Returning to the Ruins: Transnational Nostalgia in Paul Yoon’s The Mountain
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The purpose of this paper is to discuss the nostalgic longing in Paul Yoon’s The Mountain. Discourse on nostalgia in the late twentieth century has been neglected primarily because of its escapist mode and conservative tendencies. In borrowing from Svetlana Boym regarding the conceptual distinction between restorative nostalgia and reflective nostalgia, I will attempt to illuminate the world of transnational nostalgia in The Mountain in two ways. Unlike the restorative version of nostalgia that converges on revivalist ideology, Yoon’s nostalgia works as a space for negation and potentialities in which the author envisages transnational mnemonic solidarity among the displaced in the postwar period. First, Yoon’s nostalgia provides a space for negation, off from the regressive past and the teleological future on which nation-state ideology is constructed. Yoon diverts himself from the regressive past in demystifying the victim mentality that lurks in nation-state ideology. He also maintains a critical distance from the teleological goal of postwar states in a lyrical manner. His lyrical style builds the world of nostalgia in which the traumatic past of his characters is kept from political appropriation. Second, following the trajectories of the fragmented memories of the displaced, Yoon constructs a nostalgic space for potentialities. His nostalgia is directed toward an open future in the images of fragments and missing objects in ruins. Works of art, in particular, serve as the world of nostalgic potentialities, neither too particular nor too general, to envision the unrealized past.
Abstract
The purpose of this paper is to discuss the nostalgic longing in Paul Yoon’s The Mountain. Discourse on nostalgia in the late twentieth century has been neglected primarily because of its escapist mode and conservative tendencies. In borrowing from Svetlana Boym regarding the conceptual distinction between restorative nostalgia and reflective nostalgia, I will attempt to illuminate the world of transnational nostalgia in The Mountain in two ways. Unlike the restorative version of nostalgia that converges on revivalist ideology, Yoon’s nostalgia works as a space for negation and potentialities in which the author envisages transnational mnemonic solidarity among the displaced in the postwar period. First, Yoon’s nostalgia provides a space for negation, off from the regressive past and the teleological future on which nation-state ideology is constructed. Yoon diverts himself from the regressive past in demystifying the victim mentality that lurks in nation-state ideology. He also maintains a critical distance from the teleological goal of postwar states in a lyrical manner. His lyrical style builds the world of nostalgia in which the traumatic past of his characters is kept from political appropriation. Second, following the trajectories of the fragmented memories of the displaced, Yoon constructs a nostalgic space for potentialities. His nostalgia is directed toward an open future in the images of fragments and missing objects in ruins. Works of art, in particular, serve as the world of nostalgic potentialities, neither too particular nor too general, to envision the unrealized past.
참고문헌 (14)
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