Pub Date : 2023-02-28DOI: 10.19116/theory.2023.28.1.187
Hyoseok Lee
The purpose of this study is to analyze the tragedies of two main characters in Henry James’s “Brooksmith” and The Turn of the Screw based on the Arnoldian concept of ‘culture.’ The main characters of both works, butler and governess, are tragic characters who serve their masters but fail to join the master’s world or its class despite their trial and passion. “Brooksmith” is a kind of artist who hosts retired diplomats and allows guests to have a high level of intellectual conversation with each other, but it is just another aspect of the servants who revolve around the nobility and never get into the world of British society. The governess of The Turn of the Screw manages to control the master’s house and protects the two young children of the Bly from the ghosts of Peter Quint and Miss Jessel. She seems to have done her job well at first glance, but her destiny seems to be similar to that of Brooksmith, for she disappears from the world of the master in spite of her successful job. This study shows the irony of the British order based on the solid cooperative relationship between the upper class, the master and the lower class, the servant. The fate of Brooksmith depends wholly on Mr. Offord’s life and death, and the role of the governess on the master’s absence. Even though it seems that the flamboyant British society was not possible without these sacrifices and substitutes, their masters gave them the gaze of ‘the uncanny.’
{"title":"The Tragedy of the Servant Class and the Failure of Matthew Arnold’s Culture in Henry James’s Novel: Focusing on “Brooksmith” and The Turn of the Screw","authors":"Hyoseok Lee","doi":"10.19116/theory.2023.28.1.187","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.187","url":null,"abstract":"The purpose of this study is to analyze the tragedies of two main characters in Henry James’s “Brooksmith” and The Turn of the Screw based on the Arnoldian concept of ‘culture.’ The main characters of both works, butler and governess, are tragic characters who serve their masters but fail to join the master’s world or its class despite their trial and passion. “Brooksmith” is a kind of artist who hosts retired diplomats and allows guests to have a high level of intellectual conversation with each other, but it is just another aspect of the servants who revolve around the nobility and never get into the world of British society. The governess of The Turn of the Screw manages to control the master’s house and protects the two young children of the Bly from the ghosts of Peter Quint and Miss Jessel. She seems to have done her job well at first glance, but her destiny seems to be similar to that of Brooksmith, for she disappears from the world of the master in spite of her successful job. This study shows the irony of the British order based on the solid cooperative relationship between the upper class, the master and the lower class, the servant. The fate of Brooksmith depends wholly on Mr. Offord’s life and death, and the role of the governess on the master’s absence. Even though it seems that the flamboyant British society was not possible without these sacrifices and substitutes, their masters gave them the gaze of ‘the uncanny.’","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121680617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.19116/theory.2023.28.1.5
Yeonhaun Kang
By situating “transpacific” as a critical space that allows oceanic exchange between Japan and Canada, the past and the present, and human and nonhuman, this essay critically examines how Ozeki’s third novel, A Tale for the Time Being (2013), helps us apprehend “slow violence,” one that is hard to see or feel due to the workings of time and distant locations. While mainstream Anthropocene discourse has tended to focus more on the perspectives of white elites, writers and scientists based in the Global North, Ozeki’s novel draws the reader’s attention to the fluidity of oceanic movements and intentionally blurs the boundaries between human history and environmental history, especially the links between nuclear bombing in Japan during the World War II and the Fukushima Daiichi nuclear disaster in 2011, in order to emphasize a complex crisis for both human and nonhuman on a planetary scale. Building on what Elizabeth DeLoughrey terms “the oceanic turn” in literatary studies, I argue that Ozeki’s A Tale for the Time Being challenges and works to decolonize the discourses of the Anthropocene and thus invites us to imagine more just and sustainable environmental futures for the more-than-human world.
