In its compositional eloquence, Theresa Hak Kyung Cha’s Dictee preserves the representational complexities of “distance” while it discloses an inceptual, structural relationship to the very inescapability of writing as a scene of language enacted between spaces occupied by “liberal” and “liberated” subject categories. Framed thusly, Dictee , attentive to a developing vitality that is situationally oriented to transnationally constituted space, also performs a disavowal of the categorical-universal within secular-liberal knowledges. Between Rey Chow’s aesthetics, Erin Manning’s writing on performance and embodiment, and Adriana Cavarero’s political theory, this essay argues that origin, disentangled from the present via a transnational lens, is in fact always shared and experienced as criollo ; is a situation always revealing a historico-political imbrication of a creative beginning to a new language of forced imposition.

中文翻译：

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诗意的看到/超越诉说：Theresa Hak Kyung Cha's Dictée 中的“呼唤”

Theresa Hak Kyung Cha 的 Dictee 在其构图雄辩中保留了“距离”的复杂性，同时它揭示了一种概念上的结构关系，即写作作为一种语言场景，在“自由”和“解放”主体占据的空间之间形成类别。在这样的框架下，Dictee 关注以情境为导向的跨国构成空间的发展活力，也否定了世俗自由主义知识中的绝对普遍性。在 Rey Chow 的美学、Erin Manning 关于表演和体现的写作以及 Adriana Cavarero 的政治理论之间，本文认为起源，通过跨国镜头与现在分离，实际上总是作为 criollo 共享和体验；