국제입양 한국계 덴마크인 문학과 영상의 뿌리/정체성 전유 방식: 에바 틴드, 제인 진 카이젠, 마야 리 랑그바드의 조형성과 미적 정치

Abstract

This study analyzes the literary plasticity and politics of formal aesthetics of text of three Korean-Danish artists: novelist Eva Thind, film director Jane Jin Kaisen, and poet Maja Lee Langvad, all of whom have experienced trasnational adoption, through translation criticism. Although the specific plastictiy differ due to the nature of their own genre, the subjects of these works explore things related to Korea, which is assumed to be ‘root’ or their ‘identity’, and rather than excavating the history of the meaning of root, they maintain a sense of de-semanticization and question for the practice of ‘finding’ roots. Eva Tind’s Ophave(Roots) was written with a plot in which the three protagonists break away from social norms and normal family ideologies to find their roots. In this work, finding roots is not a task of rummaging through the assumed certain roots. Rather, in the process of encountering unfamiliar others and experiencing serendipity, the ‘finding’ plot is recaptured into a ‘becoming’ plot resulting in changing the existences in the world continuously by focusing on the in-betweenness of the roots and exploring. This shift was contributed by the Dialectics at a Standstill and the penetration of an intermediality. Particularly, the narrative of the journey from Denmark to Marado of South Korea is appropriated with an open ending that suggests a new transformation of the subject. Jane Jin Kaizen was adopted from Jeju of South Korea and her work Reiterations Of Dissent is an over-determined film in which eight narratives are intertwined into one montage and played simultaneously, and each narrative is also composed as a montage of heterogeneous language and images. The fragmentation and disharmony shown in the montage resist linear history of Jeju 4.3 and its synthesization in social norms and dramatize gestural images to constantly present the Jeju 4·3 as an anachronistic event. In addition, the resistance continues through poetic chain-writing. Maya Lee Langbad’s HUN ER VRED(She Is Angry) brings into play of negative dialectics that make the contradictions of the poetic subject and the world be synthesized, collided, dismantled, and reorganized in the literature through the Anaphora rhetoric that repeats “She is angry” 1,554 times at once. In this process, the poetic subject calls out the counter-reconciliation will and desire triggered by the death drive behind it rather than the represented passion of “angry” on the text. The common plasticity of these three mediates the project to resist the order and signification from the Other that dominates the representational system of reality and to reconstruct notions of roots/identity. This is a testament to how their experiences of unintended transnational adoption, while lingering as losses and gaps, revert to signifier that shake the their existence. By giving their own artistic form to and around that signifier, the three artists have been delaying the a priori determination of their identities.