Reviewed by:

• Originless fantasy: Reading Korean modern and contemporary cultural history from feminist perspectives ed. by O Hyejin
• Soo Ryon Yoon

Originless Fantasy is a 600-page opus written by fourteen authors who interrogate feminist cultural practices at a moment when feminism has become a contentious buzzword in South Korea. Based on a series of public lectures given in 2018, this edited volume is a timely response to the resurgence of public interest in feminism, which started as a reaction to a chain of events including the #MeToo Movement. The contributing pieces vary in terms of their topics, depths, disciplines, and methods. At first glance this volume will strike readers as somewhat unwieldy, but they will realize that the expansiveness is an intended effect pursued by the authors to collectively demonstrate against the practice of taxonomizing diverse works of feminist praxis.

This move becomes a "fantasy" for radical transformation in cultural practices: The contributors imagine the fantasy of feminist praxis as nonnormative practices, which exceed formulaic oppositional binarism, e.g. masculinity vs. femininity, authenticity vs. appropriation, cisgender vs. transgender, heterosexual vs. non-heterosexual (8–9). This act critiques the reduction of [End Page 581] feminism to a "mechanical reversal" of an existing gendered arrangement of identities and cultural practices (9). The title starts to make sense here: if feminist scholarship maintains essentialist binary oppositions, it ultimately fails to explain nonnormative practices and desires as anything other than derivatives of the originary. The edited volume thus insists that we imagine slippages as a productive possibility that troubles oppositional binarism.

The preface is followed by robust discussions of case studies in fourteen chapters. While chapters are roughly sequenced in chronological order in four segments, they are curated in a way that deflects from a "unified vision" (12) cohering to a singular feminist cultural history.

Section One explores the sexual politics of deviant bodies in colonial and pre-1980s Cold War Korea. Pak Cha Min Jung [Pak Cha Minjeong]¹ examines 1930s writings and discusses homicide cases involving women's same-sex relations, which shaped clinical pathology on women's deviance. Lee Hwajin [Yi Hwajin] explores ethnic crossdressing of Korean women in kimono in filmic representations. Their colonial mimicry conforms to the empire's demands and simultaneously troubles the ethnic distinction. Siren eun young jung [Jeong Eunyeong] interrogates the act of archiving yeoseonggukgeuk or women-only performance. Jung proposes sensorium as a way to understand the traces of queer subjects in yeoseonggukgeuk, problematizing the visual imperatives as the only form of archiving the performance form. Lastly, Kim Daehyun [Kim Daehyeon] examines the "diva" performers on the 1960s Walkerhill Hotel stage, including ciswomen and gender nonconforming talents. Their feminized performances furnished them with visibility even as they fought the statesanctioned commodification of women's bodies.

Section Two enters the 1980s, when young women's pop-cultural consumption began to destabilize cultural normalcy and authenticity. Hahn Chaeyoon [Han Chaeyun] writes a unique contribution based on her own 1980s archival materials and experiences as a "fangirl." Han investigates the fans of singers Lee Sun-hee [Yi Seonhui] and Lee Sang-eun [Yi Sangeun], who fashioned themselves as tomboys. Expanding her discussion to include Amber of girl group f(x), Hahn offers an alternative genealogy of tomboy singers and [End Page 582] their fans as the agents who "queer" heteronormative cultural practices. Oh Hyejin [O Hyejin] recuperates the acts of reading Harlequin Romances and women's magazines in the 1980s. Oh concludes that women's reading culture was an experiment that allowed women readers to articulate sexual and intellectual desires, blurring the borders between literature and pop culture. Heo Yoon [Heo Yun] focuses on the popular romance comics series Blue and its 1990s women fandom. Heo reads possibilities of subversive metanarratives from Blue, which transgresses a heteronormative romance scenario through its subplots of homosociality, same-sex desires, and...

审核人：

• 无源的幻想：从女权主义的角度阅读韩国近现代文化史。由O Hyejin
• 秀荣尹

《无源的幻想》是一部长达600页的作品，由十四位作者撰写，他们在女权主义已成为韩国有争议的流行语时，质疑女权主义的文化习俗。基于2018年举行的一系列公开演讲，本编辑后的卷是对公共主义在女权主义上重新兴起的及时回应，这是对包括#MeToo运动在内的一系列事件的反应。贡献作品的主题，深度，学科和方法各不相同。乍一看，这本书会使读者觉得有些笨拙，但他们会意识到，扩张性是作者为了集体展示反对将女权主义实践的各种著作进行分类的做法而产生的预期效果。

这一举动成为文化实践发生根本性转变的“幻想”：贡献者将女权主义实践的幻想想象为非规范性实践，它超越了公式化的对立二元主义，例如男性气概与女性气质，真实性与挪用，顺从性别与变性，异性与VS 。非异性恋（8–9）。该法案批评了[End Page 581]的减少。女权主义对身份和文化习俗的现有性别安排的“机械逆转”（9）。标题在这里开始变得有意义：如果女权主义学术界坚持本质主义的二元对立，那么它最终将无法解释非规范性的实践和欲望，而不是原著者的衍生品。因此，编辑后的书坚持认为，我们将滑脱想象为困扰对立二元主义的一种生产可能性。

在序言之后，有十四章对案例研究进行了激烈的讨论。尽管各章按时间顺序大致分为四个部分，但它们的编排方式偏离了统一于单一女性主义文化历史的“统一视野”（12）。

第一节探讨了殖民地和1980年代以前的冷战时期朝鲜的异体的性政治。Pak Cha Min Jung [Pak Cha Minjeong] ¹审视了1930年代的著作，并讨论了涉及女性同性关系的凶杀案，这些案件塑造了女性偏离性的临床病理。Lee Hwajin（Yi Hwajin）探索和服电影中韩国妇女的民族装扮。他们的殖民模仿符合帝国的要求，同时也困扰着种族差异。警笛恩青年钟静恩（Jeong Eunyeong）质疑存档yeoseonggukgeuk或仅女性表演的行为。荣格（Jung）提出感官作为了解永城国歌中酷儿主题的一种方式，将视觉命令作为存档表演形式的唯一形式问题化了。最后，金大贤（Kim Daehyeon）考察了1960年代华克山庄酒店舞台上的“歌舞表演”表演者，其中包括顺从女性和不符合性别的才能。他们的女性化表演为她们提供了知名度，即使她们与女性身体的国家商品化进行了斗争。

第二节进入1980年代，当时年轻女性的流行文化消费开始破坏文化常态和真实性。Hahn Chaeyoon [Han Chaeyun]根据她自己1980年代的档案资料和作为“歌迷”的经历，做出了独特的贡献。韩寒调查了歌手李善熙（易善熙）和李相恩（易善根）的粉丝，他们将自己塑造成假小子。Hahn将讨论范围扩大到包括f（x）女子组合的Amber，Hahn提供了假小子歌手的另类谱系和[End Page 582]他们的粉丝是“质疑”异规范文化习俗的代理商。Oh Hyejin [O Hyejin]恢复了1980年代阅读Harlequin Romances和女性杂志的行为。Oh得出结论，女性阅读文化是一项实验，它使女性读者能够表达性欲和知识欲，从而模糊了文学与流行文化之间的界限。Heo Yoon [Heo Yun]专注于流行的浪漫漫画系列Blue及其1990年代的女性粉丝。Heo从Blue中读取了颠覆性的元叙事的可能性，Blue通过其同性，同性欲望和...的子情节突破了异性规范的浪漫情节。