{"title":"Writing the Anthropocene: Environmental Crisis and Oceanic Imaginations in Ruth Ozeki’s A Tale for the Time Being","authors":"Yeonhaun Kang","doi":"10.19116/theory.2023.28.1.5","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.5","url":null,"abstract":"By situating “transpacific” as a critical space that allows oceanic exchange between Japan and Canada, the past and the present, and human and nonhuman, this essay critically examines how Ozeki’s third novel, A Tale for the Time Being (2013), helps us apprehend “slow violence,” one that is hard to see or feel due to the workings of time and distant locations. While mainstream Anthropocene discourse has tended to focus more on the perspectives of white elites, writers and scientists based in the Global North, Ozeki’s novel draws the reader’s attention to the fluidity of oceanic movements and intentionally blurs the boundaries between human history and environmental history, especially the links between nuclear bombing in Japan during the World War II and the Fukushima Daiichi nuclear disaster in 2011, in order to emphasize a complex crisis for both human and nonhuman on a planetary scale. Building on what Elizabeth DeLoughrey terms “the oceanic turn” in literatary studies, I argue that Ozeki’s A Tale for the Time Being challenges and works to decolonize the discourses of the Anthropocene and thus invites us to imagine more just and sustainable environmental futures for the more-than-human world.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126942922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.19116/theory.2023.28.1.29
Yong Gyu Kim
This paper aims to critically examine the problem of modernity in world literature and, more specifically, in the theory of world literature by Frederic Jameson, Neil Lazarus, and Nicholas Brown, who have formulated a new concept of modernity against Western modernity. For a long time, world literature has been regarded as a field in which the ideas and values of Western modernity were embodied. This led to the negative labeling of non-Western literature as less worldly and more local literature that falsely imitates the modernity of Western literature. So the problem of modernity, such as how to overcome Western modernity and rethink the concept of modernity radically, has become one of the essential issues in the recent theories of world literature because we can not achieve the further development of world literature without properly criticizing the existing concept of Western modernity. What is interesting in Jameson’s idea of singular modernity and Lazarus and Brown’s theory of world literature is that they criticizes the Western conception for modernity and suggests the new concept of modernity that pays attention to the proper problems of capitalism rather than the West. Moreover, their theory pursues for a new political reading on the modernity and universality of literature, overcoming the dichotomy between central and peripheral, western and non-western. Their theory of world literature has also significant implications for us who have been strongly influenced by Western modernity. It makes us realize that our own literature can be world literature when we thoroughly explore our own modernity and the problems of capitalism. It also recalls us the basic fact that world literature is a literature that can search for political possibilities in the modernity of our own world and its internal contradictions and cracks.
{"title":"World Literature and the Problem of Modernity","authors":"Yong Gyu Kim","doi":"10.19116/theory.2023.28.1.29","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.29","url":null,"abstract":"This paper aims to critically examine the problem of modernity in world literature and, more specifically, in the theory of world literature by Frederic Jameson, Neil Lazarus, and Nicholas Brown, who have formulated a new concept of modernity against Western modernity. For a long time, world literature has been regarded as a field in which the ideas and values of Western modernity were embodied. This led to the negative labeling of non-Western literature as less worldly and more local literature that falsely imitates the modernity of Western literature. So the problem of modernity, such as how to overcome Western modernity and rethink the concept of modernity radically, has become one of the essential issues in the recent theories of world literature because we can not achieve the further development of world literature without properly criticizing the existing concept of Western modernity. What is interesting in Jameson’s idea of singular modernity and Lazarus