In her Nobel speech (1), the international novelist Han Kang ranged between the cognitive effectiveness of visual imagination and the innocence of entering and exiting the inner, life and cosmic gates through the act of writing or the act of meta-contemplation of the spectra of self and other.
In her discourse, Han Kang connects themes such as love as a broad, universal inner connection between the self and the world, the dead and the living, and potential spectra, the circularity of the universal existential question, and its extension within the characters of the narrative and in the act of writing, and the deferred exhaustion of the structure of dense self-presence. We note that the discourse includes a set of implications such as the self’s examination of forms of presence, the super-presence such as the narrative presence, the dreamy presence, the contemplative, observing presence, or the spectral presence that is generated by recovering the dream within the logic of Lucid Dreaming, or the spectral presence that is linked to the energy of images and voices of characters that lie between death, dream, consciousness, and the images of the current circular visual imagination within the consciousness of the speaking self and its own spirit that transcends the logic of temporal development and non-central transformations in the broad cosmic scene that includes the inner spatial dimension and images of consciousness, the unconscious, and dreamy memory.
The Creative Observer's Perspective:
Han Kang celebrates the creative perspective of the contemplative observer as she contemplates human loudness, silence, disappearance, and the life of sounds and other specters within the impressions of consciousness, reminding us of the efforts of Derrida and the hauntological studies on specters as well as the new Gothic imaginative pictorial sensitivity; behind the dream and virtual graves, the first tones of noise, the first poetic tones of silence, and the tones of disappearance and delayed disappearance are also restored within the act of contemplation and observation of the images of consciousness and the unconsciousness.
Han Kang refers us to a dense dream in which the narrative self appears within a vast forest, black trees, and virtual pictorial graves, while the self receives the water and air currents that appear in interpretation as links and connections of love; thus, the self is located between a group of intertwined dreamy and cosmic gates, alternating between the position of the contemplator, the position of the narrative participant in the potential story, and the position of the self within the hyper dreamy cosmic presence.
As a researcher in the field of perceptions and their relationship to art, literature and language, I am interested in the relationship between inner authenticity and the processes of receiving visual and auditory data and their counterparts within a dream or meditative dream; and authenticity is related in my mind to resisting temporal and physical transformations; therefore, this perceptual authenticity was achieved in Han Kang’s speech when she mentioned that she experiences her sensory experiences according to higher levels of consciousness and when she referred us to the electrical transmission that is more closely related to the soul or inner self; therefore, we can read the characters, sounds and spectra within the present of Han Kang’s immediate creative contemplations within consciousness, and thus the process of receiving data is renewed in a circular way and affects the renewed forms of mental images and potential mental representations that resist the centrality of silence and transformation in the subjective and cosmic scene.
Han Kang's speech comes in the context of potential spiritual and spatial expansion and reliance on contemplations of consciousness and aesthetic sensitivity towards the spectra of the past that are inseparable from the structure of presence. If we read the speech according to the principle of cognitive-pragmatic relevance of Sperber and Wilson, we will notice that the speech selects a set of contextual indicators relevant to the recipient; these indicators relate to the juxtaposition and spatiotemporal duality between noise, calmness, violence, disappearance, and dreamy ghostly appearance in the daily, internal, and universal context; this pictorial juxtaposition will be an opening for an inferential expansion between Han Kang and the recipient, where the subjective presence expands between the decentralized internal and universal gates. I can, of course, read the main argument in Han Kang's speech according to Ducrot's argumentative scale; The discourse confirms the validity of the hypothesis of the connection of visual, auditory and dreamy data with the authenticity of the inner existence, then confirms the stronger hypothesis, which is the possibility of expanding the observation of the self and the spectra from a superior contemplative perspective, and then the result becomes the presence in the interstitial spaces that monitor the voices and selves from a point that transcends the logic of the first noisy transformations, and the old traumas in the consciousness and subconscious of the artistic characters.
The discourse thus involves an implicit representative speech act based on confirming the passage from pain to the internal cosmic dreamy dynamic connection and the expressive speech act that enhances the interpersonal presence of the self within the transformation and its counter-circular tones and the directive speech act that is connected to the extension of the question about the economy and the potential ghostly abundance in the expanded cognitive narrative scene.
Also, we can infer the existence of a cognitive metaphor contained in Han Kang’s discourse, based on the similarity between the first input space, which is the contemplative self, and the second input space, which is the voices of the characters and the specters of the past, and each of them is connected to the other through deferred tragic links, and metaphorical links that include the internal spiritual connection and the opening of potential dreamy and spatial gates; and then the blended space becomes the observing consciousness of the performative narrative self that is spectrally connected to the voices of others and the potential voices of dream and art.
Han Kang's discourse also involves a metacognitive mental activity based on the relationship between mental states that reread the earlier inferential schemes within the working memory. The mental state I now observes the overlap of metaphorical disappearance, super-presence, the question of love, pain, transformation and renewal within the possible super-spaces of consciousness. Then the metacognitive mental state will process the earlier visual data according to its other living narrative manifestation within the immediate consciousness and its connection to the new concept of the unconscious, and then it will modify the earlier data according to the power of renewal and the other metaphorical narrative life that is formed within the circular mental representations of the voices in the creative female consciousness.
Finally, I see that the recovery of Han Kang's literature suits the festive atmosphere of International Women's Day this year 2025.
*Note:
(1) Read, Han Kang, Nobel Lecture, at:
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