켄 리우의 「굿 헌팅」에 재현된 철도 제국주의와 동양적 스팀펑크 사이보그
Railway Imperialism and Asian Steampunk Cyborg in Ken Liu’s “Good Hunting”
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Recently, speculative fiction (SF) by Asian American writers has garnered simultaneous popularity among the public and critical acclaim. In particular, Ken Liu’s works are gaining recognition for their outstanding depiction of the history and the experiences of Asian Americans as well as Asians through speculative imagination. Among them, his short story “Good Hunting” (2012), set against the historical backdrop of the Opium Wars, skillfully combines the genre characteristics of steampunk with the Asian folktale of the nine-tailed fox. This paper aims to examine railway imperialism and the nine-tailed fox as an Asian steampunk cyborg in “Good Hunting.” To achieve this, the study focuses on two aspects. Firstly, it will explore Western colonial ambitions using railway construction as the epitome of imperialistic technology and the potential for resistance through the contrasting images of dromocracy and sedentariness. Unlike imperialistic technology, the steampunk-infused technology opens up possibilities for resistance against railway imperialism by visualizing the internal labor concealed beneath its ostensibly seamless surface. Secondly, the study seeks to analyze the process through which the Asian steampunk cyborg, born from the fusion of foxes, women, and technology, transcends objectification to acquire subversive subjectivity. In this process, it explores the subversive potential of the cyborg’s body imbued with steampunk aesthetics and highlights the ways in which it embodies resistant subjectivity through the reappropriation of dromocratic imagery.
Abstract
Recently, speculative fiction (SF) by Asian American writers has garnered simultaneous popularity among the public and critical acclaim. In particular, Ken Liu’s works are gaining recognition for their outstanding depiction of the history and the experiences of Asian Americans as well as Asians through speculative imagination. Among them, his short story “Good Hunting” (2012), set against the historical backdrop of the Opium Wars, skillfully combines the genre characteristics of steampunk with the Asian folktale of the nine-tailed fox. This paper aims to examine railway imperialism and the nine-tailed fox as an Asian steampunk cyborg in “Good Hunting.” To achieve this, the study focuses on two aspects. Firstly, it will explore Western colonial ambitions using railway construction as the epitome of imperialistic technology and the potential for resistance through the contrasting images of dromocracy and sedentariness. Unlike imperialistic technology, the steampunk-infused technology opens up possibilities for resistance against railway imperialism by visualizing the internal labor concealed beneath its ostensibly seamless surface. Secondly, the study seeks to analyze the process through which the Asian steampunk cyborg, born from the fusion of foxes, women, and technology, transcends objectification to acquire subversive subjectivity. In this process, it explores the subversive potential of the cyborg’s body imbued with steampunk aesthetics and highlights the ways in which it embodies resistant subjectivity through the reappropriation of dromocratic imagery.
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