“Mother and Child,” which was published in 1935, explores the dual impact of patriarchy and colonialism on women’s lives: a young man joins the anti-Japanese resistance in northern China and is killed, leaving behind his young wife and son. Without the shelter of a living husband, the young mother finds herself homeless, penniless, and helpless to protect her ailing son. The story is a keen reflection of Kang’s feminist and revolutionary yearnings and an unflinching look at the social conditions of her time, including the way families came to be divided over politics.
The first book to explore the institutional, ideological, and conceptual development of the modern state on the peninsula, Rationalizing Korea analyzes the state’s relationship to five social sectors, each through a distinctive interpretive theme: economy (developmentalism), religion (secularization), education (public schooling), population (registration), and public health (disease control). Kyung Moon Hwang argues that while this formative process resulted in a more commanding and systematic state, it was also highly fragmented, socially embedded, and driven by competing, often conflicting rationalizations, including those of Confucian statecraft and legitimation. Such outcomes reflected the acute experience of imperialism, nationalism, colonialism, and other sweeping forces of the era.
A wide-ranging collection of concise essays, Past Forward introduces core features of Korean history that illuminate current issues and pressing concerns, including recent political upheavals, social developments and cultural shifts. Adapted from Kyung Moon Hwang’s regular columns in the Korea Times of Seoul, the essays present interpretative points concerning historical debates and controversies to generate thinking about the ongoing impact of the past on the present and vice versa: how Korea’s present circumstances reflect and shape the evolving understanding of its past. In taking the reader on a compelling journey through history, Past Forward paints a distinctive, fascinating portrait of Korea and Koreans both yesterday and today.
A smart and playful introduction to the often-mystifying world of contemporary art What is contemporary art? What makes it contemporary? What is it for? And why is it so expensive? From museums and the art market to biennales and the next big thing, Who’s Afraid of Contemporary Art? offers concise and pointed insights into today’s art scene, decoding “Artspeak," explaining what curators do, demystifying conceptual art, exploring emerging art markets, and more. In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one. Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.
An instant bestseller in Korea and the follow up to the international bestseller, Please Look After Mom; centering on a woman’s efforts to reconnect with her aging father, uncovering long-held family secrets. Two years after losing her daughter in a tragic accident, Hon finally returns to her home in the countryside to take care of her father. At first, her father only appears withdrawn and fragile, an aging man, awkward but kind around his own daughter. Then, after stumbling upon a chest of letters, Hon discovers the truth of her father’s past and reconstructs her own family history. Consumed with her own grief, Hon had been blind to her father’s vulnerability and her family’s fragility. Unraveling secret after secret and thanks to conversations with loving family and friends, Hon grows closer to her father, who proves to be more complex than she ever gave him credit for. After living through one of the most tumultuous times in Korean history, her father’s life was once vibrant and ambitious, but spiraled during the postwar years. Now, after years of emotional isolation, Hon learns the whole truth, from her father’s affair and involvement in a religious sect, to the dynamic lives of her own siblings, to her family’s financial hardships. What Hon uncovers about her father builds towards her understanding of the great scope of his sacrifice and heroism, and of his generation as a whole. More than just the portrait of a single man, I Went to See My Father opens a window onto humankind, family, loss, and war. With this long-awaited follow-up to Please Look After Mom—flawlessly rendered by award-winning translator Anton Hur—Kyung-Sook Shin has crafted an ambitious, global, epic, and lasting novel.
Emotionally raw and emphatically sensual, Tongue is the story of the demise of an obsessive romance, and a woman's culinary journey toward self-restoration and revenge. When her boyfriend of seven years leaves her for another woman, the celebrated young chef Jung Ji-won shuts down the cooking school she ran from their home and sinks into deep depression, losing her will to cook, her desire to eat, and even her ability to taste. Returning to the kitchen of the Italian restaurant where her career first began, she slowly rebuilds her life, rediscovering her appreciation of food, both as nourishment and as sensual pleasure. She also starts to devise a plan for a final, vengeful act of culinary seduction. Tongue is a voluptuous, intimate story of a gourmet relying on her food-centric worldview to emerge from heartbreak, a mesmerizing, delicately plotted novel at once shocking and profoundly familiar.
