In “The man I Met in the Lock Up,” a reporter meets a jovial man named Count Wang in a lock up at a police station in Tokyo. Rumored to be the son of a count, Count Wang one day reveals to the reporter that he is an anarchist. Years later, the reporter happens upon Count Wang in a northbound train filled with people leaving Joseon for Manchuria and refugees fleeing the snowstorm. The drunk Count Wang acts very bizarrely and then lies unconscious on the floor of the train car. When the train pulls into Jeonju station where the reporter must transfer to a different train, the reporter is torn between getting off the train and saving Count Wang from the stampede of passengers piling into the already packed train.
Wonsam, a former servant of a fallen household, wanders into the Pyeongyangseong Fortress in search of shelter and employment. Seondal, a former tenant farmer, takes pity on Wonsam and helps him put together a dugout hut of his own in the slum outside the fortress and settle down in Pyeongyang as an a-frame porter. Their friendship sours, however, when Seondal falls ill and the grateful Wonsam buys rice for Seondal and his family, exacerbating the tension between Seondal and his wife, who belittles Seondal daily by comparing him to Wonsam. In the meantime, Wonsam discovers his concerns for Seondal’s wife has taken a romantic turn.
In Imperial Romance, Su Yun Kim argues that the idea of colonial intimacy within the Japanese empire of the early twentieth century had a far broader and more popular influence on discourse makers, social leaders, and intellectuals than previously understood. Kim investigates representations of Korean-Japanese intimate and familial relationships—including romance, marriage, and kinship—in literature, media, and cinema, alongside documents that discuss colonial policies during the Japanese protectorate period and colonial rule in Korea (1905–45). Focusing on Korean perspectives, Kim uncovers political meaning in the representation of intimacy and emotion between Koreans and Japanese portrayed in print media and films. Imperial Romance disrupts the conventional reading of colonial-period texts as the result of either coercion or the disavowal of colonialism, thereby expanding our understanding of colonial writing practices. The theme of intermarriage gave elite Korean writers and cultural producers opportunities to question their complicity with imperialism. Their fictions challenged expected colonial boundaries, creating tensions in identity and hierarchy, and also in narratives of the linear developmental trajectory of modernity. Examining a broad range of writings and films from this period, Imperial Romance maps the colonized subjects' fascination with their colonizers and with moments that allowed them to become active participants in and agents of Japanese and global imperialism.
Reading Colonial Korea through Fiction is a compilation of thirteen original essays which was first serialized in a quarterly issued by the National Institute of Korean Language, Saekukŏsaenghwal (Living our National Language Anew) in a column entitled, “Our Fiction, Our Language” between 2004 to 2007. Although the original intent of the Institute was to elucidate on important features particular to “national fiction” and the superiority of “national language,” instead Kim Chul’s astute essays offers a completely different reading of how national literature and language was constructed. Through a series of culturally nuanced readings, Kim links the formation and origins of Korean language and fiction to modernity and traces its origins to the Japanese colonial period while demonstrating in a very lucid way how colonialism constitutes modernity and how all modernity is perforce colonial, given the imperial crucibles from which modernist claims emerged. For Kim, denying this reality can only lead to violent distortions as he eschews appeals to a preexisting framework, preferring instead to ground his theoretical insights in subtle, innovative readings of texts themselves.
This book explores the history of modern Korean literature from a sociocultural perspective. Rather than focusing solely on specific authors and their works, Young Min Kim argues that the development of modern media, shifting conceptualizations of the author, and a growing mass readership fundamentally shaped the types of narratives that appeared at the turn of the twentieth century. In particular, Kim follows the trajectory of the sin sosŏl (new fiction) as it meshed with the new print and media culture to give rise to innovative and hybrid genres and literary styles. In doing so, he compellingly illuminates the relationship between literary systems and forms and underscores the necessity of re-locating literary texts in their sociohistorical contexts.
The residents of the three northern provinces of Korea have long had cultural and linguistic characteristics that have marked them as distinct from their brethren in the central area near the capital and in the southern provinces. The making and legitimating of centralized Korean nation-states over the centuries, however, have marginalized the northern region and its distinct subjectivities. Contributors to this book address the problem of amnesia regarding this distinct subjectivity of the northern region of Korea in contemporary, historical, and cultural discourses, which have largely been dominated by grand paradigms, such as modernization theory, the positivist perspective, and Marxism. Through the use of storytelling, linguistic analysis, and journal entries from turn-of-the-century missionaries and traveling Russians in addition to many varieties of unconventional primary sources, the authors creatively explore unfamiliar terrain while examining the culture, identity, and regional distinctiveness of the northern region and its people. They investigate how the northern part of the Korean peninsula developed and changed historically from the early Choson to the colonial period and come to a consensus regarding the importance of regionalism as a vital factor in historical transformation, especially in regard to Korea's tumultuous modern era.
Reading Colonial Korea through Fiction is a compilation of thirteen original essays which was first serialized in a quarterly issued by the National Institute of Korean Language, Saekukŏsaenghwal (Living our National Language Anew) in a column entitled, “Our Fiction, Our Language” between 2004 to 2007. Although the original intent of the Institute was to elucidate on important features particular to “national fiction” and the superiority of “national language,” instead Kim Chul’s astute essays offers a completely different reading of how national literature and language was constructed. Through a series of culturally nuanced readings, Kim links the formation and origins of Korean language and fiction to modernity and traces its origins to the Japanese colonial period while demonstrating in a very lucid way how colonialism constitutes modernity and how all modernity is perforce colonial, given the imperial crucibles from which modernist claims emerged. For Kim, denying this reality can only lead to violent distortions as he eschews appeals to a preexisting framework, preferring instead to ground his theoretical insights in subtle, innovative readings of texts themselves.
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