and Brown’s theory of world literature is that they criticizes the Western conception for modernity and suggests the new concept of modernity that pays attention to the proper problems of capitalism rather than the West. Moreover, their theory pursues for a new political reading on the modernity and universality of literature, overcoming the dichotomy between central and peripheral, western and non-western. Their theory of world literature has also significant implications for us who have been strongly influenced by Western modernity. It makes us realize that our own literature can be world literature when we thoroughly explore our own modernity and the problems of capitalism. It also recalls us the basic fact that world literature is a literature that can search for political possibilities in the modernity of our own world and its internal contradictions and cracks.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116276189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.19116/theory.2023.28.1.345
S. Kim
This article is projected to examine the legitimacy of literary discourse regarding the study of comics or graphic narrative. Graphic narrative, as an inclusive term encompassing comics and the graphic novel, has been left on the mere periphery of serious literature or dominant literary discourse, or simply denied its legitimate status. Against this main stream, Hillary Chute, in her recent studies of graphic narrative including Why Comics? From Underground to Everywhere (2017) along with the scholarly minds sharing her critical and theoretical insights, has created a different kind of flow constantly disrupting the establishment of literature. The critic has opened up the possibility of serious critical discourse regarding graphic literature with the particular notions of materiality, immediacy, and ekphrasis. Materiality involves hand-drawn images or visual devices, and verbal elements imbedded on the pages of graphic story-telling. The visual is stylistically blended with the verbal, constituting the visual narrative around frame, panel, gutter, tier, etc. In the process of creating comics, the author undergoes the experience that involves their own bodies with pen and canvas. So, how the author fabricates the form of graphic narrative depends on their own particular style of recognizing and enacting materiality. We also need to understand that the embodied materiality prompts the immediate experience of the reader just as N. Katherine Hayles explains the concept as “the interplay between a text’s physical characteristics and its signifying strategies.” The reading experience of encountering the materialized text evinces the efficacy of directedness or immediacy. Graphic narrative presents to the reader a direct and immediate experience with its visual and mechanical means and its rules of linguistic usage. Therefore, Chute’s critical strategy of graphic narrative comes down to the idea of rhetorical ekphrasis which is concerned with descriptive aesthetics. That means that ekphrasis is postulated here to illuminate the critic’s particularized surface-reading experience as their criticism of the visual narrative instead of symptomatic-reading.
{"title":"그래픽 서사에 대한 문학 비평으로서의 에크프라시스","authors":"S. Kim","doi":"10.19116/theory.2023.28.1.345","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.345","url":null,"abstract":"This article is projected to examine the legitimacy of literary discourse regarding the study of comics or graphic narrative. Graphic narrative, as an inclusive term encompassing comics and the graphic novel, has been left on the mere periphery of serious literature or dominant literary discourse, or simply denied its legitimate status. Against this main stream, Hillary Chute, in her recent studies of graphic narrative including Why Comics? From Underground to Everywhere (2017) along with the scholarly minds sharing her critical and theoretical insights, has created a different kind of flow constantly disrupting the establishment of literature. The critic has opened up the possibility of serious critical discourse regarding graphic literature with the particular notions of materiality, immediacy, and ekphrasis. Materiality involves hand-drawn images or visual devices, and verbal elements imbedded on the pages of graphic story-telling. The visual is stylistically blended with the verbal, constituting the visual narrative around frame, panel, gutter, tier, etc. In the process of creating comics, the author undergoes the experience that involves their own bodies with pen and canvas. So, how the author fabricates the form of graphic narrative depends on their