When a novice French diplomat arrives for an audience with the Emperor, he is enraptured by the Joseon Dynasty’s magnificent culture, then at its zenith. But all fades away when he sees Yi Jin perform the traditional Dance of the Spring Oriole. Though well aware that women of the court belong to the palace, the young diplomat confesses his love to the Emperor, and gains permission for Yi Jin to accompany him back to France.A world away in Belle Epoque Paris, Yi Jin lives a free, independent life, away from the gilded cage of the court, and begins translating and publishing Joseon literature into French with another Korean student. But even in this new world, great sorrow awaits her. Betrayal, jealousy, and intrigue abound, culminating with the tragic assassination of the last Joseon empress—and the poisoned pages of a book.Rich with historic detail and filled with luminous characters, Korea’s most beloved novelist brings a lost era to life in a story that will resonate long after the final page.
Dynamic and meticulously researched, A History of Korea continues to be one of the leading introductory textbooks on Korean history. Assuming no prior knowledge, Hwang guides readers from early state formation and the dynastic eras to the modern experience in both North and South Korea. Structured around episodic accounts, each chapter begins by discussing a defining moment in Korean history in context, with an extensive examination of how the events and themes under consideration have been viewed up to the present day. By engaging with recurring themes such as collective identity, external influence, social hierarchy, family and gender, the author introduces the major historical events, patterns and debates that have shaped both North and South Korea over the past 1500 years. This textbook is essential reading for undergraduate and postgraduate students of Korean or Asian history. The first half of the book covers pre-20th century history, and the second half the modern era, making it ideal for survey courses.
Kang’s first work, “Broken Strings,” reveals the concerns and inclinations that would come to characterize her writing. The main character Hyeong-cheol stands at a crossroads: take the well-trodden path down which his future is guaranteed, or stand with the masses and fight society. After agonizing over this choice, he throws everything away and leaves for Manchuria. With its cast of characters who sacrifice their youth in Gando to devote themselves to the people’s struggle, this story demonstrates Kang’s sense of duty as a writer who wanted to change the world. The stories published after “Broken Strings”—“Salt,” “Mother and Child,” “Suffering,” and “Darkness”—were likewise set in Gando and reflect her revolutionary yearnings.
The Girl Who Wrote Loneliness is a stark and lyrical work that follows a teen-aged girl who has just arrived in Seoul to work in a factory while struggling to achieve her dream of finishing school and becoming a writer. Shin sets the this complex and nuanced coming of age story against the backdrop of Korea’s industrial sweatshops of the 1970's and takes on the extreme exploitation, oppression, and urbanization that helped catapult Korea’s economy out of the ashes of the war.Millions of teen-aged girls from the countryside descended on Seoul in the late 1970's. These girls formed the bottom of the city's social hierarchy, forgotten and ignored. Richly autobiographical, the novel lays bare the conflict and confusion Shin goes through as she confronts her past and the sweeping social change that has taken place in her homeland over the past half century. The Girl Who Wrote Loneliness has been cited in Korea as one of the most important literary novels of the decade, and cements Shin's legacy as one of the most insightful and exciting young writers of her generation.
An anthology of ten short stories by one of Korea's foremost living writers. The literary world of Pak explores the moral ambiguities inherent in Korea's society today and encourages the reader to question the injustices that prevail in the more impersonal world emerging in a "globalized" Korea.
WINNER OF THE MAN ASIAN LITERARY PRIZE When sixty-nine-year-old So-nyo is separated from her husband among the crowds of the Seoul subway station, her family begins a desperate search to find her. Yet as long-held secrets and private sorrows begin to reveal themselves, they are forced to wonder: how well did they actually know the woman they called Mom? Told through the piercing voices and urgent perspectives of a daughter, son, husband, and mother, Please Look After Mom is at once an authentic picture of contemporary life in Korea and a universal story of family love.
