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ENTANGLED TESTIMONIES: TECHNOLOGIES of SUBJECTICITY in ASIAN AMERICAN WOMEN's WRITING a Dissertation Presented to the Faculty

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ENTANGLED TESTIMONIES: TECHNOLOGIES of SUBJECTICITY in ASIAN AMERICAN WOMEN's WRITING a Dissertation Presented to the Faculty ENTANGLED TESTIMONIES: TECHNOLOGIES OF SUBJECTICITY IN ASIAN AMERICAN WOMEN’S WRITING A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements of the Degree of Doctor of Philosophy by Mee-Ju Ro August 2018 In the voices we hear, isn’t there an echo of now silent ones? Don’t the women we court have sisters they no longer recognize? If so there is a secret agreement between past generations and the present one. Then our coming was expected on earth. Then, like every generation that preceded us, we have been endowed with a weak messianic power, a power on which the past has a claim. Such a claim cannot be settled cheaply. —Walter Benjamin, “On the Concept of History” (390) All responsible witnessing engages a poetic experience of language. —Jacques Derrida, Sovereignties in Question (66) © 2018 Mee-Ju Ro ALL RIGHTS RESERVED ENTANGLED TESTIMONIES: TECHNOLOGIES OF SUBJECTIVITY IN ASIAN AMERICAN WOMEN’S WRITING Mee-Ju Ro, Ph.D. Cornell University 2018 Foucault writes, “Western man has become a confessing animal” where “one goes about telling, with the greatest precision, whatever is most difficult to tell” (The History of Sexuality 59). And he argues that it is through this act of “self-examination” that we come to form the “basic certainties of consciousness” (59). Confession, a species of testimony, is a technology of subjectivity that has undergone a particular modern turn constituted as a mode of autonomous self-expression. I contend that this modern turn is analogous with the relatively recent rise of the form of quotation and reported speech. Whether it is about myself, an event, or someone else, testimony always employs some configuration of reported speech, most importantly reported “inner” speech. Consequently, accurate testimony becomes a matter of finding the closest and most approximate calibration to this inner truth. I argue that Asian American women’s writing, particularly when it tries to bear witness to a traumatic history, demands an account of testimony that arises from within a relation of address, rather than from within an individual’s singular experience. From Maxine Hong Kingston’s The Woman Warrior, Nora Okja Keller’s Comfort Woman, Theresa Hak Kyung Cha’s DICTEE, to Yoko Tawada’s Memoirs of a Polar Bear, I read primarily Asian American texts that are transpacific in scope. These texts are narrated by multiple generations of women who must contend with the dislocation of migration and a history of violence. Entangled Testimonies insists that testimony and its relationship to historical redress must necessarily come from the point of view of difference with regard to hybridity, translation, race, and women’s writing. Drawing on the Bakhtinian notion of heteroglossia, Entangled Testimonies puts forward a theory of testimony that is “entangled, shot through with shared thoughts” and “the alien words of others.” In doing so, it disrupts the Euro-centric concept of the individual and the schema of proof that is at the heart of modern forms of testimony. Testimony emerges not as the monadic expression of discrete, autonomous subjectivity but instead as the entangled and shared expression of a set of social relations. By arguing for more expansive forms of testimony, Entangled Testimonies asks: how can the traumas of migration, embedded in a larger history of violence, be reopened? BIOGRAPHICAL SKETCH Mee-Ju Ro is a Korean Canadian born and raised in Toronto, ON. She did her BA at Queen’s University in Kingston, ON. After having completed her doctoral degree in English Literature at Cornell University, she looks forward to another semester of teaching as a Lecturer in the English Department. She is also an aspiring short story writer and recently published her first, “seoriseori,” in an interdisciplinary Canadian literary journal, The New Quarterly (TNQ). iii For my mother, thank you for making enough room in your soul for a small bear iv ACKNOWLEDGEMENTS I am grateful to Professor Shelley Sunn Wong who was more than an extraordinary advisor. Her spirit of generosity, her wisdom, and rigor do not go unmarked. At every turn possible, you were in my corner, and I felt safe. I would like to thank Professor Cathy Caruth whose work has been the point of departure for my own scholarship, who also taught me that close reading is like the act of listening, intently and carefully. Thank you for listening to me. Professor Naoki Sakai’s input and guidance has also been fundamental to the development and completion of this dissertation—I am very much a student of your work; the trace of your work can be found in every line of this dissertation. I still remember what you said when I wound up in your office concerned because I