인식의 경계로서 로컬리티와 탈식민화 : 파농의 논의를 중심으로

배윤기 새한영어영문학회 2010 새한영어영문학회 학술발표회 논문집 Vol.2010 No.5

<보더타운>: 지구화와 로컬화의 현장

배윤기 문학과영상학회 2010 문학과영상 Vol.11 No.1

The aim of this paper is to read the big social changes and its meaning for the people of the neoliberal globalization in Mexico after NAFTA(North American Free Trade Agreement) took effect in Bordertown, an independent film directed by Gregory Nava. Bordertown is a kind of mixture between intention of documentary and dramatic plot with thriller to bring attention to the serial femicide of workers for the maquiladoras, assembly plants run by foreign investors, in the bordertown, Ciudad Juárez from 1995. The film shows the changes in Mexico triggered by neoliberal globalization as a process of spatialization, a social system of conspiracy between the upper classes of the North America. The homonization of capitalism wants to adapt everything in its own way, so it destroys local differences that make a local a local. And Bordertown also questions the indifference of the Mexican government, the United States and the maquiladoras to the deaths of young women. We can see the tragedy of maquiladora women worker and their family as uprooted people from the story of Eva, an indian girl who had been displaced and forced to work for maquiladora by the government of Mexico. Lauren, a main character as Mexican American reporter in the film, encounters herself in the life of Eva, and struggles with the monstrous capital that inhibits publishing the voice of localized people. And then she finally returns to find her people and base following the voice of ‘the deepest herself.’The narrative of the film leaves a necessity of active interventions in the process of spatialization from the top to make a local a space of hope for localized people. As there is a neoliberal globalization, there is a globalization of solidarity of so-called “wasted lives.”

영상 언어로 번역된 흑인(여성)의 혼: <드림걸스>

배윤기,배만호 문학과영상학회 2007 문학과영상 Vol.8 No.1

This paper argues that Dreamgirls, directed by Bill Condon in 2006, clearly depicts some characteristics of the black tradition as a response to the call of Zora Neale Hurston’s Their Eyes Were Watching God. I analyze the movie into three strata with three cultural concepts of reference. The first measure is the song, laugh, and shout of the black in the context of their history in the US. The song from the slavery time has purified the spirit of the black and called up the soul of the people. The laugh has wiped out the suffering of the black caused by the white and the white America. The shout that is a protective attack has been discharged when the black being impatient. The second is the place where a woman should be as a stubborn mule. “De mule uh de world,” a stereotype of the black woman, in reality hurls them at the bottom of the society. It also is potential to keep the black voice(power) and their soul(song) alive though. The third is the repetition of ‘cut and return’ to a new starting point or a crossroads that shapes a pattern of ‘call and response’ between different times or the people to overcome the darkness(cultural amnesia) maneuvered by the white society and to recall their tradition. The character of Janny in Their Eyes is divided into Deena as a dreamgirl and Effie as a “real woman” in Dreamgirls. The two texts show us their dreams, conflicts, cut, and return to home to sing their experiences and to plant seeds of their songs in their own gardens. The garden is now a space in which the soul of the black is born, reared, and prospered by its hands of memory and patience. After all, the movie climbs ‘the racial mountain’ to find sisters and brothers, and deeply grooves in the black tradition with a new expression style.

