http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : Shin Haerin (검색결과 4 건)
- 무료
- 기관 내 무료
- 유료
-
Difference, not Differentiation: The Thingness of Language in Sun Yung Shin’s Skirt Full of Black
( Haerin Shin ) 한국영어영문학회 2018 영어 영문학 Vol.64 No.3
Sun Yung Shin’s poetry collection Skirt Full of Black (2007) brings the author’s personal history as a Korean female adoptee to bear upon poetic language in daring formal experiments, instantiating the liminal state of being shuttled across borders to land in an in-between state of marginal ization. Other Korean American poets have also drawn on the experience of transnational adoption and racialization explore the literary potential of English to materialize haunting memories or the untranslatable yet per sistent echoes of a lost home that gestures across linguistic boundaries, as seen in the case of Lee Herrick or Jennifer Kwon Dobbs. Shin however dismantles the referential foundation of English as a language she was transplanted into through formal transgressions such as frazzled syntax, atypical typography, decontextualized punctuation marks, and phonetic and visual play. The power to signify and thereby differentiate one entity or meaning from another dissipates in the cacophonic feast of signs in Skirt Full of Black; the word fragments of identificatory markers that turn racialized, gendered, and culturally contained subjects into exotic things lose the power to define them as such, and instead become alterities by departing from the conventional meaning-making dynamics of language. Expanding on the avant-garde legacy of Korean American poets Theresa Hak Kyung Cha and Myung Mi Kim to delve further into the liminal space between Korean and American, referential and representational, or spoken and written words, Shin carves out a space for discreteness that does not subscribe to the hierarchical ontology of differential value assignment.
-
( Haerin Shin ) 한국영어영문학회 2017 영어 영문학 Vol.63 No.2
Nicolas Abraham develops the concept of “transgenerational phantoms” to explain the enigmatic phenomenon of alien agencies infringing upon private memories to exert authorship in the form of mental trauma. Historical legacies, particularly in the domain of literary representations, serve as such phantoms that acquire material manifestations through lived locales and somatic experiences of identification. Alvin Lu`s novel The Hell Screens takes this metaphorical phantom a step further to carve out an exquisite portraiture of postcolonial Taiwan, infested with supernatural beings that claim stakes across the Pacific to entice a Chinese American visitor who descends upon the decaying backstreets of the city to collect tales of the strange. Exploring the intricate ties between collective memo ry and individual identity, and transposing them onto the liminal space of historically burdened present, this essay explores the psycho-social tex tures of literary haunting as a phenomenology of historical authorship through scholarship on memory and witnessing. Enlisting the concepts of residual haunting and reference points, I claim that the buried secrets of others―Abraham`s notion of the phantom―can emerge from their crypts and become incorporated into the present through a conscious recognition of historical locales as reference points whereby discrete individuals form tangible contacts and resonances.
-
Haerin Shin 한국문화경제학회 2017 문화경제연구 Vol.20 No.1
The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea’s media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry’s response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu’s archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
