情動과 ‘백색 테러’

봉인영 대한중국학회 2017 대한중국학회 학술대회 발표집 Vol.2017 No.3

Voicing the Silent: Bodies, Montage, and Social Formation in The Goddess

봉인영 중국어문연구회 2019 中國語文論叢 Vol.0 No.91

Over the past two decades, the prostitute figure in The Goddess (1934, dir. Wu Yongang) has been interpreted in terms of male desire and fetish power. This article takes a different approach by examining how women’s agency was expressed through image politics in this silent film and by revealing how it addresses gender configurations and social formation. Focusing on cinematic tropes of the body and montage, this article examines the critical linkage between these tropes and their image politics, since it encompasses their transformative power for the change of family and gender structure, embodying the potentiality of the political. By addressing the ways in which “docile bodies” and “geo-bodies” are represented, the article shows how The Goddess performs its pedagogical role in social formation and nation formation at large, going beyond the patriarchal order and male desire. The article suggests that the image itself, foregrounding the film’s thematic concern, does not promote male desire and fantasy so much as it presents an interlocking threshold of visual contestation in which different modes of social agency interact with female agency. Furthermore, special attention is given to Wu’s cinematography, especially his use of visual elements to communicate auditory information and deep-focus shots to thematize the narrative, which marked a breakthrough in Chinese silent cinema. Wu’s deep-focus shots communicate varying degrees of emotional intensity, and their affective impact is akin to that of montage or intellectual montage within continuity editing.

딩링의 `위안부` 서사, 타자화된 감정과 여성 임파워먼트

봉인영 중국어문학회 2017 中國語文學誌 Vol.0 No.59

Drawing on Ahmed`s concept of emotion, the article examines how emotion and impression, conceived as an effect without a referent, are inextricably woven into the socio-cultural fabric of human interactions, a phenomenon represented in Ding Ling`s “When I was in Xia Village.” Focusing on the workings of the social stigma of immorality borne by the “comfort woman,” this article explores the possibility of vindication and of the redressing of collective indiscretions, since the story provocatively portrays wanton gender discrimination and the social construction of shame derived from an ideology of immaculacy. By analyzing the ways in which social stigma is culturally and symbolically inflicted on the protagonist by the local people, the article contests the intrinsic logic of the creation of emotion based on the binary of self and other. It thus shows how dyadic relations no longer hold true with respect to gender and coloniality, while illustrating how othering and being othered take place internally, through a symbolic violence that is couched in the cultural language of emotion and impression during the course of everyday communication. The article suggests that traumatic experience can be overcome through the empathetic sharing of others` sufferings and through the act of writing, imperatively represented as a critical means of expression as well as female empowerment―two practices that may eventually bring forth a transnational alliance for resolving the intractability of the colonial past.

“권리의 아포리아”와 신뢰

봉인영 한국중어중문학회 2018 한국중어중문학회 학술대회 자료집 Vol.2018 No.11

파라텍스트(Paratext)의 텍스트화 ― 阮慶岳 소설의 타자성과 시공간성

봉인영 한국중국현대문학학회 2019 中國現代文學 Vol.0 No.91

Drawing on Genette’s concept of paratext, this article examines the relationship between texts and paratexts, as presented in Ruan Qingyue’s collection of stories, Zeng Manzu. Focusing on the roles of paratexts in the interpretation of the texts, this article explores the close linkage between the texts of “Zeng Manzu” and “Paper Angels,” and the paratexts, especially the publisher’s mottoes as well as the critics’ introduction and the review. It probes the ways in which the emphasis on the temporality of the present in the preface pertains to the recalling of the past and the future in “Zeng Manzu,” concomitantly actualizing textuality through paratextuality. Furthermore, this article delves into the prominent features of spatiality in association with alterity and discusses the representation of space in the formation of racial politics and social life of the people. Rather than essentializing the space of Taiwan and the U.S. in particular, the stories symbolically embody an open, complementary space; each space is imperative to the production of textual meanings and their thematization: the unflagging pursuit of unconditional love; a stern warning against an epidemic of violence inherent in all humans, irrespective of race and ethnicity; and the nebulous nature of the self-other dichotomy. By linking the authorship with the publisher’s mottoes, this study extends the concept of paratextuality in terms of its social impact for a global readership. The significance of paratextuality in Ruan’s works resides not only in the completion of the textual meanings but also in the extension of the literary through social influence through the dissemination of common, yet far-reaching humane values unbounded by national and ethnic boundaries.

