Abstract

Yū Miri (1968 ∼) is one of contemporary Japan’s most celebrated authors, and is particularly noted for her contributions to so-called Zainichi literature, or writing by ethnic Korean residents of Japan. Indeed, the majority of scholarship on Yū and her writing has approached both through this paradigm, and has emphasized (in different ways) questions of Zainichi-ness therein. In this essay, I offer a reading of Yū’s 1998 novel Gold Rush and ask what might be revealed if we change tactics, and foreground the sonic dimensions of her writing. Specifically, I argue for attending to what I call critical sonority, which I understand as a complex, tactical deployment of sound as trope, as a way to lay hold of a powerful critique of everyday life in contemporary capitalist Japan. This new approach to Yū’s writing helps to render audible critical interventions that cannot necessarily be reduced to (but that also does not dismiss or discount) questions of nation, ethnicity, or citizenship – and helps us to think about hitherto unheard modes of critical praxis in other libraries and forms of cultural production, as well.

中文翻译：

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杂草中的：尤里（YūMiri），敏锐的声音和日常的危机

摘要

悠美里（1968〜）是当代日本最著名的作家之一，并因其对所谓的Zainichi文学或日本朝鲜族居民的著述而做出的贡献而著称。的确，有关于恩和她的写作的大多数学术研究都是通过这种范式进行的，并且（以不同的方式）强调了其中的Zainichi -ness问题。在本文中，我阅读了尤（Yū）1998年的小说《淘金热》（Gold Rush），并询问如果我们改变策略会发现什么，并展望她写作的声音维度。具体来说，我主张参加所谓的“批判性声音”，我将其理解为一种复杂的，战术上的音像调音，这是对当代资本主义日本的日常生活进行有力批判的一种方式。尤（Yu）写作的这种新方法有助于提出可听见的批评性干预措施，这些干预措施不一定能简化为（但也不能消除或贬低）关于民族，族裔或公民身份的问题，并且有助于我们思考迄今为止闻所未闻的批评实践方式。其他图书馆和文化生产形式。