own particular style of recognizing and enacting materiality. We also need to understand that the embodied materiality prompts the immediate experience of the reader just as N. Katherine Hayles explains the concept as “the interplay between a text’s physical characteristics and its signifying strategies.” The reading experience of encountering the materialized text evinces the efficacy of directedness or immediacy. Graphic narrative presents to the reader a direct and immediate experience with its visual and mechanical means and its rules of linguistic usage. Therefore, Chute’s critical strategy of graphic narrative comes down to the idea of rhetorical ekphrasis which is concerned with descriptive aesthetics. That means that ekphrasis is postulated here to illuminate the critic’s particularized surface-reading experience as their criticism of the visual narrative instead of symptomatic-reading.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131228714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.19116/theory.2023.28.1.157
S. Lee
Giorgio Agamben’s ideas of sovereign power and ‘Homo Sacer’ received a lot of criticism because the decline of nation-states due to globalization tends to be equated with the weakening of sovereignty. Especially, Judith Butler argues that the process of removing the heterogeneity within the citizens to invent those who are the foundation of the nation-state cannot be explained by the operation of sovereign power and the mass production of ‘bare lives’ presented by Agamben. Butler explains the ‘statelessness’ in the sense that the situation of global violence is out of territorial conditions, and also highlights the ‘statelessness’ to deconstruct the basis of the nation-state and explore the possibility of resisting it. According to her, given the diaspora produced across territories and the operation of power, this violent exclusion today is caused by neoliberal governmentality, not sovereign power. And it is necessary to see power working in many ways to materialize the diaspora and resist state violence. For Butler, the concept of diaspora is presented as a resistance practice and ethical request of the dispossessed. However, this thesis aims to reveal that Butler’s criticism against ‘bare life’ is misread. Butler’s misinterpretation arises from the difference in perspective of Agamben, who reads Michel Foucault and Hannah Arendt. If sovereignty is an anachronism to Butler, the original form of sovereignty is biopolitics to Agamben. In addition, Butler considers Arendt distinguishing between the public and private realms and maintaining a discriminatory perspective on the private, whereas Agamben reads that Arendt paid attention to the modern reality in which this public/private distinction is collapsing. Unlike Butler’s criticism, ‘bare life’ does not exist outside of the polity or power. Even if the citizen belong to the nation state, there is the potential for them to become a “bare life,” or diaspora at any time, which reveals the possibility of rethinking the identity of the diaspora.
Giorgio Agamben的主权权力和“Homo Sacer”的思想受到了很多批评，因为全球化导致的民族国家的衰落往往等同于主权的削弱。尤其是朱迪思·巴特勒(Judith Butler)认为，消除公民内部的异质性以创造那些作为民族国家基础的人的过程，不能用主权权力的运作和阿甘本提出的“赤裸生命”的大规模生产来解释。巴特勒对“无国籍”的解释是在全球暴力情境脱离了地域条件的意义上，同时强调“无国籍”是为了解构民族国家的基础，探索抵抗它的可能性。根据她的说法，考虑到跨地区产生的移民和权力的运作，今天这种暴力排斥是由新自由主义治理造成的，而不是主权权力。有必要看到权力以多种方式发挥作用，使侨民具体化，并抵制国家暴力。对巴特勒来说，流散的概念是被剥夺者的一种抵抗实践和伦理要求。然而，本文旨在揭示巴特勒对“赤裸生命”的批判是被误读的。巴特勒的误解源于阿甘本对福柯和阿伦特的不同解读。如果说主权对巴特勒来说是一个时代错误，那么主权的原始形式对阿甘本来说就是生命政治。此外，巴特勒认为阿伦特区分了公共领域和私人领域，并保持了对私人领域的歧视观点，而阿甘本则认为阿伦特关注的是这种公共/私人区分正在崩溃的现代现实。与巴特勒的批评不同，“赤裸的生活”并不存在于政体或权力之外。即使公民属于民族国家，他们也有可能随时成为“裸生”或流散，这揭示了重新思考流散身份的可能性。
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Pub Date : 2023-02-28DOI: 10.19116/theory.2023.28.1.315
Hyunjung Kim
This essay means to offer a new lens through which we might understand the notion of abstraction otherwise. It does so by reading Frank O’Hara’s poems, best known for their attention to the particular and the personal, against the prevailing thought that posits a fatal contradiction between the concrete and the abstract. With the help of Julia Jarcho’s conceptualization of the word “anything,” I suggest O’Hara’s gesture towards the abstractness of Anything as a distinct feature in what I call his “diaristic poetics,” through which the poet shows ways of “angling” oneself for different queer contiguity and continuity to emerge. In revealing the ways in which the word “anything” evokes a masochistic attention to the unknown and unexpected particulars, this essay considers how the receptivity of O’Hara’s diaristic writing generates queer modes of relation and belonging.