근대적 공간, 경계, 로컬리티-기반의 이해

배윤기 새한영어영문학회 2012 새한영어영문학회 학술발표회 논문집 Vol.2012 No.10

병속에 묻혀 40년만에 발견된 거제도 포로수용소의 비밀문서

배윤기 월간사회평론길 1993 길을찾는사람들 Vol.93 No.7

인식의 경계로서 로컬리티와 탈식민화

배윤기 한국영미어문학회 2010 영미어문학 Vol.- No.95

This paper is intended to base a position of 'local studies' on a place beside the positions of de-colonial attempts in (neo-)colonial societies. It is, I think, a project that is not only to intervene in the terrain of the contest and conflict among social forces over 'a space of (social) consciousness' for a self-referential representation and imagining an alternative mental-material landscape within localities, but also to construct an alternative epistemology for trans-local solidarity against locality from above in a global context. A modern local which is localized by the bourgeoisie is not a static space that is essentially defined by the localizer but a dynamic locus at the present that could alternatively be imagined and reconstructed by the localized. The western (spatial) epistemology traditionally supposes a local place and people as 'deserted' or 'vacant' just waiting for the civilized from the early globalizing era. The White feels kind of 'destiny' or 'burden' of theirs, and legitimizes to “civilize” the land and people on a discursive basis. This is a typical process of localization under the western modernity in and out of the imperial territory. But the subaltern goes through and understands it as the process of colonization of their mental-material landscape that constructs naturalized locality and the oppression and exploitation system. An alternative epistemology for localization from below sews up the wounds of naturalized locality forced upon by localization from above, makes an inclusive ground for generative locality. Local, not as transcendental concept but as a process of contest and conflict among the forces havbing different consciousnesses for localizations, opens possibilities of probing a path to create generative locality beyond the border of naturalized locality. Localization from below against naturalized locality imposed by the West and the indigenous elite can be generated from self-conscious reflection and practical solidarity with reference to their own land, peoples, and local realities. It will reasonably connect the dots the way to generative locality as a critical theory which, I think, should be projected by the humanities of locality.

『니그로』, 영어로 쓴 최초의 아프리카·흑인 일반 역사

배윤기 부산대학교 인문학연구소 2014 코기토 Vol.- No.76

[리뷰] '지금 여기'의 실천적 번역(론)을 위한 산책 : 마이클 크로닌, 김용규·황혜령 옮김,『번역과 정체성』(Translation and Identity)(동인, 2010)

배윤기 부산대학교 인문학연구소 2011 코기토 Vol.- No.69

흑인 혼의 재발견과 허스턴의 『그들의 눈은 신을 보고 있었다』

배윤기 새한영어영문학회 2007 새한영어영문학 Vol.49 No.4

This paper argues that Zora Neale Hurston's Their Eyes Were Watching God illuminates a space of the black soul in the Harlem Renaissance. The Renaissance had delivered the Niggerati of a cultural movement for the new negro, while the black society inevitably underwent a hugh cultural shift triggered by the great migration of the black population from the aghcultural South to the urban North in the early 20th century. Most of the people left their black souls in the black cultural tradition behind, because not only did the circumstances for the survival of the black force them to forget it, but the old leaders also degraded it as a mere primitive past on the white cultural basis. The atmosphere of the Renaissance had, therefore, built a "racial mountain" to the young 'folk' artists who sought to encounter the real self of themselves and their low voice people. Hurston brings us to a broad scene of another way of life to find a 'dust track' of the race through the joumey of Janny in Their Eves Were Watching God. On the road, she should sublate(aufheben) the contradiction of the ex-slave generation who is starred by Nanny and alsodisclose the political humbug behind the white masks of the "Talented Tenth" whom Jody acts. Nanny demands her to be in hieh position by marriage and two husbands compel her to be a mule or a servant for their businesses by power(big voice). For her as a new negro, they don't know how to love and how to live for themselves. Meeting Tea Cake, who has different attitude to the world and human life and is able to recall her a sense of her soul with entirely new words, opens the door of a wide horizon of their people's lives. She experiences a life with joy, work combined with play, and songs and stories shared with low people in muddy Everglades. After the long journey, she retums home and she can not help singing her stories and planting seeds of her songs in the inner space of her people as Nanny did. Hurston's blues repeats the characters of the black music and cultural tradition which has embraced their suffering in the racist US. The style should therefore be a repetition of 'call-and-response' and cut and return' to the stardng point. After all, her novel climbs a 'radal mountain' to find her sister and brother, and deeply grooves in the black tradition with a new expression style.

우리 번역문화 형성을 위한 비판적 일 고찰

배윤기 새한영어영문학회 2008 새한영어영문학 Vol.50 No.2

This paper argues that there hasn't been the true translational culture in South Korea, and the intellectuals should cultivate a milieu for the culture.The phenomenon has been derived from the epistemological attitude to the West during the process of making the modern Korean society. To shed light on how the attitude to the influx of the other influences the future of a society. I start to examine the epistemological turns among the Western intellectuals since Renaissance and the history of translation. When the tide of the Western civilization had come, each of the intellectuals of Japan and China had subjectively received modernity by translating books from the West and publically spreading them. But the intellectuals propping up the Choso'n Dynasty didn't self-consciously think over their national power, and also objectively recognized how to strategically understand and make a relation to the other. I suggest a social awakening to the necessity of self-conscious writing and democratic circulation of knowledge, cultivating manpower in the foreign studies, and historical researches in translational practice to go beyond our twisted modernization to the indigenous translational culture and our own modernity.