This dissertation examines the formation of national subjectivity in South Korea through an analysis of what I call "Korean War memory works." Countering the selective remembering and forgetting of the unfinished war at the level of official discourse, these mnemonic texts have informed the political un/conscious of the divided nation. In tracing how such countermemories contend and negotiate with the statist interpellation of Korean subjects, I direct attention to the trope of the broken family that persistently appears in Korean War narratives and images. While relating this "failed" family romance to a collective mourning process, I also reveal its generative power to produce the fantasy of an originary community. As I unpack the myth of the indivisible family-nation, I further criticize through a feminist psychoanalytic lens the patriarchal symbolic order that underlies the familial imagination employed by oppositional nationalism. The postwar texts selected here for discussion are situated within the historical contexts in which each mode of representation, in association with a distinctive subject of narration, became a hegemonic way of grasping the unresolved past. Chapter One scrutinizes the intellectual subjectivity crystallized in Choi In-hoon's "novels of ideas," and reinterprets them as the unfulfilled Bildungsroman of the "4.19 generation." Chapter Two probes the embodiment of the minjung, foregrounded in the 1980s' protests against domestic dictatorship and US imperialism, through a review of Jo Jung-rae's historical novel Taebaeksanmaek. Chapter Three addresses Park Wansuh's literary testimonies of the Korean War with an emphasis on the daughternarrator's transformation through her confrontation and reconciliation with the (m)other, another witness in silent struggle. Chapter Four discusses the recent phenomenon of Korean War blockbusters, focusing on how such a spectacular memorialization in the "post-Cold War" era deals with the desires and anxieties of contemporary Koreans who in their everyday life encounter simultaneously the haunting legacies of Korea's partition and the new imperatives of global capitalism. By piecing together dispersed memories of the Korean War in these various aesthetic practices, this study seeks to rethink South Korean cultural identity in relation to its postcolonial history of "national division" and the familial structure of its remembrance.