• 한국콘텐츠학회논문지
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• 제6권11호
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• pp.45-55
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• 2006

한국형 블록버스터는 호미 바바의 문화적 혼성주의가 표명하는 두 문화간의 만남과 충돌의 변증법으로 완성된 작품들이다. '한국형'과 '블록버스터'가 한국적이라는 것과 서구적인 것을 나뉘어 대표하고 있으면서도 그 경계는 해체되고 변증법적으로 혼합되어 혼성적이고 복합적인 새로운 하나를 탄생시킨다. 한국형 블록버스터로 대표되는 [쉬리], [JSA], [실미도], [태극기 휘날리며]는 분단 이데올로기라는 한국적 특수성을 이슈화하는 민족적 서사를 내용으로 하고 있으면서 그 표현양식과 제작방식은 지극히 서구적 보편성에 충실한 스타일로 바바의 문화적 혼성성의 특성을 고스란히 담고 있다. 문화적 혼성주의를 통해 한국 영화 미학의 현주소를 탐구해 보고자 한다.

• 영어영문학
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• 제56권5호
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• pp.907-930
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• 2010

Most previous studies on A Gesture Life focused on illuminating the role and significance of Kkutaeh, the Korean comfort woman, whom Hata runs across at a military camp in the Burmese jungle. For instance, Carroll Hamilton argues that the return of Kkutaeh as a traumatic subject disrupts Hata's nationalist narrative, causing the protagonist's eventual failure at national enfranchisement. However, this paper focuses on Hata's relationship with Bedley Run, the sleepy suburban white town, in which the protagonist settles down right after immigration to the US. The racial/racist nature of Bedley Run has not received due critical attention, although a few studies on the novel saw Hata's gestures as a survival tactic deployed against the hostile environment of his new host society. This paper, resorting to Pierre Macherey's thesis on symptomatic reading, exposes what Hata, the narrator/protagonist, hides from his readers concerning his status in his muchbeloved town; and it also explores the subversive significance of Hata's ethnic memories. The aim of this study is, after all, to map both the subversive possibilities and the limitations of Hata's immigrant narrative as a bildungsroman.

• 영어영문학
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• 제57권2호
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• pp.217-235
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• 2011

On recognizing the significance of Walter Benjamin's "The Task of a Translator" in recent discourses of postcolonial cultural translation, this essay examines the creative postcolonialist appropriations of Benjamin's theory of translation and their political implications. In an effort to dismantle the imperialist political hierarchy between the West and the non-West, modernity and its "primitive" others, which has been the operative premise of the traditional translation studies and anthropology, newly emergent discourses of cultural translation actively adopts Benjamin's notion of translation that does not prioritize the original text's claim on authenticity. Benjamin theorizes each text-translation as well as the original-as an incomplete representation of the pure language. Eschewing formalistic views propounded by deconstructionist critics like Paul de Man, who tend to regard Benjamin's notion of the untranslatable purely in terms of the failure inherent in the language system per se, such postcolonialist critics as Tejaswini Niranjana, Rey Chow, and Homi Bhabha, each in his/her unique way, recuperate the significatory potential of historicity embedded in Benjamin's text. Their further appropriation of the concept of the "untranslatable" depends on a radically political turn that, instead of focusing on the failure of translation, salvages historical as well as cultural potentiality that lies between disparate cultural entities, signifying differences, or disjunctures, that do not easily render themselves to existing systems of representation. It may therefore be concluded that postcolonial discourses on cultural translation of Niranhana, Chow, and Bhabha, inspired by Benjamin, each translate the latter's theory into highly politicized understandings of translation, and this leads to an extensive rethinking of the act of translation itself to include all forms of cultural exchange and communicative activities between cultures. The disjunctures between these discourses and Benjamin's text, in that sense, enable them to form a sort of theoretical constellation, which aspires to an impossible yet necessary utopian ideal of critical thinking.