这篇文章的目的是提供一个新的视角，通过它我们可以理解抽象的概念。通过阅读弗兰克·奥哈拉(Frank O 'Hara)的诗歌，我们可以做到这一点。奥哈拉的诗歌以其对特殊和个人的关注而闻名，反对那种认为具体与抽象之间存在致命矛盾的主流思想。借助Julia Jarcho对“任何”一词的概念化，我认为奥哈拉对“任何”的抽象性的姿态是他所谓的“日记式诗学”的一个明显特征，通过这种诗学，诗人展示了自己“倾斜”的方式，以获得不同的酷儿的邻近性和连续性。在揭示“任何事物”这个词唤起对未知和意外细节的受虐性关注的方式时，本文考虑了奥哈拉日记写作的接受性如何产生奇怪的关系和归属模式。
{"title":"다이어리 시학: 추상성, 혹은 프랭크 오하라의 “무엇이든”","authors":"Hyunjung Kim","doi":"10.19116/theory.2023.28.1.315","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.315","url":null,"abstract":"This essay means to offer a new lens through which we might understand the notion of abstraction otherwise. It does so by reading Frank O’Hara’s poems, best known for their attention to the particular and the personal, against the prevailing thought that posits a fatal contradiction between the concrete and the abstract. With the help of Julia Jarcho’s conceptualization of the word “anything,” I suggest O’Hara’s gesture towards the abstractness of Anything as a distinct feature in what I call his “diaristic poetics,” through which the poet shows ways of “angling” oneself for different queer contiguity and continuity to emerge. In revealing the ways in which the word “anything” evokes a masochistic attention to the unknown and unexpected particulars, this essay considers how the receptivity of O’Hara’s diaristic writing generates queer modes of relation and belonging.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130637790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-28DOI: 10.19116/theory.2023.28.1.271
Haeook Jeong
Hate speech is any form of expression that vilifies and discriminates against individuals or groups based on their identity, including race, ethnicity, national origin, gender, sexual orientation, religion, and more. However, hate speech is not merely an emotional expression; it can often be intertwined with fake news and logical reasoning that appears convincing. This article explores Judith Butler's theories on hate speech, how she resists it, and how to draw a good life out of a bad life. Firstly, it examines the limitations of the traditional dichotomy between reason and emotion and how it relates to issues such as hate speech, fake news, and post-truth. Secondly, it analyzes hate speech as either an illocutionary or perlocutionary speech act, and reviews legal cases related to hate speech in the USA through Judith Butler's Excitable Speech(1997). Thirdly, it explores Butler's analysis of Freud's work in The Force Of Nonviolence(2020), including his ideas about the importance of emotional ties and communities of feeling, and how he aimed to overcome blind fury in his later years. The article also discusses how Butler supplements Freud's unfinished research and extends his ideas beyond their original limits. Finally, the implications of these attempts for Korean society, which is currently grappling with the problem of hate speech, are examined in the last section.
{"title":"Hate Speech, Subject Agency and Performativity of Bodies","authors":"Haeook Jeong","doi":"10.19116/theory.2023.28.1.271","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.271","url":null,"abstract":"Hate speech is any form of expression that vilifies and discriminates against individuals or groups based on their identity, including race, ethnicity, national origin, gender, sexual orientation, religion, and more. However, hate speech is not merely an emotional expression; it can often be intertwined with fake news and logical reasoning that appears convincing. This article explores Judith Butler's theories on hate speech, how she resists it, and how to draw a good life out of a bad life. Firstly, it examines the limitations of the traditional dichotomy between reason and emotion and how it relates to issues such as hate speech, fake news, and post-truth. Secondly, it analyzes hate speech as either an illocutionary or perlocutionary speech act, and reviews legal cases related to hate speech in the USA through Judith Butler's Excitable Speech(1997). Thirdly, it explores Butler's analysis of Freud's work in The Force Of Nonviolence(2020), including his ideas about the importance of emotional ties and communities of feeling, and how he aimed to overcome blind fury in his later years. The article also discusses how Butler supplements Freud's unfinished research and extends his ideas beyond their original limits. Finally, the implications of these attempts for Korean society, which is currently grappling with the problem of hate speech, are examined in the last section.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129501316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-31DOI: 10.19116/theory.2022.27.3.67
Dae-joong Kim
This essay aims to explore genealogy of community in the contemporary western theories focusing on two major European scholars’ theories of community: Jean-Luc Nancy’s ‘the inoperative community’ and Giorgio Agamben’s ‘the coming community.’ In the history of contemporary theories, Georges Bataille, a French philosopher, contextualizing communication and community, first proposed the idea of ‘Unavowable Community’ which influenced Jean-Luc Nancy’s idea of inoperative community. The inoperative community refuses identity politics and immanence to delineate a community where singular subject, going through desubjectification, take part in unrecognizable community expurgating any violence or drive for death. Nancy metaphysically critiques limit of the idea of community and suggests inoperative community as a metaphysically fundamental community. Though sounding purely ethical, Nancy’s community is product of the collapse of communism and resistance against totalitarian or capitalistic desire for unified community. In turn, the essay delves into complicated ideas of coming community in Giorgio Agamben’s The Coming Community. Agamben, inheriting as well as critiquing Nancy’s inoperative community, proposes ‘potentiality’ and ‘ease’ as the key elements of coming community in which political theology and ethico-ontology center the idea of community of singularity and coming politics.
