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Date: 2025-01-01

Creator: Seo Yeon (Sophie) Yook

Access: Open access

My project examines the enduring legacy of the May 1980 Gwangju Uprising and its reverberations across Korean and Korean American literature, memory, and identity. Framed by the unforeseen reemergence of martial law in South Korea on December 3, 2024–an event that eerily echoed the nation’s violent, authoritarian past–this project interrogates how historical trauma continues to resurface and be reflected in political reality and cultural narrative. Anchored in close readings of Han Kang’s Human Acts and E. J. Koh’s The Liberators, my project traces a literary and ethical journey mapped through the metaphor of the wound: “Bloodshed,” where pain erupts; “Inflammation,” where it lingers and deepens; and “Growth and Rebuilding," where healing becomes imaginable, if never quite complete. The first chapter positions Han’s polyphonic novel as a work of countermemory, a literary act of resistance against state-sanctioned silence that then demands active readerly participation. The second chapter turns to Koh’s diasporic narrative to consider how trauma migrates across generations and geographies through the medium of translation, revealing the subtler textures of inherited pain. Finally, the last chapter synthesizes theories of postmemory and reparative reading to intimate how the pair of texts move beyond trauma’s paralysis, imagining pathways toward healing, remembrance, and collective renewal. Ultimately, I contend that literature offers a vital site for rearticulating and re-envisioning suppressed histories, particularly in the wake of political repression and cultural amnesia. In returning to Gwangju as a living, aching wound, this project engages in the ethical labor of remembrance and the hopeful, reparative task of repair. It affirms narrative as both vessel and balm, as a means of bearing pain and of gesturing toward the possibility of healing across time, space, language, and community.

Date: 2016-05-01

Creator: Jesse Ortiz

Access: Open access

Increasingly, David Foster Wallace is becoming a cult figure among literary enthusiasts. His novels, essays, and short stories are all known for their poignant critiques of modern culture. Since his 2008 suicide, Wallace’s name has come to represent a way of thinking that rejects – and perhaps transcends – the hegemonic power of late capitalism. Wallace had a problem with pleasure. His writing often seemed to deflate or deconstruct what many people enjoy. For him, so much was “supposedly fun.” To understand Wallace’s relationship with pleasure, we must see how pleasure incorporates aesthetics and consumption. Wallace takes issue with the pleasure that comes from the aesthetics of cultural commodities. Irony produces pleasure, which turns culture into a desirable commodity. In my first chapter, I argue that Wallace’s essays challenge aesthetic pleasure by deconstructing self-reflexive irony. In his descriptions of consumer culture, Wallace evokes the feeling of disgust to undo the aesthetic pleasure of consumption. In my second chapter, I move to Infinite Jest to show how Wallace engages with irony while using it to exceed aesthetic pleasure. Infinite Jest challenges the hierarchy of aesthetics and suggests that deformity and waste can be beautiful and important. Infinite Jest demonstrates that, by trusting others instead of pursuing aesthetic ideals, people can build communities that are more honest and fulfilling than the pleasure of consumption.