환영(幻影)과의 전쟁 ― 딩링의 옌안 시기 소설 서사, 공포와 "이모티브(emotives)"
The War with Ghosts: Fear and “Emotives” in Ding Ling’s Fiction from Yan’an
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Through a close and intertextual reading of “An Unshot Bullet” and “New Faith” by Ding Ling and poems from Wenyi zhendi (The stronghold of literature and art), this essay examines how these works bring the emotion of fear into the fore and how the experience of the Sino-Japanese war was couched in these terms. It aims to show the ways in which notions of the war are mapped out culturally and epistemically in these texts, particularly centering on how fear is projected on emotion-laden words such as gui, signifying ghosts but also allies and enemies figured as ghosts, as well as the color red. Drawing upon Reddy’s concept of “emotives,” the essay addresses performative aspects of emotional expression in conjunction with fear and anxiety. Characters in Ding’s fiction are afflicted with a rush of intractable fear that culminates in collective fear, thereby turning the physical war into a proliferation of fear and a war against emotions, a “ghostly” encounter with emotional “enemies” in cultural production. Through focusing on fear and emotives, this essay offers an analysis of the cultural dynamics of the war—a critical venue for rethinking the dichotomy of victimizer and victim, which is so often predicated on differences in nationality in representations of the war. Examination of both the limits and the significant cultural implications of teleological narratives from Yan’an will render more conspicuous the literary achievements of Ding’s writing: her stories render the politics of belligerent inter-nations into an internal regime of fear and mutual suspicion among the Chinese, thereby contesting the prevailing narratives of the war of resistance and Chinese nationalism at large. From the standpoint of gender and memory, the last part of the essay addresses how wartime experience is mobilized and represented in gendered ways in order to realize the cult of chastity, embodying both female empowerment and disempowerment. Finally, the essay discusses the cultural significance of the “emotional regime” constructed by Chinese writers; by showing the intertwined interplay of emotional forces in conflict with trepidation and intrepidity, along with the workings of inner-outer boundaries, it suggests how the experience of war can be remapped in order not to forge a homogeneous nationality.
Abstract
Through a close and intertextual reading of “An Unshot Bullet” and “New Faith” by Ding Ling and poems from Wenyi zhendi (The stronghold of literature and art), this essay examines how these works bring the emotion of fear into the fore and how the experience of the Sino-Japanese war was couched in these terms. It aims to show the ways in which notions of the war are mapped out culturally and epistemically in these texts, particularly centering on how fear is projected on emotion-laden words such as gui, signifying ghosts but also allies and enemies figured as ghosts, as well as the color red. Drawing upon Reddy’s concept of “emotives,” the essay addresses performative aspects of emotional expression in conjunction with fear and anxiety. Characters in Ding’s fiction are afflicted with a rush of intractable fear that culminates in collective fear, thereby turning the physical war into a proliferation of fear and a war against emotions, a “ghostly” encounter with emotional “enemies” in cultural production. Through focusing on fear and emotives, this essay offers an analysis of the cultural dynamics of the war—a critical venue for rethinking the dichotomy of victimizer and victim, which is so often predicated on differences in nationality in representations of the war. Examination of both the limits and the significant cultural implications of teleological narratives from Yan’an will render more conspicuous the literary achievements of Ding’s writing: her stories render the politics of belligerent inter-nations into an internal regime of fear and mutual suspicion among the Chinese, thereby contesting the prevailing narratives of the war of resistance and Chinese nationalism at large. From the standpoint of gender and memory, the last part of the essay addresses how wartime experience is mobilized and represented in gendered ways in order to realize the cult of chastity, embodying both female empowerment and disempowerment. Finally, the essay discusses the cultural significance of the “emotional regime” constructed by Chinese writers; by showing the intertwined interplay of emotional forces in conflict with trepidation and intrepidity, along with the workings of inner-outer boundaries, it suggests how the experience of war can be remapped in order not to forge a homogeneous nationality.
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