Originally published in Seoul in 1938, soon after the outbreak of the Pacific War, "Peace Under Heaven" is a satirical novel centering on the household of a Korean landlord during the Japanese colonial occupation. Master Yun, embodying the traditional ambitions of a standard Korean paterfamilias, by being projected fast forward into a modern urban environment, caricatures the increasing irrelevance of Confucian mores to 20th-century social reality. Depicting the anomic lives of the Yun household in colonial Seoul, Chase Man-Sik, one of modern Korea's best-known writers, uses black comedy to underscore the collapse of ritualistic traditional values in the face of capitalist modernisation. The decadence of the nouveau riche pseudo-aristocrat Master Yun is interwoven with insights into the customary bases of oppression of Korean women into the self-deceptions underlying collaboration by Koreans with the Japanese oppressor. The savage hilarity of Chae's style lends force and historical relevance to his insight into the attitudes of the milieu in which his narrative is set.
By Man Asian Literary Prize winner Kyung-Sook Shin, "a moving delve into a lonely psyche" that follows a neglected young woman's search for human connection in contemporary Seoul (YZ Chin). San is twenty-two and alone when she happens upon a job at a flower shop in Seoul’s bustling city center. Haunted by childhood rejection, she stumbles through life—painfully vulnerable, stifled, and unsure. She barely registers to others, especially by the ruthless standards of 1990s South Korea. Over the course of one hazy, volatile summer, San meets a curious cast of characters: the nonspeaking shop owner, a brash coworker, quiet farmers, and aggressive customers. Fueled by a quiet desperation to jump-start her life, she plunges headfirst into obsession with a passing magazine photographer. In Violets, best-selling author Kyung-Sook Shin explores misogyny, erasure, and repressed desire, as San desperately searches for both autonomy and attachment in the unforgiving reality of contemporary Korean society.
Originally published in three parts comprising 21 volumes, Pak Kyung-ni’s Land (T’oji) is widely regarded as a masterpiece of Korean literature and has achieved unprecedented popularity in Korea. The epic follows the fortunes and misfortunes of several generations of villagers of a traditional farming community, and at the same time chronicles Korea’s tumultuous history from 1897 to 1945.
This open access book examines the depiction of Korean history in recent South Korean historical films. Released over the Hallyu (“Korean Wave”) period starting in the mid-1990s, these films have reflected, shaped, and extended the thriving public discourse over national history. In these works, the balance between fate and freedom—the negotiation between societal constraints and individual will, as well as cyclical and linear history—functions as a central theme, subtext, or plot device for illuminating a rich variety of historical events, figures, and issues. In sum, these highly accomplished films set in Korea’s past address universal concerns about the relationship between structure and agency, whether in collective identity or in individual lives. Written in an engaging and accessible style by an established historian, Fate and Freedom in Korean Historical Films offers a distinctive perspective on understanding and appreciating Korean history and culture.
In her radical exploration of cultural and personal identity, the writer and artist Theresa Hak Kyung Cha sought “the roots of language before it is born on the tip of the tongue.” Her first book, the highly original postmodern text Dictee, is now an internationally studied work of autobiography. This volume, spanning the period between 1976 and 1982, brings together Cha’s previously uncollected writings and text-based pieces with images. Exilee and Temps Morts are two related poem sequences that explore themes of language, memory, displacement, and alienation—issues that continue to resonate with artists today. Back in print with a new cover, this stunning selection of Cha’s works gives readers a fuller view of a major figure in late twentieth-century art. Copublished by Berkeley Art Museum and Pacific Film Archive
“A love story between friends. It is so well written. [Kyung-sook Shin] has this use of language that is just beautiful and poetic. It’s a great book if you’re looking to escape.” —Chelsea Handler, #1 New York Times bestselling author How friendship, European literature, and a charismatic professor defy war, oppression, and the absurd Set in 1980s South Korea amid the tremors of political revolution, I’ll Be Right There follows Jung Yoon, a highly literate, twenty-something woman, as she recounts her tragic personal history as well as those of her three intimate college friends. When Yoon receives a distressing phone call from her ex-boyfriend after eight years of separation, memories of a tumultuous youth begin to resurface, forcing her to re-live the most intense period of her life. With profound intellectual and emotional insight, she revisits the death of her beloved mother, the strong bond with her now-dying former college professor, the excitement of her first love, and the friendships forged out of a shared sense of isolation and grief. Yoon’s formative experiences, which highlight both the fragility and force of personal connection in an era of absolute uncertainty, become immediately palpable. Shin makes the foreign and esoteric utterly familiar: her use of European literature as an interpreter of emotion and experience bridges any gaps between East and West. Love, friendship, and solitude are the same everywhere, as this book makes poignantly clear.
