VICARIOS DEL HORROR: LOS HIJOS DE LAS EX ESCLAVAS SEXUALES DE LA ARMADA JAPONESA EN LAS OBRAS DE KIM DONG WON Y BYUN YOUNG JOO
Abstract
Nacidos a la sombra del holocausto asiático, los hijos de las ex esclavas de los militares japoneses tienen la palabra en el Cine Documental Independiente surcoreano. Hijos de sangre, hijos adoptivos, hijos del espanto, hijos de la esperanza. Ellos son, como sostiene Young (2000), vicarios del pasado, los herederos directos del trauma y el dolor de sus madres. El murmullo (1995) y Mi propia respiración (1999) de Byun Young Joo, y Hace 63 años (2008) de Kim Dong Won incorporan breves relatos de los hijos de algunas de las ex mujeres de confort. No ocupan un lugar central ni dominante en las respectivas narrativas, aunque logran desplazar la discusión hacia los dilemas de la transmisión filial del pasado. ¿Qué posición toman respecto de la barbarie sufrida por ellas? ¿Qué características adquiere el lazo madre-hijo/a? El presente artículo retoma el concepto de posmemoria de Hirsch (1997) y los debates regionales sobre el tema, posmemoria Han de Chu (2008), a fin de responder a los interrogantes sugeridos. La tesis central del trabajo sugiere que los relatos de los hijos de las ex mujeres de confort representados en las películas seleccionadas trascienden la cuestión nacional (han) y posicionan la discusión en la revalorización del mundo materno.
Born in the shadow of the Asian Holocaust, the children of the former sexual slaves of the Japanese Army testify in the South Korean Independent Documentary Films. Children blood, adopted children, children of horror, children of hope. They are, as Young (2000) pointed out, vicar of the past. They are the direct heirs of the trauma and pain of their mother says. The murmuring (1995) and My Own Breathing (1999) directed by Byun Young Joo, and Kim Dong Won"s 63 years on (2008) have included short stories of the children of some of the former comfort women. They do not have a central and dominant place in their respective narratives, but they open a new discussion: the transition of historical traumas. What are the children positions regarding to their mother"s suffering? What are the main features of the mother-child relationship? From the theoretical perspective of posmemoria suggested by Hirsch (1997) and Chu (2008)"s posmemoria Han, this articles attempts to answer the research questions. The central thesis of this work proposes that the testimonies of the former comfort women"s children represented in the selected films goes beyond the national question of han. They place the issue in the mother"s world (filial piety).
Born in the shadow of the Asian Holocaust, the children of the former sexual slaves of the Japanese Army testify in the South Korean Independent Documentary Films. Children blood, adopted children, children of horror, children of hope. They are, as Young (2000) pointed out, vicar of the past. They are the direct heirs of the trauma and pain of their mother says. The murmuring (1995) and My Own Breathing (1999) directed by Byun Young Joo, and Kim Dong Won"s 63 years on (2008) have included short stories of the children of some of the former comfort women. They do not have a central and dominant place in their respective narratives, but they open a new discussion: the transition of historical traumas. What are the children positions regarding to their mother"s suffering? What are the main features of the mother-child relationship? From the theoretical perspective of posmemoria suggested by Hirsch (1997) and Chu (2008)"s posmemoria Han, this articles attempts to answer the research questions. The central thesis of this work proposes that the testimonies of the former comfort women"s children represented in the selected films goes beyond the national question of han. They place the issue in the mother"s world (filial piety).
Description
Vol. 19, No. 29