타자의 공간을 통해 ‘책임의 공동체’를 형성하는 코라적 글쓰기: 어슐러 르 귄의 「오멜라스를 떠나는 사람들」과 토니 모리슨의 『가장 푸른 눈』을 중심으로
“Chora Writing” as a Feminine Writing in Le Guin’s and Morrison’s Fiction
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In Plato’s Timaeus, “chōra” is the name of a formless feminine space which receives all things and constantly transforms them into something else. The womb-like non-space perpetually generates overflowing towards somewhere else “out there” as an explosive excess. Thus, the pregnant chora space is the locus of an opening force that sets the syllable “ex-” in motion and keeps it alive. In this paper, I call a feminine way of writing which shares characteristics of the chora “chora writing,” referring to “feminine writing,” a term coined by Hélène Cixous. In chora writing, feminine fluidity occurs to drive the text beyond all the temptations of centering, beyond the “reduction” of resolution. What “chora writing” promises us by flooding over its own bounds is not somewhere, but somewhere else. This narrative strategy invites the reader into another way of approaching ex-istence, which makes us re-think our way of “being” in a different way. Through chora writing, our “being” can be transfigured into “being able to think the other, to re-make self and to re-create relationships to other(s)” and thus, ultimately, into “being-together-with-other(s)” in a feminine way. “Chora writing” can be an example of “feminine writing” as an on-going performance in which the writer, the characters and the readers share ethical responsibilities toward the other to make the world a better place. In this context, I read Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas” as an allegory of chora writing, and examine how Toni Morrison performs the chora writing in The Bluest Eye.
Abstract
In Plato’s Timaeus, “chōra” is the name of a formless feminine space which receives all things and constantly transforms them into something else. The womb-like non-space perpetually generates overflowing towards somewhere else “out there” as an explosive excess. Thus, the pregnant chora space is the locus of an opening force that sets the syllable “ex-” in motion and keeps it alive. In this paper, I call a feminine way of writing which shares characteristics of the chora “chora writing,” referring to “feminine writing,” a term coined by Hélène Cixous. In chora writing, feminine fluidity occurs to drive the text beyond all the temptations of centering, beyond the “reduction” of resolution. What “chora writing” promises us by flooding over its own bounds is not somewhere, but somewhere else. This narrative strategy invites the reader into another way of approaching ex-istence, which makes us re-think our way of “being” in a different way. Through chora writing, our “being” can be transfigured into “being able to think the other, to re-make self and to re-create relationships to other(s)” and thus, ultimately, into “being-together-with-other(s)” in a feminine way. “Chora writing” can be an example of “feminine writing” as an on-going performance in which the writer, the characters and the readers share ethical responsibilities toward the other to make the world a better place. In this context, I read Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas” as an allegory of chora writing, and examine how Toni Morrison performs the chora writing in The Bluest Eye.
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