Performing the Diasporic Sensibility of Displacement: International Korean Adoption in Sun Mee Chomet’s How to Be a Korean Woman
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
This article analyzes Sun Mee Chomet’s play, How to be a Korean Woman, as a point of departure in the history of self-representation by Korean international adoptee writers and artists. The issue of international adoption in Korea parallels the compressed modernity of Korea and Koreans’ changing social and cultural awareness of kinship and ethnic identity. Historicizing international adoption in the Korean context and the controversy over intercountry and interracial adoption within the larger global context, this paper attempts to examine the socio-political commentary and performance politics embedded in Chomet’s play. Chomet’s performance of both humor and satire involves the audience in her shifting sense of belonging and displacement, providing an affective and festive site for social change. Performing international adoption as forced displacement for a transnational audience, Chomet’s diasporic sensibility, based on her life politics, differs from the emancipatory politics of the Baby Boomer generation of American theater artists of Asian ancestry. Representing a new generation of Asian transnational playwrights and performers, Chomet’s work can contribute to creating communities of international adoptees and empower others with similar diasporic experiences through evoking the displaced subject’s sense of mobility and multi-locationality to the audience.
Abstract
This article analyzes Sun Mee Chomet’s play, How to be a Korean Woman, as a point of departure in the history of self-representation by Korean international adoptee writers and artists. The issue of international adoption in Korea parallels the compressed modernity of Korea and Koreans’ changing social and cultural awareness of kinship and ethnic identity. Historicizing international adoption in the Korean context and the controversy over intercountry and interracial adoption within the larger global context, this paper attempts to examine the socio-political commentary and performance politics embedded in Chomet’s play. Chomet’s performance of both humor and satire involves the audience in her shifting sense of belonging and displacement, providing an affective and festive site for social change. Performing international adoption as forced displacement for a transnational audience, Chomet’s diasporic sensibility, based on her life politics, differs from the emancipatory politics of the Baby Boomer generation of American theater artists of Asian ancestry. Representing a new generation of Asian transnational playwrights and performers, Chomet’s work can contribute to creating communities of international adoptees and empower others with similar diasporic experiences through evoking the displaced subject’s sense of mobility and multi-locationality to the audience.
참고문헌 (23)
- Bartholet, Elizabeth, "Children and Youth in Adoption, Orphanages, and Foster Care", pp.108~109 (2005), Greenwood Publishing Group
- Cheah, Pheng, "What is a World? Addressing the Missed Encounter between World Literature and Cosmopolitanism.” A Plenary Speech on “World Literature: Figuring the Cosmopolitan.”", English Language and Literature Association of Korea Conference (2014)
- Chomet, Sun Mee, "How to Be a Korean Woman", An Unpublished Manuscript. Play, ~ (2012)
- Conn, Peter, "The Politics of International Adoption", Origins: Current Events in Historical Perspective, 1(4) (2008)
- Connor, Walker, "Ethnonationalism: The Quest for Understanding" (1993), Princeton UP
- Giddens, Anthony, "Modernity and Self-Identity: Self and Society in the Late Modern Ag" (1991), Stanford UP
- Hubinëtte, Tobias, "Comforting an Orphaned Nation: Representations of International Adoption and Adopted South Koreans in South Korean Popular Culture" (2006), Jimmondang
- Jones, Maggie, "Why a Generation of Adoptees Is Returning to South Korea", New York Times, ~ (2015)
- Kim, Eleana J., "Adopted Territory: Transnational Korean Adoptees and the Politics of Belonging" (2010), Duke UP
- Kim, Kyung Hyun, "The Remasculinization of Korean Cinema" (2004), Duke UP
- Lee, Esther Kim, "Seven Contemporary Plays from the Korean Diaspora in the Americas", pp.11~28 (2012), Duke UP
- Lowe, Lisa, "Immigrant Acts: On Asian American Cultural Politics" (1996), Duke UP
- Jacob Ki Nielsen, "The Return of the Returnee: A Historicized Reading of Adult Overseas Adoptees “Going Back” in South Korean Cinema", The Review of Korean Studies, 18(1), pp.153~178 (2015), 한국학중앙연구원
- Orenstein, Claudia, "Festive Revolutions: The Politics of Popular Theater and San Francisco Mime Troupe" (1998), UP of Mississippi
- Colliding Cultures: Diasporic Writing of the Indian Subcontinen, "Shifting Continents", pp.2000, Paranjape, Makarand
- Park, So Young, "Transnational Adoption, Hallyu and the Politics of Korean Popular Culture", Biography, 33, pp.151~166 (2010)
- Shimakawa, Karen, "National Abjection: The Asian American Body Onstage" (2002), Duke UP
- Shin, Gi-wook, "Ethnic Nationalism in Korea: Genealogy, Politics, and Legacy" (2006), Stanford UP
- Yoo, Ji Young, "Transnational Adoption in Korean Cinema Partial Citizens and Nationalism on Screen", Third Text, 27(5), pp.659~673 (2013)
- Yoo, Ji Young, "Mobilizing Others in Contemporary South Korean Cinema: Adoptees, Migrants, and Defectors in a Multicultural Era", pp.2014