrow novels¡¯.
However, this borderland, the named ¡®middlebrow novels¡¯ helps to fix the new third topography of pure-middlebrow-popular, and can be interpreted as a reserved measure by both established literary groups and commercial capital that discourages new female writers, namely the female-elite-people, from entering the literary world. Nevertheless, writers who made their debut through ¡°Women Donga¡± organized the Women Donga literature circle and published a community magazine to advocate for the practice of sustained writing and to expand their scope so that external regulations and restrictions are impossible to secure their identity as writers.