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Pub Date : 2022-10-31DOI: 10.19116/theory.2022.27.3.5
용균 김
{"title":"한국비평이론학회 창립 30주년을 기념하며","authors":"용균 김","doi":"10.19116/theory.2022.27.3.5","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.5","url":null,"abstract":"<jats:p />","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124194148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-31DOI: 10.19116/theory.2022.27.3.111
S. Kim
A majority of South Korean melodramas produced in the late 1950s are characterized by the “gaps” between clichéd nationalist narrative and exotic international style. This article analyzes 3 PM on a Rainy Day in relation to its cosmopolitan aesthetics and the ethical significance gained from it. The first part of the article examines prior criticism on melodrama and style in order to demonstrate the ways in which melodrama uses style to “speak the unspeakable.” The second part discusses concepts developed by Jacques Rancière and Alain Badiou, such as “the aesthetic regime of art,” “a thwarted fable,” and “impurities” of cinema. Viewing cinema as a truth-seeking singular event, Rancière and Badiou make room for new aisthesis (perception) and thus invite an ethical rethinking of the status quo. 3 PM on a Rainy Day recasts a clash between nationalism and the American-style modernization in postwar Korea within a love triangle between a Korean-American journalist, a Korean veteran, and a Korean woman adored by the two men. The last part argues that the film’s cosmopolitan style packed with western indexes disrupts nationalist narrative and creates a “thwarted fable” which, by unsettling the logical flow of storytelling, reveals the unspeakable: in this film, a cosmopolitan aspiration on the part of the audience consumed by war.
{"title":"Melodramatic Aesthetics and Ethics in 3 PM on a Rainy Day (1959)","authors":"S. Kim","doi":"10.19116/theory.2022.27.3.111","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.111","url":null,"abstract":"A majority of South Korean melodramas produced in the late 1950s are characterized by the “gaps” between clichéd nationalist narrative and exotic international style. This article analyzes 3 PM on a Rainy Day in relation to its cosmopolitan aesthetics and the ethical significance gained from it. The first part of the article examines prior criticism on melodrama and style in order to demonstrate the ways in which melodrama uses style to “speak the unspeakable.” The second part discusses concepts developed by Jacques Rancière and Alain Badiou, such as “the aesthetic regime of art,” “a thwarted fable,” and “impurities” of cinema. Viewing cinema as a truth-seeking singular event, Rancière and Badiou make room for new aisthesis (perception) and thus invite an ethical rethinking of the status quo. 3 PM on a Rainy Day recasts a clash between nationalism and the American-style modernization in postwar Korea within a love triangle between a Korean-American journalist, a Korean veteran, and a Korean woman adored by the two men. The last part argues that the film’s cosmopolitan style packed with western indexes disrupts nationalist narrative and creates a “thwarted fable” which, by unsettling the logical flow of storytelling, reveals the unspeakable: in this film, a cosmopolitan aspiration on the part of the audience consumed by war.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123346523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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