“간제국성”과 식민지 대만 - 일본-프랑스의 문화 접촉

봉인영 서울시립대학교 도시인문학연구소 2022 도시인문학연구 Vol.14 No.2

Drawing on Doyles’s notion of “inter-imperiality,” this paper delves into how Japanese literary critics embraced French realism and surrealism to construct gaichi bungaku, the literature of the Japanese colonies. Prior studies of colonial Taiwanese literature have examined how authors and critics accepted French symbolism and realism in conjunction with both decadence and exoticism and bolstered the significance of the literature of Japan Proper as an expression of the self and as propaganda. However, this study argues that Nakamura Tetsu and Shimada Kinji also used French realism, especially the works of Balzac and Stendhal, to enhance literary creativity in terms of its subject matter, literary innovations, intelligence, and imagination. This paper explicates Shimada’s configurations of literature by examining a littérature technique and its role in creative writing. Moreover, it explores how Nakamura proposed Balzac’s La Grande Bretèche as a prototype for the production of gaichi bungaku and how Nakamura mapped subject positions by generation. In analyzing the implications of these two authors’ literary criticism, this paper shows that Shimada observed a potential pitfall wherein literature was delimited by a particular “ism,” with an emphasis on underlying emotions and surrealism that pertain to the affective and the subconscious. Lastly, this study suggests that Shimada appropriated Stendhal’s Love to vouch for the general literary values inherent in its very nature, which contradicted the state’s teleology, and thus could serve as a critical source for disrupting the colonial order of knowledge and decentering an empire.

“권리의 아포리아”와 신뢰: 대만 식민지 문학의 제국 구성, 법체계와 메티스(metis)

봉인영 중국어문학회 2018 中國語文學誌 Vol.0 No.65

How did imperial subjects cope with the aporias of legal and human rights as a modern legal system was forcibly implemented in colonial Taiwan? This article examines the toll of legal change on Taiwanese and their embryonic yet resolute resistance to the enactment of laws concerning the measurement system, the patent system, and the maintenance of public order, represented in Taiwanese fiction by Lai He, Yang Shouyu, and Rong Yingzhong. Wrestling with the imbroglio of legal rights and colonial coercion, they devised sociocultural mechanisms through which to extricate themselves from it. Furthermore, the article explores the ways in which Taiwanese creatively tapped into regional resources such as metis or practical knowledge (James Scott), public opinion, and trust based on mutual recognition and eco-cultural awareness, irrespective of race and nationality, as they had to live with a relentless barrage of law enforcement and thought control. With a focus on the relationship between the implementation of law and temporality, this study shows how the colonized perform their agency with praxis in order to renounce the capitalist model of living for profits and self-interest; it thus presents a significant case study for contemplating the possibility of dismantling the imperial governance system from within. An in-depth analysis of an alternative mode of communal life and the counter-“othering” of Japanese by Taiwanese brings the nuanced but profound voice of the colonized back into the current discussions of colonial Taiwanese literature as well as of imperial formations (Ann Stoler), which have, by and large, centered on the politics of identity formation and neglected the agency of imperial subjects under colonial dominance.

