‘말하는 여자’의 계보로서 테레사 학경 차의『딕테』
Theresa Hak Kyung Cha’s Dictee as Genealogy of Diseuse
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Since the second wave of the feminist movement began, the issue, “for whom does feminism speak for what?” emerged as an important question, revealing various differences and conflicting interests within women, a group which had been presumed to be of a homogeneous quality and interest, mainly those of white middle class women. Especially through discussions made in material feminism and postcolonial feminism, feminism could explore differences among subjects with more critical attention and care, appropriating discourse of postmodernism and post structuralism. In the course of the discussion, discursive construction of subject and representation came into focus. In a discussion around representation, while Mohanty argues that the oppressed should learn to express themselves because representation is destined to distort the represented, Spivak argues that the voiceless is voiceless because they cannot represent themselves, so representation is needed almost as a necessary evil. Leaning toward Spivak’s position, this paper analyzes how the narrator-subject of Dictee records, or rather creates genealogy of diseuse, a woman speaker, whose voice has been tabooed as a disease and therefore has been in disuse. As Spivak does, the narrator of Dictee closely observes processes in which women’s voices are ignored, deflected, and hidden, and through the observation and witnesses thereupon, she resurrects them and as a diseuse, tells the History should be rewritten.
Abstract
Since the second wave of the feminist movement began, the issue, “for whom does feminism speak for what?” emerged as an important question, revealing various differences and conflicting interests within women, a group which had been presumed to be of a homogeneous quality and interest, mainly those of white middle class women. Especially through discussions made in material feminism and postcolonial feminism, feminism could explore differences among subjects with more critical attention and care, appropriating discourse of postmodernism and post structuralism. In the course of the discussion, discursive construction of subject and representation came into focus. In a discussion around representation, while Mohanty argues that the oppressed should learn to express themselves because representation is destined to distort the represented, Spivak argues that the voiceless is voiceless because they cannot represent themselves, so representation is needed almost as a necessary evil. Leaning toward Spivak’s position, this paper analyzes how the narrator-subject of Dictee records, or rather creates genealogy of diseuse, a woman speaker, whose voice has been tabooed as a disease and therefore has been in disuse. As Spivak does, the narrator of Dictee closely observes processes in which women’s voices are ignored, deflected, and hidden, and through the observation and witnesses thereupon, she resurrects them and as a diseuse, tells the History should be rewritten.
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