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Chronotope of Congregation in Joy Kogawa’s Obasan
Kim, Dae-Joong 한국중앙영어영문학회 2013 영어영문학연구 Vol.55 No.1
In this paper, analyzing Obasan written by Joy Kogawa, a Japanese Canadian, I, as an endeavor to get over the binary system of articulation and silence, argue that Obasan dialectically goes beyond contradiction between silence and articulation. Methodologically, I use Walter Benjamin’s explanation of storyteller and storytelling as well as Maurice Merleau-Ponty’s philosophical idea of inter-subjectivity. Meanwhile, I discover that death, reminiscence, mourning and healing are central themes of the novel that constitutes a totality of the novel, the chronotope of congregation. There are four narratives in Obasan: aunt Obasan’s silence, Aunt Emily’s political articulation, Naomi’s contradictory narrative, and narrative of Naomi’s mother. In Obasan, chronotope of congregation embedding storytelling connotes complex poetic relations within the totality of commonplaces which include dialogic, heteroglossic, and intersubjective relations as well as eco-imagery and the healing ritual form. Besides, the narratives in Obasan reveal four aspects: corporeality of narratives; death as the center of the chronotope; the spider web structure within chronotope that interweaves stories (narratives) not in a harmonious but dialectical way; and discovering truth via Naomi’s active listening to her mother’s truthful stories.
Chronotope of Congregation in Joy Kogawa’s Obasan
김대중 한국중앙영어영문학회 2013 영어영문학연구 Vol.55 No.1
In this paper, analyzing Obasan written by Joy Kogawa, a Japanese Canadian, I, as an endeavor to get over the binary system of articulation and silence, argue that Obasan dialectically goes beyond contradiction between silence and articulation. Methodologically, I use Walter Benjamin’s explanation of storyteller and storytelling as well as Maurice Merleau-Ponty’s philosophical idea of inter-subjectivity. Meanwhile, I discover that death, reminiscence, mourning and healing are central themes of the novel that constitutes a totality of the novel, the chronotope of congregation. There are four narratives in Obasan: aunt Obasan’s silence, Aunt Emily’s political articulation, Naomi’s contradictory narrative, and narrative of Naomi’s mother. In Obasan, chronotope of congregation embedding storytelling connotes complex poetic relations within the totality of commonplaces which include dialogic, heteroglossic, and intersubjective relations as well as eco-imagery and the healing ritual form. Besides, the narratives in Obasan reveal four aspects: corporeality of narratives; death as the center of the chronotope; the spider web structure within chronotope that interweaves stories (narratives) not in a harmonious but dialectical way; and discovering truth via Naomi’s active listening to her mother’s truthful stories.
Trans-spatial/subjective Storytelling in Comfort Woman
김대중 미국소설학회 2010 미국소설 Vol.17 No.1
In this paper, I analyze Nora Okja Keller’s Comfort Woman and prove that the novel is based on so-called “chronotope of congregation” as literary totality where images congregate to reflect the writers’ concrete experiences in the actual spaces. In this chronotope of congregation, Soon Hyo and Beccah expand their intersubjective relations into trans-subjective relations, reflecting and contrasting voices and experiences from many women who had to suffer from colonialization and patriarchal violence. Soon Hyo, as a trans-subjective/spatial narrator performs and practices shamanic rituals that create poetic relations among women across various spaces. This poetic relations also bring up poetic totality among all beings-in-the-world who/which suffered. In the same token, Soon Hyo’s storytelling supplemented by Korean folklore subverts the hierarchy of truth and lie to resist historical interment of comfort women’s stories and to disinter hidden historical violence. Beccah, as a narratee and translator, contends with and translates stories told by women including Soon Hyo, Soon Hyo’s mother, Induk, and so on. Beccah’s hybrid identity ontologically, linguistically help modal translation across various painful experience women in different spaces testify. With Soon Hyo’s storytelling and Beccah’s translation, the chronotope of congregation turns into a trans-subjective, trans-spatial choral for healing ritual.
Trans-spatial/subjective Storytelling in Comfort Woman
( Dae Joong Kim ) 미국소설학회 2010 미국소설 Vol.17 No.1
In this paper, I analyze Nora Okja Keller`s Comfort Woman and prove that the novel is based on so-called chronotope of congregation as literary totality where images congregate to reflect the witers` concrete experiences in the actual spaces. In this chronotope of congregation, Soon Hyo and Beccah expand their intersubjective relations into trans-subjective relations, reflecting and contrasting voices and experiences from many women who had to suffer from colonialization and patriarchal violence. Soon Hyo, as a trans-subjective/spatial narrator performs and practices shamanic rituals that create poetic relations among women across various spaces. This poetic relations also bring up poetic totality among all beings-in-the-world who/which suffered. In the same token, Soon Hyo`s storytelling supplemented by Korean folklore subverts the hierarchy of truth and lie to resist historical interment of comfort women`s stories and to disinter hidden historical violence. Beccah, as a narratee and translator, contends with and translates stories told by women including Soon Hyo, Soon Hyo`s mother, Induk, and so on. Beccah`s hybrid identity ontologically, linguistically help modal translation across various painful experience women in different spaces testify. With Soon Hyo`s storytelling and Beccah`s translation, the chronotope of congregation turns into a trans-subjective, trans-spatial choral for healing ritual.