Ulteriori informazioni
In what ways can or should art engage with its social context? Authors, readers, and critics have been preoccupied with this question since the dawn of modern literature in Korea. Advocates of social engagement have typically focused on realist texts, seeing such works as best suited to represent injustices and inequalities by describing them as if they were before our very eyes.
Christopher P. Hanscom questions this understanding of political art by examining four figures central to recent Korean fiction, film, and public discourse: the migrant laborer, the witness to or survivor of state violence, the refugee, and the socially excluded urban precariat. Instead of making these marginalized figures intelligible to common sense, this book reveals the capacity of art to address the "impossible speech" of those who are not asked, expected, or allowed to put forward their thoughts, yet who in so doing expand the limits of the possible.
Impossible Speech proposes a new approach to literature and film that foregrounds ostensibly "nonpolitical" or nonsensical moments, challenging assumptions about the relationship between politics and art that locate the "politics" of the work in the representation of content understood in advance as being political. Recasting the political as a struggle over the possibility or impossibility of speech itself, this book finds the politics of a work of art in its power to confront the boundaries of what is sayable.
Sommario
Acknowledgments
Introduction: Impossible Speech and the Politics of Literature
1. The Return of the Real in South Korean Fiction
2. Displacing the Common Sense of Trauma: Han Kang's
A Boy Is Coming3. Fabricating the Real: Accounting for North Korea in Escapee Narratives and in Fiction
4. Disturbing Sensibility: Transgressing Generic Norms in
Castaway on the Moon and
I'm a Cyborg, but That's OKConclusion
Notes
Bibliography
Index
Info autore
Christopher P. Hanscom
Riassunto
Christopher P. Hanscom questions common understandings of political art by examining four figures central to recent Korean fiction, film, and public discourse: the migrant laborer, the witness to or survivor of state violence, the refugee, and the socially excluded urban precariat.