wasn’t sure how to cite or give credit to that kind of influence –you said, simply, not to worry about it because that was the nature of teaching. As long as I continue to teach in some form, I will never forget that. I am indebted to my colleagues, Amber Harding, Jane Glaubman, Ji Hyun Lee, Jesse Goldberg, Andrea Mendoza, Paul McQuade, and Sarah Lim for their encouragement, support, and inspiration. Your friendship means a lot to me, and my time here was less lonely for it. My dear friend, Laura Contini, I couldn’t have done it without you. I would like to thank Gajanika Sathiyaseelan, who taught me what friendship could be like. I am indebted to my father, whose life taught me that kindness and generosity does not arise, necessarily, out of plenty. A significant portion of the research on comfort women was made possible by the Lee Teng-Hui Fellowship, awarded through the East Asian Studies Program at Cornell University. Finally, for my professor Paul Kelley, who first taught me that we had a responsibility to thought. Who also believed that I would do good things. v TABLE OF CONTENTS Biographical Sketch iii Dedication iv Acknowledgements v Table of Contents vi INTRODUCTION 1 PART I: The Tale of Arang 1 PART II: Subjectivity in Translation 8 PART III: A Genealogy of Individualism 10 PART IV: Possession in Quotation Marks 13 PART V: Reported Speech and the Kut 19 PART VI: Asian American, Transpacific Women’s Writing 22 PART VII: Madang—A Literary Space 24 CHAPTER 1, A Techno-Mediatic, Testimonial Modernity 55 PART I: I, Pierre 58 PART II: Testimony as a Technology of Subjectivity 78 PART III: Faith and Truth 89 CHAPTER 2, A Theory of Entanglement: The Subject in Transit 95 PART I: Trauma and Translation 95 PART II: Memory and Trauma 96 PART III: Intergenerational Trauma, The Subject in Relation 100 PART IV: Representation and Repetition 108 PART V: Testimony, Trauma, Translation 111 PART VI: Theories of Translation— From a Communications Model to Relationality 114 PART VII: Telecommunications Model 117 PART VIII: Quantum Entanglement and a Theory of Testimony 119 PART IX: Entanglement and Heteroglossia 125 CHAPTER 3, The Quotable Gesture: Reported Speech, Performance, and Possession 127 PART I: Epic Theater 127 PART II: Performativity and Possession 132 PART III: Laurel Kendall’s The Life and Hard Times of a Shaman: Technologies of Recorded Speech 133 CHAPTER 4, “Genres Are Not Innocent”: Women’s Autobiography and Asian American Literature 145 PART I: Asian American Pen Wars 145 PART II: Narrating A Life and Hard Times 155 PART III: Fatigue as a Political Question 157 PART IV: Autobiography and Bildungsromane: American Gatekeeping and Assimilation 164 PART V: Toward a Question of Complexity 171 PART VI: Asian American Mothers 173 vi PART VII: The Mother and Politics 176 PART VIII: Without Self, The Work of Melancholia 183 PART IX: Compounded Impossibilities 190 CHAPTER 5, The Woman Warrior: A Close Reading 193 CHAPTER 6, Murmuring in Theresa Hak Kyung Cha’s DICTEE 213 CHAPTER 7, Comfort Women Studies and the Testimonial Form 241 PART I: Comfort Women and The Redress Movement 241 PART II: Comfort Women Studies 249 PART III: An Age of Post-Silence, Can the Subaltern Be Silent? 257 PART IV: Haewon Chinhon Kut 262 PART V: Silence Quoted in Silence Broken 266 CHAPTER 8, Possession and Hospitality in Nora Okja Keller’s Comfort Woman 273 CONCLUSION, Memoirs of a Polar Bear 312 Genealogies: An Addendum 334 WORKS CITED 342 vi INTRODUCTION PART I: The Tale of Arang Dating back to Korea’s Joseon dynasty, the tale is about its eponymous Arang, the beautiful, young daughter of Miryang’s highest official. She is seduced by her nurse to go for a night walk in the garden where an admirer lies in wait to rape her. After being violently raped, Arang is killed by her rapist. Arang’s dishonored, elderly father hears the circumstances of her untimely death, and he takes his life (some versions have him simply resign or sent away). A newly appointed magistrate arrives, but he is found dead the next morning. A chain of new magistrates, one after another, come to Miryang in the hopes of filling the post, but none survive the first night in his quarters. The restless spirit of Arang appears in the night and the men die of fright. Seasons pass, and a young, honorable magistrate arrives in Miryang. During his first night, Arang appears before him and tells him her woeful tale. He miraculously, some versions attribute it to his noble character, survives the encounter and she reveals to him where her body, yet unburied, lies. The tale of Arang is much more than a narrative of crime because the testimony itself, perhaps more than any other character, is a central figure. By the same token, her testimony is much more than the narrativization of the crime because her plaint consists, also, in her inability to tell her story: I had something to say, but each time I tried to open my mouth, the magistrate died of fright, and I could not say what I had come to say.
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