This book analyzes, from a historical comparative perspective, the Korean economic development model, the extent to which it has changed from its classical model, and what constitutes its changes and continuity. Unlike studies claims the dissolution of Korean developmentalism, the book holds that the Korean state maintains its characteristics of state-led capitalism despite significant changes in policies and instruments rather than converge toward an AngloSaxon-style free market system. It emphasizes that the continuity of state-led capitalism is compatible with institutional change. Some institutionalists insist that the continuity of Korean developmentalism is based on path dependency. In contrast, this book argues that Korean capitalism could sustain its state developmentalism by changes in policies and instruments to improve national industrial competitiveness in the changed context of international competition. This book will be of interest to East Asian scholars, comparative economists, and those curious about the future of the Korean peninsula.
This autobiographical work is the story of several women. Deploying a variety of texts, documents and imagery, these women are united by suffering and the transcendance of suffering.
Yu-Rhee, a young Korean girl, wants to know how to tell time using a clock. Her mother tells her a tale from her childhood based on the traditional Korean practice of timekeeping, where the 12 animals of the zodiac are assigned to 2-hour sections of the 24-hour clock. Told from the point of view of a mountain, the story follows a child as they climb the mountainside in search of a plant to heal their ailing mother. The climb is steep, the path wild and the way difficult. The mountain watches the child struggle and calls on the animals that live on the mountainside to help the child, but as sunlight turns to moonlight, each animal claims to be too busy. Ultimately, Once Upon an Hour is a story about determination and teamwork that shows young readers the importance of helping others.
A la mort de son père, Yeongjun, cinéaste audacieux mais homme taciturne et sans attaches, revient dans sa ville natale qu’il a quittée il y a vingt-cinq ans. Il y rencontre son frère et apprend que sur son lit de mort, leur père les a chargés d’une étrange mission : vendre la maison de leur enfance et faire don du fruit de la vente à une inconnue. Dès lors se lèvent les échos bruissants du passé, réveillant rêves et souvenirs, ranimant la violente rivalité des frères au temps où ils se disputaient l’attention d’un père dominateur qui a façonné leur personnalité et leur devenir d’homme. Vérité et mensonges, secrets et malédictions, amours cachés et haines anciennes se révèlent un à un, tissant une toile d’une complexité fascinante, reliée à l’histoire de la Corée tout entière. Une quête sur la filiation et la transmission familiale au sein de la modernité, et un roman ample et grave, d’une émouvante mélancolie. Car que savons-nous de la vérité profonde des êtres qui nous furent proches, et même du cœur brûlant qui alimente notre propre volonté de vivre et d’aimer ?
Recipes and stories to learn all about Korea's food culture. Recipes, anecdotes, histories and stories, maps, techniques, stylings, utensils, native ingredients -- this is a colorful invitation to discover the look and aromas and flavors of Korea. What is the five color philosophy? What is Korean table etiquette? How do you make kimchi, region by region? What do you find in traditional markets, and in contemporary restaurants? How do you make Bibimbap? Are there North Korean specialties? (The answer is yes!). Do Koreans traditionally eat dessert? (The answer is no!). The answers to these questions and many, many more can be found in this charmingly illustrated book. You'll learn about Korean meal composition, tableware and utensils, staples, condiments and sauces, everyday dishes, famous Korean fermented foods, doughs and noodles, celebratory party dishes, pork and chicken vs. seafood, temple foods and lucky foods -- it's all here in a compact text enlivened by color illustrations. The design is warm, easy-to-follow and fun to read from beginning to end, so this is a book many will want to own or give to friends and family.
When Soah's impoverished, desperate village decides to sacrifice her to the Water God Habaek to end a long drought, they believe that drowning one beautiful girl will save their entire community and bring much-needed rain. Not only is Soah surprised to be rescued by the Water God - instead of killed - she never imagined she'd be a welcomed guest in Habaek's magical kingdom, where an exciting new life awaits her! Most surprising, however, is the Water God himself... and how very different he is from the monster Soah imagined.
