Music, Memory, and Transgression in Ed Bok Lee’s Poetry
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This study uses research on collective memory, music and memory, transnationalism, and transgressive pedagogy to consider the ways in which the Korean American poet Ed Bok Lee presents music as a means of passing on collective memory and critiquing contemporary Korean popular culture. He identifies such memories as giving him a Korean “orientation of the soul” that he inherits from his parents, and he depicts that orientation in poems set in the U.S., especially “Inside Lake Heron,” from Real Karaoke People (2005). He claims to find that orientation most especially in the countryside when he returns to Korea. That orientation turns to disorientation in the cityscape of contemporary Seoul, as depicted through the musical motifs of “Chosun 5.0,” from Whorled (2011). Lee presents hallyu, particularly its musical manifestations, as a consumerist project that neglects Korean culture and history. Participation in that project through the unreflective consumption of k-pop and other manifestations of hallyu, implicates students in the neoliberal global economies that enforce “repetitions of the same” (Michael Hardt and Antonio Negri) through the “liturgical” (Jan Assmann) reinforcement of that sameness. While Lee's poems can contribute to a transgressive, progressive pedagogy as advocated by Hyeyurn Chung and King-kok Cheung, one must also be aware of Lee's essentializing “orientation.” On the terms suggested by Donald Pease, Lee's essential tradition demonstrates that the transnational is also inescapably diasporic.
Abstract
This study uses research on collective memory, music and memory, transnationalism, and transgressive pedagogy to consider the ways in which the Korean American poet Ed Bok Lee presents music as a means of passing on collective memory and critiquing contemporary Korean popular culture. He identifies such memories as giving him a Korean “orientation of the soul” that he inherits from his parents, and he depicts that orientation in poems set in the U.S., especially “Inside Lake Heron,” from Real Karaoke People (2005). He claims to find that orientation most especially in the countryside when he returns to Korea. That orientation turns to disorientation in the cityscape of contemporary Seoul, as depicted through the musical motifs of “Chosun 5.0,” from Whorled (2011). Lee presents hallyu, particularly its musical manifestations, as a consumerist project that neglects Korean culture and history. Participation in that project through the unreflective consumption of k-pop and other manifestations of hallyu, implicates students in the neoliberal global economies that enforce “repetitions of the same” (Michael Hardt and Antonio Negri) through the “liturgical” (Jan Assmann) reinforcement of that sameness. While Lee's poems can contribute to a transgressive, progressive pedagogy as advocated by Hyeyurn Chung and King-kok Cheung, one must also be aware of Lee's essentializing “orientation.” On the terms suggested by Donald Pease, Lee's essential tradition demonstrates that the transnational is also inescapably diasporic.
참고문헌 (25)
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