(Un)Signified Matters in Contemporary Visual Art of China and Taiwan: Languages, Maps, and Mapping a Nationality of “Chinese” Avant-Garde Art

봉인영 한국중국현대문학학회 2015 中國現代文學 Vol.0 No.72

This essay examines the ways in which languages and maps are represented in contemporary visual art of China and Taiwan; it explores how these two mediums (de)construct meanings for the artworks themselves and for viewers by focusing on works by Gu Wenda and Xu Bing from China, as well as Lien Te-cheng and Mei Dean-E from Taiwan. By reviewing scholarship that considers the Chinese avant-garde as a burgeoning ground of subversive and drained signifiers, this study aims to show how and why the artists discussed here employed languages and maps, and what visual effects, whether specific or embodied, and meaning they produce semantically and symbolically both within the works and in conjunction with subtexts and audience members’ participation in art production and reception. The essay argues that the works of the artists studied here do, in fact, generate and convey meaning, since the works are produced through the very mediums in which cultural logics and values are themselves inherently embedded. This study serves as an emphatic reminder of what roles knowledge and knowledge production can play in mapping out a national body of knowledge, namely a nationality, in art criticism. They should not serve as an epistemic rationale for ordering such knowledge; rather, they should serve as an instrument for probing into the creative cultural potential for the deconstruction of boundaries and logic mapping that resides within artworks and in their production and reception. 이 논문은 1980년대 중반 이후 중국 대륙과 대만의 아방가르드 예술에서 언어와 지도(시각화된 기호의 한 형태) 매체가 재현되는 방식 및그것이 지식과 학문적 내셔널리티(nationality)를 구축하는 과정에서 갖는 의미와 역할을 분석하고 있다. 본 연구에서 중점적으로 다루는 대상은 대륙(출신)작가 구원다(谷文达), 쉬빙(徐冰) 및 대만작가 리엔더청(連德誠), 메이딘이(Mei Dean-E, 梅丁衍)이다. 중국 아방가르드 예술에 대한 기존의 연구는 주로 전복성의 틀과 탈의미론 영역에서 이루어졌다. 그러나 이 연구는 전복성 자체가 자명한 개념이 아니라는 점에서 출발하여, 아방가르드 예술의 재현 방식 및 그 의미의 생산 기제에 대한 인식론적 논리를 탐구하고 있다. 방법론적으로 본 연구는 텍스트가 서브텍스트(subtext) 및 컨텍스트적 논리와 함께 예술의 생산․수용․비평에서 갖는 복합적 관계의 중요성에 주목하여, 이들이 어떻게 교차하고 상호작용하면서 의미론적으로 또 상징적으로 구현된 의미를 생산해내는지 밝히고 있다. 본 논문은 세 부분으로 전개된다. 첫 번째 부분에서는, 아방가르드 예술비평에서 중국이 동서양 이분법 구도에 의해 동양으로 배치되고 서양과 대척적 관계로 정립되는 방식을 인식론적으로 살펴보고 있다. 또한그것이 ‘ “중국적” 아방가르드 예술은 무엇인가’라는 개념을 정의하고 주창하는 예술비평 및 연구의 영역에서 내셔널리티 경계를 구축하기 위한이론적 근거로 작용함을 보여주고 있다. 두 번째 및 세 번째 부분에서는앞서 언급한 네 작가들의 시각 예술작품에 언어와 지도가 재현된 양상을 자세히 읽기(close reading) 방법으로 분석하여, 중국과 대만 아방가르드 예술의 혼종화가 문화, 세계 및 젠더 관계에 대한 위계적 질서를세우고 있음을 밝힌다. 이는 결국 중국 아방가르드 예술이 언어 구조를해체하고 빈 기표(drained signifiers)로서 무의미성과 전복성을 담지하는 것이 아니라 오히려 의미를 생산하고 있음을 역설적으로 보여주는반증이 된다. 이 분석을 통하여, 본 연구는 예술 비평과 지식 생산이 내셔널리티의 경계에 갇힌 채 동서양을 위계적으로 배치하는 인식론적 틀속에서 진행되고 있다는 점과 그 속에 배태된 학문적 헤게모니의 구축이라는 잠재적 위험 요소를 비평적으로 검토한다. 따라서 본 논문은 경계 만들기 기제 및 그것에 내포된 경계 해체의 주제를 심층적으로 분석함으로써, ‘예술비평과 지식 생산의 장에서 탈중심화된 패러다임을 모색하고 구체화할 수 있는가’라는 학문적 과제에 대하여 하나의 지적 경로를 제시한다고 할 수 있다.

