Geoffrey H. Hartman

In the 1980s there was a brief but intense period of interest among literary critics and theorists in Classical Rabbinic interpretation, and, in particular, the genre of commentary known as Midrash. Interest concentrated around the apparent similarities between Midrash and the commentaries and criticism of Derrida, Lacan, Freud, Barthes and others. This essay examines this connection between Midrash and theory in light of the persistent charge from Foucault and others that all hermeneutics is essentially theological. It proceeds by drawing out the aims and frustrations of the literary critics and Jewish scholars involved, and considers in what ways the questions which arose in these years might be pertinent for contemporary literary criticism, theory and institutional practice.

This is a slightly revised draft of a commentary or a 'response paper' I read during a conference in Korea, Apr. 2018. It is a critique of the attempt to read Song Sang-hee (b. 1970) whose 3-channel video installation work <Come Back Alive Baby>(2017) helped her win the 'Korea Artist Prize' in 2017 (MMCA, Seoul) as well as Korean-American aritst Sunny Kim (b. 1969) whose <Landscape> was another contender, in line with what Rosalind Krauss called 'Reinventing the Medium.' Far from 'multivocal' let alone politically relevant, their works, I argue, are ultimately questionable for their politcally/aesthetically dubious resort to myths of 'Korean people' as well as the notion of 'medium as the message.'

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