When Soah's impoverished, desperate village decides to sacrifice her to the Water God Habaek to end a long drought, they believe that drowning one beautiful girl will save their entire community and bring much-needed rain. Not only is Soah surprised to be rescued by the Water God - instead of killed - she never imagined she'd be a welcomed guest in Habaek's magical kingdom, where an exciting new life awaits her! Most surprising, however, is the Water God himself... and how very different he is from the monster Soah imagined.
My Treacherous Journey will propel you into the heart -- and unspeakable depths -- of the Korean War and its effects on the poorest civilians. In riveting detail, Kyung Soon Yun relates her life as a child and young adult in Korea, coming to America, and her experiences in her new country. Kyung Soon is the youngest daughter of a Korean family. In her daily struggles to help her family survive the war's devastation, she is encouraged by her mother's wisdom and insight. When her beloved mother dies, Kyung Soon continues valiantly to protect her younger brother and help her father. Her journey becomes bleak but she always draws strength from her mother's wise encouragement. In My Treacherous Journey, Kyung Soon shows her love for Korea -- describing its culture and beauty -- and she shows wonderful insight in describing many of the old ways. Her story includes details of Korean medicine, religion and astrology, family bonds and honor, traditional clothing, housework, agriculture, travel, and the daily struggle for food. For Kyung Soon, these were an ordinary part of the fabric of her life, but they are from a culture that is quickly becoming lost. In this epic story of a young woman's triumph over adversity, we see clearly the resilience and strength of the human spirit. Book jacket.
South Korea’s postcolonial history has been replete with dramatic societal transformations through which it has emerged with a fully blown modernity, or compressed modernity. There have arisen the transformation-oriented state, society, and citizenry for which each transformation becomes an ultimate purpose in itself, its processes and means constitute the main sociopolitical order, and the transformation-embedded interests form the core social identity. A distinct mode of citizenship has thereby arisen as transformative contributory rights, namely, effective or legitimate claims to national and social resources, opportunities, and respects that accrue to each citizen’s contributions to the nation’s or society’s collective transformative goals. South Koreans have been exhorted or have exhorted themselves to intensely engage in such collective transformations, so that their citizenship is framed and substantiated by the conditions, processes, and outcomes of such transformative engagements. This book concretely and systematically analyzes how this transformative dynamic has shaped South Koreans’ developmental, social, educational, reproductive, and cultural citizenship.
The condensed social change and complex social order governing South Koreans’ life cannot be satisfactorily delineated by relying on West-derived social theories or culturalist arguments. Nor can various globally eye-catching traits of this society in industrial work, education, popular culture, and a host of other areas be analyzed without developing innovative conceptual tools and theoretical frameworks designed to tackle the South Korean uniqueness directly. This book provides a fascinating account of South Korean society and its contemporary transformation. Focusing on the family as the most crucial micro foundation of South Korea’s economic, social, and political life, Chang demonstrates a shrewd insight into the ways in which family relations and family based interests shape the structural and institutional changes ongoing in South Korea today. While the excessive educational pursuit, family-exploitative welfare, gender-biased industrialization, virtual demise of peasantry, and familial industrial governance in this society have been frequently discussed by local and international scholarship, the author innovatively explicates these remarkable trends from an integrative theoretical perspective of compressed modernity. The family-centered social order and everyday life in South Korea are analyzed as components and consequences of compressed modernity. South Korea under Compressed Modernity is an essential read for anyone studying Contemporary Korea or the development of East Asian societies more generally.
This book characterizes South Korea’s pre-neoliberal regime of social governance as developmental liberalism and analyzes the turbulent processes and complex outcomes of its neoliberal degeneration since the mid-1990s. Instead of repeating the politically charged critical view on South Korea’s failure in socially inclusionary and sustainable development, the author closely examines the systemic interfaces of the economic, political, and social constituents of its developmental transformation. South Korea has turned and remained developmentally liberal, rather than liberally liberal (like the United States), in its economic and sociopolitical configuration of social security, labor protection, population, education, and so forth. Initially conceived in the late 1980s, ironically along its democratic restoration, and radically accelerated during the national financial crisis in the late 1990s, South Korea’s neoliberal transition has become incomparably volatile and destructive, due crucially to its various distortive effects on the country’s developmental liberal order.