환영(幻影)과의 전쟁 ― 딩링의 옌안 시기 소설 서사, 공포와 "이모티브(emotives)"

봉인영 한국중국현대문학학회 2015 中國現代文學 Vol.0 No.74

Through a close and intertextual reading of “An Unshot Bullet” and “New Faith” by Ding Ling and poems from Wenyi zhendi (The stronghold of literature and art), this essay examines how these works bring the emotion of fear into the fore and how the experience of the Sino-Japanese war was couched in these terms. It aims to show the ways in which notions of the war are mapped out culturally and epistemically in these texts, particularly centering on how fear is projected on emotion-laden words such as gui, signifying ghosts but also allies and enemies figured as ghosts, as well as the color red. Drawing upon Reddy’s concept of “emotives,” the essay addresses performative aspects of emotional expression in conjunction with fear and anxiety. Characters in Ding’s fiction are afflicted with a rush of intractable fear that culminates in collective fear, thereby turning the physical war into a proliferation of fear and a war against emotions, a “ghostly” encounter with emotional “enemies” in cultural production. Through focusing on fear and emotives, this essay offers an analysis of the cultural dynamics of the war—a critical venue for rethinking the dichotomy of victimizer and victim, which is so often predicated on differences in nationality in representations of the war. Examination of both the limits and the significant cultural implications of teleological narratives from Yan’an will render more conspicuous the literary achievements of Ding’s writing: her stories render the politics of belligerent inter-nations into an internal regime of fear and mutual suspicion among the Chinese, thereby contesting the prevailing narratives of the war of resistance and Chinese nationalism at large. From the standpoint of gender and memory, the last part of the essay addresses how wartime experience is mobilized and represented in gendered ways in order to realize the cult of chastity, embodying both female empowerment and disempowerment. Finally, the essay discusses the cultural significance of the “emotional regime” constructed by Chinese writers; by showing the intertwined interplay of emotional forces in conflict with trepidation and intrepidity, along with the workings of inner-outer boundaries, it suggests how the experience of war can be remapped in order not to forge a homogeneous nationality.

Contesting the Regime of the Red: The Rhetoric of Love and the Cultural Revolution in Under the Hawthorn Tree

봉인영 중국어문학회 2017 中國語文學誌 Vol.0 No.61

Centering on the rhetoric of love, symbolized in the form of the red and a commodity, this article examines how the regime of the red works in conjunction with emotion in representing the Cultural Revolution (1966-1976) in Shanzhashu Zhi Lian (Under the Hawthorn Tree), directed by Zhang Yimou (2010). Revisiting previous studies’ asymmetrical gender relations from the era of the Cultural Revolution, this article shows how the regime of the red as both political propaganda and as flights of visual and literary imagination is utilized to contest Maoism as well as state authority, couched in emotion and Confucian rhetoric. The schema of emotion and love are configured hierarchically and yet conceived creatively to challenge its pervasive power. Furthermore, by analyzing how diegetic and non-diegetic sound and music are deployed, this study explores how the construction of a national history based on a spurious claim is destabilized by storytelling; a woman’s act of looking into the authenticity of state propaganda collides with the state’s mobilization of a local history from a legend in order to construct a unifying, vaunted national history, both of which are in flux under questioning. This study suggests that the representation of the regime of the red problematizes the interlocking site in which a truth claim and the construction of a national history are in tension, for two conflicting social forces are also at play for mystification and demystification.