입양인 작가의 자전소설 『중국남자』에 나타난 감정노동 연구
On Affective Labor in The Chinaman by Brynjulf Jung Tjønn, a Norwegian Adoptee
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Adoptees face anxiety when they are alienated from their adoptive families and become subjects of misrecognition when they are taken as immigrants. Everyday conflicts disrupt their wellbeing. Adoptees in Norway often try to gain acknowledgement as the offspring of a white Norwegian family and as Norwegian citizens. When it comes to life as a minority, however, constructing one's identity is not easy. The autobiographical novel, The Chinaman by the Norwegian novelist, Brynjulf Jung Tjønn (an adoptee himself), deals with the affective labor of a Korean-born adoptee. In order to be accepted as a good family member, the protagonist of the novel strives to become a "good enough son." However, despite his efforts, he becomes the sole member of the family who is excluded from his grandmother's funeral because of his adoptee status. After he leaves for Oslo, an anonymous city with no familial ties, he is frequently mistaken for a Chinese immigrant. To avoid such misrecognition, the protagonist tries to pass as a white Norwegian. Nonetheless, his attempts at becoming the “good enough son,” as well as a “real Norwegian,” do not succeed.
Abstract
Adoptees face anxiety when they are alienated from their adoptive families and become subjects of misrecognition when they are taken as immigrants. Everyday conflicts disrupt their wellbeing. Adoptees in Norway often try to gain acknowledgement as the offspring of a white Norwegian family and as Norwegian citizens. When it comes to life as a minority, however, constructing one's identity is not easy. The autobiographical novel, The Chinaman by the Norwegian novelist, Brynjulf Jung Tjønn (an adoptee himself), deals with the affective labor of a Korean-born adoptee. In order to be accepted as a good family member, the protagonist of the novel strives to become a "good enough son." However, despite his efforts, he becomes the sole member of the family who is excluded from his grandmother's funeral because of his adoptee status. After he leaves for Oslo, an anonymous city with no familial ties, he is frequently mistaken for a Chinese immigrant. To avoid such misrecognition, the protagonist tries to pass as a white Norwegian. Nonetheless, his attempts at becoming the “good enough son,” as well as a “real Norwegian,” do not succeed.
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