Mastery over language that was borrowed, that was not her mother tongue, enabled Theresa Hak Kyung Cha to empathize with her viewer (her distant audience) as powerfully as any artist I know. In Exilee and Temps Morts I listen with fascination as her tongue exercises furtively and nimbly, convincing me that Cha would have been the exemplary artist of identity had she lived another ten years."--Byron Kim "Conceptual, poetic, visual, the writings of Theresa Hak Kyung Cha are radical and subtle responses to the artistic context of their time and reveal powerful areas of exploration to readers. Like few other contemporary collections, this book opens up new horizons in literature, art history, film theory, and linguistics, emphasizing the originality of a unique body of work that belongs both to history and to the present."--Elvan Zabunyan, author of Black Is a Color "Since its publication within weeks of her premature death, Theresa Hak Kyung Cha's Dictee has attracted academic, feminist, literary, and cult followings. But despite the passion that erupts through its surface, it is in many ways an austere book. It withholds something--and purposefully so. This unexpected new collection of Cha's other, previously uncollected writings/inscribings offers something gentler, more intimate--and, though not less alienated, perhaps, the Cha we encounter in Exilee and Temps Morts is more playful. The works collected here resonate with vivacity and the luminous presence that was, and remains, Theresa Hak Kyung Cha. "--Lyn Hejinian, author of A Border Comedy
In one of the first English-language studies of Korean cinema to date, Kyung Hyun Kim shows how the New Korean Cinema of the past quarter century has used the trope of masculinity to mirror the profound sociopolitical changes in the country. Since 1980, South Korea has transformed from an insular, authoritarian culture into a democratic and cosmopolitan society. The transition has fueled anxiety about male identity, and amid this tension, empowerment has been imagined as remasculinization. Kim argues that the brutality and violence ubiquitous in many Korean films is symptomatic of Korea’s on-going quest for modernity and a post-authoritarian identity. Kim offers in-depth examinations of more than a dozen of the most representative films produced in Korea since 1980. In the process, he draws on the theories of Jacques Lacan, Slavoj Zizek, Gilles Deleuze, Rey Chow, and Kaja Silverman to follow the historical trajectory of screen representations of Korean men from self-loathing beings who desire to be controlled to subjects who are not only self-sufficient but also capable of destroying others. He discusses a range of movies from art-house films including To the Starry Island (1993) and The Day a Pig Fell into the Well (1996) to higher-grossing, popular films like Whale Hunting (1984) and Shiri (1999). He considers the work of several Korean auteurs—Park Kwang-su, Jang Sun-woo, and Hong Sang-su. Kim argues that Korean cinema must begin to imagine gender relations that defy the contradictions of sexual repression in order to move beyond such binary struggles as those between the traditional and the modern, or the traumatic and the post-traumatic.
The plotline of Hyun Kyung-jun’s “The Drifters” (1940) portrays a state-regulated Manchurian village where opium addicts and smugglers are “rehabilitated” under the watchful guidance of the village training center. One of the occupants of the village is Myeong-u, an artist who became a drug addict from the pain of losing his lover. The director of the training center tries to lead Myeong-u onto the path of redemption with the belief that a piece of his conscience still remains intact. In addition to receiving care from the director, Myeong-u comes to slowly regain his humanity by falling in love with Sunnyeo, an innocent young woman who also resides in the village. Despite its melodramatic storyline, the fictional work can be traced back to the travel writing that the author published in 1939 after visiting a training center called Daeisugu in Manchuria, and the preface of “The Drifters” identifies it as a work in the genre of reportage literature with its emphasis upon providing journalistic depictions of actually observed events.
The Liberative Cross offers a theological grounding of the orthopraxy that calls North American Korean women to live as imago Dei, mirroring the perichoretic fellowship of the triune God in contemporary social relations through living in imitatio crucis and imitatio relationis. In so doing, this book emphasizes three elements. First, an appropriate theology of the cross meets the challenges or concerns of developing reality. Second, it is a feminist theology in the sense that it seeks to retrieve a theology of the cross that is life-giving and liberating for women. Third, it is a social trinitarian approach to the theology of the cross that can reveal the essence of God to be in relation, mutuality, and community in diversity. The constructive work achieved in this book makes a great contribution to pastoral and ecclesial praxis and imagination.
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