원시적 열정의 재현과 오리엔탈리즘에 대한 항의 = The Representation of the Primitive passion and an Appeal Strategy against Orientalism -The Modern Korean Novel and Southeast Asia-

다국어 초록 (Multilingual Abstract)

This article tried to raise issues on the ways how the Eastern Orientalism imagines Southeast Asia as a different existence, focusing on modern Korean novels from latter part of 1990s to recent years, i.e. 2010s.「Different Existence」and「Sera」written by Yoon-Young Kim and「Your Tree」 written by Young-Ha Kim recognize Southeast Asia as a form of deficiency, that is, as an economically inferior land that cannot be even comparable to us. On the other hand, they imagine from Southeast Asia a place of alternatives by which we can restore human origin that was deprived of by capitalistic living order or a metaphysical world which is full of spirituality. This can be called a kind of reversed aestheticism. In that this kind of aestheticism forms two sides of the same coin together with the recognition of superior power, it can be regarded as one of the important elements of Orientalism, as stated by Karatani Kojin. This article acknowledges that Korean novels cannot be free from Orientalism when they represent Southeast Asia. This is because we are also a product of such kind of representation. However, this article tried to think about the possibility of an ``Eastern Orientalism`` which can shake it from inside. Regarding this, what this article paid attention is that there are many occasions where novels reproducing Southeast Asia ``translate`` them into ``females`` in our realistic and aesthetic context. This genderized other is mostly reproduced to be ``primitive passion.`` What is interesting is that this primitive passion can be an appeal strategy against Orientalism, by returning the look of the Orientalism. Rey Chow confirmed such possibility from the movies of Zhang Yimou. This article discovers the clue of such possibility from our novels which reproducing Southeast Asia. Through this, this article makes clear the position that a literary planning which imagines a symbol outside of Orientalism as an alternative to overcome Orientalism is meaningless. This is because what literature can do is to shake its power by dismantling its structure within the representation mechanism.