@article{ART003235377},
author={},
title={The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s},
journal={The Journal of Korean drama and theatre},
issn={1225-7729},
year={2025},
number={85},
pages={87-131}
TY - JOUR
AU -
TI - The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s
JO - The Journal of Korean drama and theatre
PY - 2025
VL - null
IS - 85
PB - The Learned Society Of Korean Drama And Theatre
SP - 87
EP - 131
SN - 1225-7729
AB - Jeong Bokgeun uses shame as an affect to reveal the multifaceted effects of social oppression, such as state and patriarchal violence, bodily norms, and stigma, on the individual's inner self and body. The characters in Poisoned Chalice, Such a Song, and Silbimyeong face catastrophic outcomes like psychological fragmentation and madness due to shame-aversion. However, their speech and actions in a disordered and mad state reveal that their catastrophe was imposed by violent state power. The shame-proneness characters in Guardian and For You Who Are Drifting feel vicarious shame for others' wrongdoings and choose death as a form of atonement. Their deaths awaken others to new moral and ethical values. Both works take on a ritualistic form, inviting the audience to participate and collectively expand its meaning to the community and society. The House Trapped in a Trap exposes the shame imposed on a woman who was sexually assaulted and her family by society. The daughter-in-law, Jeong-won, who was gang-raped, and her mother-in-law, who was a Japanese military “comfort woman,” are connected by the history of sexual violence, and the work shows their process of transforming their shame into resistance. They demonstrate that it is the perpetrators and society that should feel shame, and that society must be transformed so that victims can no longer remain silent. In conclusion, Jeong Bokgeun presents the emergence of a new democratic subject challenging state violence and oppressive norms in the 1980s. This subject expands to include not only male heroes in vast public squares but also women and minorities fighting against private issues such as everyday sexual violence. Jeong Bokgeun's perspective resonates with feminist movements of the 2010s, such as the #MeToo movement and the revision of the Sexual Violence Punishment Act, and holds contemporary significance.
KW - 1980s;affect;death;democracy;Jeong Bokgeun;madness;politics;shame
DO -
UR -
ER -
. (2025). The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s. The Journal of Korean drama and theatre, 85, 87-131.
. 2025, "The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s", The Journal of Korean drama and theatre, no.85, pp.87-131.
"The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s" The Journal of Korean drama and theatre 85 pp.87-131 (2025) : 87.
. The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s. 2025; 85 : 87-131.
. "The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s" The Journal of Korean drama and theatre no.85(2025) : 87-131.
. The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s. The Journal of Korean drama and theatre, 85, 87-131.
. The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s. The Journal of Korean drama and theatre. 2025; 85 87-131.
. The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s. 2025; 85 : 87-131.
. "The Politics of Shame -Focusing on Jeong Bok-geun’s Works in the Late 1980s" The Journal of Korean drama and theatre no.85(2025) : 87-131.
