Abstract:

This article examines the works of Kim Yujeong as a contemporary response to Ikaino literature, a subgenre of Zainichi Korean literature that flourished from the 1950s–1980s. Ikaino is the old name of the neighborhood of Osaka that was and remains the area of Japan with the largest population of Zainichi Koreans. Ikaino’s origins as a settlement of Korean migrant laborers in the 1920s and its official erasure from Osaka city maps in 1973 have often been mythologized within Zainichi Korean fiction and poetry. I read Kim Yujeong’s short stories “Tanpopo” (2000), “Murasame” (2002), and “Tamayura” (2015), which feature working women protagonists traversing Ikaino’s borders, as contemporary works of Ikaino literature that interrogate the Zainichi community’s cultural and historical understandings of the entangled geographies of Japan and the two Koreas. I argue that Kim portrays Ikaino landscapes as spaces constituted through their residents’ collective imaginings of Jeju Island and North Korea. Kim also subverts our expectations of multilingualism in Zainichi literature through the use of local dialect in her representation of Japanese residents of Ikaino. Throughout her work, she seeks to both shed light on the multiple structures of oppression that face Zainichi women living in the Ikaino area today, and critique the way those women have been represented in prior works of Zainichi literature.

摘要：

本文将金裕贞的作品视为对 Ikaino 文学的当代回应，Ikaino 文学是在日韩国文学的一个分支，在 20 世纪 50 年代至 80 年代蓬勃发展。伊凯诺是大阪附近地区的旧称，该地区过去和现在都是日本在日韩国人人口最多的地区。伊凯诺起源于 1920 年代韩国移民劳工的定居点，并于 1973 年正式从大阪城市地图中删除，这在《在日》韩国小说和诗歌中经常被神话化。我读过金裕贞的短篇小说《Tanpopo》（2000）、《Murasame》（2002）和《Tamayura》（2015），其中以职业女性为主角穿越伊凯诺的边界，作为当代伊凯诺文学作品，质疑在日社区的文化和文化。对日本和两个朝鲜错综复杂的地理位置的历史理解。我认为金将伊凯诺风景描绘成通过居民对济州岛和朝鲜的集体想象而构成的空间。金还通过使用当地方言来描绘伊凯诺的日本居民，颠覆了我们对在日文学中多语言的期望。在她的整个作品中，她试图揭示当今生活在伊凯诺地区的在日妇女所面临的多重压迫结构，并批评这些妇女在之前的在日文学作品中的表现方式。金还通过使用当地方言来描绘伊凯诺的日本居民，颠覆了我们对在日文学中多语言的期望。在她的整个作品中，她试图揭示当今生活在伊凯诺地区的在日妇女所面临的多重压迫结构，并批评这些妇女在之前的在日文学作品中的表现方式。金还通过使用当地方言来描绘伊凯诺的日本居民，颠覆了我们对在日文学中多语言的期望。在她的整个作品中，她试图揭示当今生活在伊凯诺地区的在日妇女所面临的多重压迫结构，并批评这些妇女在之前的在日文学作品中的表现方式。