『딕테』에 나타난 공감의 정치와 여성적 글쓰기
The Politics of Sympathy and Feminine Writing in Dictée
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This paper views Theresa Hak Kyung Cha’s controversial novel Dictée as promoting a feminist politics based on sympathy across national boundaries. This way it distances itself from the kind of criticism, initiated by Elaine H. Kim, that emphasizes the need to contextualize the novel within Korean history and/or the experience of Korean American women. This paper notes the fact that Cha’s novel starts with a story about a young female Korean immigrant, then moves on to bringing to focus quite a few female subjects, fictional and historical, suffering under patriarchy. Locating “an imaginary female comradeship” as a common denominator of the unrelated, multiple episodes, this paper explicates both the narrative strategies facilitating the formation in the novel of such comradeship and its political implications. It also investigates the ways in which the promotion of such a female bonding engages with the Cixousian feminine writing. If it works towards decontextualizing and universalizing the political cause of the female characters, the increasingly abstract and mythical nature of Cha’s narrative runs the high risk of alienating most of its otherwise sympathetic readership from itself, compromising its open, sympathy-based feminist advocacy.
Abstract
This paper views Theresa Hak Kyung Cha’s controversial novel Dictée as promoting a feminist politics based on sympathy across national boundaries. This way it distances itself from the kind of criticism, initiated by Elaine H. Kim, that emphasizes the need to contextualize the novel within Korean history and/or the experience of Korean American women. This paper notes the fact that Cha’s novel starts with a story about a young female Korean immigrant, then moves on to bringing to focus quite a few female subjects, fictional and historical, suffering under patriarchy. Locating “an imaginary female comradeship” as a common denominator of the unrelated, multiple episodes, this paper explicates both the narrative strategies facilitating the formation in the novel of such comradeship and its political implications. It also investigates the ways in which the promotion of such a female bonding engages with the Cixousian feminine writing. If it works towards decontextualizing and universalizing the political cause of the female characters, the increasingly abstract and mythical nature of Cha’s narrative runs the high risk of alienating most of its otherwise sympathetic readership from itself, compromising its open, sympathy-based feminist advocacy.
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