디아스포라 여성 예술가: 차학경의 『딕테』
A Diasporic Woman Artist: Theresa Hak Kyung Cha’s Dictee
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Theresa Hak Kyung Cha’s Dictee and other visual art works have expanded the notions of both what a book is and what an art work is. As a radically experimental text, Dictee incorporates narrative sections, poetry, modern Korean history, Greek mythology, photography, calligraphy, and other elements of art works. Moreover, the narrator in the text is neither wholly distinct nor identified with the author; multiple subjectivities are emerging in the text and it is evident that the text refuses to reflect a coherent and stable identity. The subject of Dictee is neither developmental nor univocal. As one main narrator in the text, the Korean American woman, exceeds the boundaries and categories of a single national culture and identity, this paper proposes the woman as the ‘Diseuse’ who constantly tries to excavate and speak about the ‘unemployed’ and ‘unspoken’. As a diasporic woman artist, the ‘Diseuse’ painfully tries to represent the unemployed and unspoken from the past and history. The diasporic woman artist creates a new kind of language of her own called ‘pidgin’ to ‘relay the others’. The pidgin is a subversive form of language which omits, inserts, and converts the dominant languages, English and French. Through her new inventive language, a mixed and hybrid form, the Diseuse finds her own way of representing others.
Abstract
Theresa Hak Kyung Cha’s Dictee and other visual art works have expanded the notions of both what a book is and what an art work is. As a radically experimental text, Dictee incorporates narrative sections, poetry, modern Korean history, Greek mythology, photography, calligraphy, and other elements of art works. Moreover, the narrator in the text is neither wholly distinct nor identified with the author; multiple subjectivities are emerging in the text and it is evident that the text refuses to reflect a coherent and stable identity. The subject of Dictee is neither developmental nor univocal. As one main narrator in the text, the Korean American woman, exceeds the boundaries and categories of a single national culture and identity, this paper proposes the woman as the ‘Diseuse’ who constantly tries to excavate and speak about the ‘unemployed’ and ‘unspoken’. As a diasporic woman artist, the ‘Diseuse’ painfully tries to represent the unemployed and unspoken from the past and history. The diasporic woman artist creates a new kind of language of her own called ‘pidgin’ to ‘relay the others’. The pidgin is a subversive form of language which omits, inserts, and converts the dominant languages, English and French. Through her new inventive language, a mixed and hybrid form, the Diseuse finds her own way of representing others.
참고문헌 (33)
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