이미지의 섬광: 한강 소설과 5.18 재현

Abstract

The images of 5.18 and the massacre reproduced in Han Kang's novel are valid for understanding the specificity of Didi-Hubermann's concerns. A reinterpretation of the novel centered on the image as montage opens up the possibility that maps between one author and another, or one text and another, may be drawn differently from conventional literary historical practices: the image or montage crosses interpretive horizons when certain general interpretations gain authority and solidify within the text. “My Woman's Fruit” is a narrative of a woman who dreams of freedom from the pressures of living in a high-rise apartment in a big city, a narrative of so-called vegetative subjectivity that exceeds the male-dominated society, and at the same time, there is room to read it as a narrative that condenses a certain tragic history that the community needs to remember. The genealogy of history and image from Shin Kyong-Sook’s “Until the River Becomes Water” to Han Kang’s “My Woman's Fruit” and back to The Boy Comes is significant in this regard