바로가기메뉴

본문 바로가기 주메뉴 바로가기

logo

ISSN : 0023-3900

Article Contents

Prev Next
e-Submission

Vol.55 No.1
Citation Share

The Politics and Aesthetics of the Wound: Performative Narratives of the People by <i>Zainichi</i> Korean Artists

Korea Journal / Korea Journal, (P)0023-3900; (E)2733-9343
2015, v.55 no.1, pp.86-111
https://doi.org/10.25024/kj.2015.55.1.86


& (2015). The Politics and Aesthetics of the Wound: Performative Narratives of the People by <i>Zainichi</i> Korean Artists. Korea Journal, 55(1), 86-111, https://doi.org/10.25024/kj.2015.55.1.86
  • Downloaded
  • Viewed
PDF Download

Abstract

This paper examines the artworks of the artists in the Asia, Politics, Art Project (APAProject) from the perspective of “performative narrative of the people,” a notion suggestedby Homi Bhabha. The APA Project shows how the artworks of diasporic artistsinscribe otherness within the otherwise homogeneous space of the nation. The participantartists, as the second and third generations of zainichi Korean, do not hold thememory of traumatic events suffered by the first minority generation. However, theirworks utilize postmemory based on dim images of memories inherited from theirfamily histories. The elements, such as a grandmother’s chimajeogori and the lyrics ofan old Korean song, are woven by Oh Haji into unique narratives that are distinctfrom the “pedagogical narrative of the people,” emphasizing unity and continuity of thenation-state. Kim uses chimajeogori in a multi-layered manner to reveal the existentialconditions of students bounded by a violence that has historical roots, but she doesnot treat it as a simplistic oppositional sign against the dominant national ideology. These minority writers/artists and their works are illustrative cases of performative narrativesthat use and reconstruct images in the history and everyday life of a minority,splitting the homogeneous space of the nation and suggesting new public and diasporicspaces within it.

keywords
<i>Asia, Politics, Art Project</i>, zainichi artists, Homi Bhabha, performative narrative of the people, diasporas.

Reference

1.

Bhabha, Homi K. 1990. “DissemiNation: Time, Narrative, and the Margins of the Modern Nation.” In Nation and Narration, 291–322. New York: Routledge.

2.

Bhabha, Homi K. 1993. “Beyond the Pale: Art in the Age of Multicultural Translation.” In Cultural Diversity in the Arts: Art, Art Policies, and the Facelift of Europe, edited by R. Lavrijsen, 21–30. Amsterdam: Royal Tropical Institute.

3.

Cho, Jung-min. 2010. “Okinawa-ga gieok-ha-neun jeonhu” (The Postwar Memorized by Okinwa). Ireo ilmunhak (Japanese Language and Literature) 45:327–342.

4.

Choi, Jin-suk. 2009. “Geurimja-roseoui dong-asia—Okinawa, Taiwan, geurigo Joseon” (The Shadow of East Asia—Okinawa, Taiwan, and Joseon). A Reading of Still Hear the Wound: Toward Asia, Politics, Art, edited by Chong-hwa Lee, 97–129. Tokyo: Iwanami.

5.

Gellner, Ernest. 1983. Nations and Nationalism. Ithaca: Cornell University Press.

6.

Genet, Jean. 1993. The Selected Writings of Jean Genet. New York: HarperCollins.

7.

Ha, Sang-il. 2012. “Bipan-jeok hyeonsil insik-gwa minjok jeongcheseong-ui hoebok”(Critical Perception of the Reality and the Recovery of National Identity —the Past and the Present of Zainichi Diasporic Poetry). Sijak (Writing Poetry)43: 24–43.

8.

Hirsch, Marianne. 1997. Family Frames: Photography, Narrative, and Postmemory. Cambridge: Harvard University Press.

9.

Jameson, Frederic. 1990. Signatures of the Visible. New York: Routledge.

10.

Jennison, Rebecca. 2009. ‘‘Postmemory in the Work of Oh Haji and Soni Kum.” In A Reading of Still Hear the Wound: Toward Asia, Politics, Art, edited by Chonghwa Lee, 7–18. Tokyo: Iwanami.

11.

Jennison, Rebecca, and Laura Hein. 2011. “Against Forgetting: Three Generations of Artists in Japan in Dialogue about the Legacies of World War II.” Asia-Pacific Journal 9.30. http://www.japanfocus.org/-Laura-Hein/3573.

12.

Kim, Hye-shin. 2009. “Banbokhagi-wa iyagi-ui haengwi-reul hyeongsanghwa hada.”(Repeating and Embodying the Action of Story-telling) In A Reading of Still Hear the Wound: Toward Asia, Politics, Art, edited by Chong-hwa Lee, 178–202. Tokyo: Iwanami.

13.

Kim, Jaihiun, trans and ed. 1994. Modern Korean Poetry. Seoul: Asian Humanities Press.

14.

Kim, Suji Kwock. 2003. Notes from the Divided Country. Baton Rouge: Louisiana State University Press.

15.

Lee, Jung-woo. 2012. “Cheon-hana-ui gowon—sosuja-yu ullihak-gwa jeongchihak”(A Thousand and One Plateaus—the Ethics and Politics of Minority). Sijak (Writing Poetry) 43: 262–270.

16.

Seo, Kyung-sik. 2007. Sidae-reul geonneo-neun beop (How to Go Beyond the Era). Translated by Seung-dong Han. Seoul: Hankyoreh Press.

17.

Shin, Ji-yung. 2013. “Gwahak-iraneun injongjuui-wa boksu-ui jibanghwa” (Racism of “the Scientific” and Plurality of Localization). Hangugeo munhak yeongu (Korean Language and Literature Study) 61: 305–365.

Korea Journal

e-Submission OA Policy