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<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Dear all,</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3></FONT> </P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>I would like to present a paper or organize a panel for AAS about Korean
literature, and am looking for participants. I think papers about literary
criticism, colonialism, language, the division of Korea, and gender could all be
relevant.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3></FONT> </P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>The moment and consciousness: the poetics of motion in Korean
literature</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"><SPAN
style="mso-tab-count: 1">
</SPAN>I am interested in what poet and scholar Heather McHugh has described as
the poetics of synecdoche—taking things together, or relations of part and
whole, and how each permeate one another; the momentary, and its continuity with
a flow of time; the present as monumental, and as flow or loss (McHugh 1993: 6,
18); and relations between consciousness and language. Gilles Deleuze writes of
the moment as a mobile section of duration.<SPAN
style="mso-spacerun: yes"> </SPAN>Contemporary Korean writer Yi In-sŏng’s
literary works can be seen as explorations of the tension between the momentary
and its continuity with a flow of time.</FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"><SPAN
style="mso-tab-count: 1">
</SPAN>Ideas about consciousness and language too can be described with a
poetics of motion.<SPAN style="mso-spacerun: yes"> </SPAN>Heather McHugh
describes poetry as the refinement of language until it is able to suggest
inexpressible experiences of consciousness and depths of presence—a kind of
perpetual motion, enacting poised opposites that do not annihilate each other’s
meanings (McHugh 1993:18).<SPAN style="mso-spacerun: yes"> </SPAN>Poet
Marie Ponsot has written of poetry as emerging from the hope of recognition
across the bounds of separateness between mind and language, self and others
(Ponsot 2002: 144), whereas Jacques Lacan considers the subconscious to be
structured like a language, and many literary critics believe consciousness to
be co-extensive with language.<SPAN style="mso-spacerun: yes">
</SPAN>There is an unresolved tension within, and between these different ideas
about consciousness and language.<SPAN style="mso-spacerun: yes">
</SPAN>Yi In-sŏng’s formless, stream-of-consciousness narratives meditate upon
the relations between consciousness and language, self and other, and the
overdetermination of Korean language by global discourse.<SPAN
style="mso-spacerun: yes"> </SPAN>Early modern writer Yi Kwang-su faced
the dilemma of how to resist Japanese imperialist policies of cultural
assimilation, and write about the Korean present as flow and
loss.</FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"><SPAN
style="mso-tab-count: 1">
</SPAN>I am interested in both the dynamics of the moment, and the dynamics of
consciousness and language, in modern Korean literature.</FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Dudley Andrew.<SPAN style="mso-spacerun: yes"> </SPAN>“Tracing
Ricoeur.”<SPAN style="mso-spacerun: yes"> </SPAN>Review of <I>Paul
Ricoeur: Les Sens d’Une Vie</I>.<SPAN style="mso-spacerun: yes">
</SPAN><I>diacritics</I> 30.2 (summer 2000): 43-69.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Cho Hae-joang.<SPAN style="mso-spacerun: yes"> </SPAN>T’al
singminji sidae chisigin ŭi kŭl ilkki wa salm ilkki.<SPAN
style="mso-spacerun: yes"> </SPAN>Vol. 1.<SPAN
style="mso-spacerun: yes"> </SPAN>Seoul: Tto hana ŭi munhwa,
1996.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Choi Chung-moo.<SPAN style="mso-spacerun: yes"> </SPAN>Personal
communications about Gilles Deleuze.<SPAN style="mso-spacerun: yes">
</SPAN>Southern California Korean Studies Colloquium, 1994.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Gilles Deleuze.<SPAN style="mso-spacerun: yes"> </SPAN><I>The
movement-image.</I><SPAN style="mso-spacerun: yes"> </SPAN>Translated by
Hugh Tomlinson and Barbara Habberjam.<SPAN style="mso-spacerun: yes">
</SPAN>Minneapolis, MN: University of Minnesota Press, 1986.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Heather McHugh (1993).<SPAN style="mso-spacerun: yes">
</SPAN><I>Broken English</I>.<SPAN style="mso-spacerun: yes">
</SPAN>Hanover and London: Wesleyan University Press, 1993.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Marie Ponsot.<SPAN style="mso-spacerun: yes">
</SPAN><I>Springing.</I><SPAN style="mso-spacerun: yes"> </SPAN>New
York:<SPAN style="mso-spacerun: yes"> </SPAN>Alfred A. Knopf,
2002.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Mike Shin.<SPAN style="mso-spacerun: yes"> </SPAN>Personal
communications about Yi In-sŏng.<SPAN style="mso-spacerun: yes">
</SPAN>U.C. Berkeley, 1991-1992.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT size=3><FONT
face="Times New Roman"> <o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Yi In-sŏng.<SPAN style="mso-spacerun: yes"> </SPAN>Natsŏn sigan
sogŭro.<SPAN style="mso-spacerun: yes"> </SPAN>Seoul: Munhak kwa
chisŏngsa, 1997.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3></FONT> </P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Thank you.</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3></FONT> </P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Sincerely yours,</FONT></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3></FONT> </P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><FONT face="Times New Roman"
size=3>Ann Lee</FONT></P></FONT></DIV>
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