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.
The social structure of contemporary Korea contains strong echoes of the hierarchical principles and patterns governing stratification in the Chosŏn dynasty (1392–1910): namely, birth and one’s position in the bureaucracy. At the beginning of Korea’s modern era, the bureaucracy continued to exert great influence, but developments undermined, instead of reinforced, aristocratic dominance. Furthermore, these changes elevated the secondary status groups of the Chosŏn dynasty, those who had belonged to hereditary, endogamous tiers of government and society between the aristocracy and the commoners: specialists in foreign languages, law, medicine, and accounting; the clerks who ran local administrative districts; the children and descendants of concubines; the local elites of the northern provinces; and military officials. These groups had languished in subordinate positions in both the bureaucratic and social hierarchies for hundreds of years under an ethos and organization that, based predominantly on family lineage, consigned them to a permanent place below the Chosŏn aristocracy. As the author shows, the political disruptions of the late nineteenth and early twentieth centuries, however, rewarded talent instead of birth. In turn, these groups’ newfound standing as part of the governing elite allowed them to break into, and often dominate, the cultural, literary, and artistic spheres as well as politics, education, and business.
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.
This book examines the role of complaining in conversation and online interaction in Korean society. Kyung-Eun Yoon examines patterns of formulating complainability, linguistic resources for complaints, organizational features of complaining discourse, and the ways in which the participants construct social identities and cultural norms through complaining. Yoon analyzes real language use in various contexts, including everyday face-to-face and phone conversations with family members and friends, social media posts, online customer reviews, news articles, and formal complaints posted on the websites of local governments in Korea. The analysis in this book ties together the relationship among language, interaction, and social organization as well as the relationships between participants and sociocultural norms, using Korea as a case study. Scholars of interactional linguistics, Korean language pedagogy, and intercultural studies will find this book particularly useful.
The picture book , which uses folktales transmitted by mouth as a motif and uses them as motifs, delicately deals with the problem of identity that occurs during the child’s growth process.
At once an ironic portrayal of contemporary Korea and an intimate exploration of heartache, alienation, and nostalgia, this collection of seven short stories has earned the author widespread critical acclaim. With empathy and an overarching melancholy that is at times tinged with sarcasm but always deeply meaningful, Jung explores the ambition and chaos of urban life, the lives of the lost and damaged souls it creates, and the subtle shades of love found between them.
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.
This book will deal with geological as well as cultural, historical, archaeological and biological aspects in Jeju Global Geopark. It will start with introduction of Jeju Global Geopark, geographic setting, habitats, history, economy and tourism, management, general geology and geosites, future geosites, other significant heritage sites, economically sustainable tourism, education and promotion and management plan.
Global Oriental is pleased to announce publication of the English translation of Part I (in three volumes) of Pak Kyung-ni’s Land (T’oji). Originally published in five parts, the work 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. Part I, which is a self-contained story and considered the most powerful example of her writing, deals with the first ten years of the Ch’oe farming household and opens with the village celebration of the Harvest Moon Festival.
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.
Most theories of modernity are based, explicitly or implicitly, on the development of Western societies since the late medieval period, but these theories are of limited value for understanding the development of societies in Asia and other parts of the world, where the process of modernization took place under different circumstances and often in a rapid and highly compressed fashion – not over centuries but in decades. Asian societies have been propelled into modernity too, but theirs is a compressed modernity, which displays very different traits. In this important book, Chang Kyung-Sup provides a systematic account of this compressed modernity and uses it to analyse the extreme social changes, complexities and imbalances found in South Korea and other East Asian societies. While these changes enabled South Korea to modernize very quickly and achieve high levels of economic growth, they also created a society that is haunted by various developmental and civilizational costs, such as endemic generational conflicts, overloaded family responsibilities and exceptionally high suicide rates. As with other societies that have experienced compressed modernity, the South Korean “miracle” is replete with extreme and contradictory social traits. This pioneering work of the nature and consequences of compressed modernity will be of great interest to students and scholars of sociology, politics and development studies, as well as anyone interested in South Korea, Asia and postcolonial societies.
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.
This book explores South Korean responses to the architecture of the Japanese colonial occupation of Korea and the ways that architecture illustrates the relationship between difficult heritage and the formation of national identity. Detailing the specific case of Seoul, Hyun Kyung Lee investigates how buildings are selectively destroyed, preserved, or reconstructed in order to either establish or challenge the cultural identity of places as new political orders are developed. In addition, she illuminates the Korean traditional concept of feng shui as a core indigenous framework for understanding the relationship between space and power, as it is associated with nation-building processes and heritagization. By providing a detailed study of a case little known outside of East Asia, ‘Difficult Heritage’ in Nation Building will expand the framework of Western-centered heritage research by introducing novel Asian perspectives.
This is the first English-language book on cultural policy in Korea, which critically historicises and analyses the contentious and dynamic development of the policy. It highlights that the evolution of cultural policy has been bound up with the complicated political, economic and social trajectory of Korea to a surprising degree. Investigating the content and context of the policy from the period of Japanese colonial rule (1910–1945) until the military authoritarian regime (1961–1988), the book discusses how culture, often co-opted by the government, was mobilised to disseminate state agendas and define national identity. It then moves on to investigate the distinct characteristics of Korea’s contemporary cultural policy since the 1990s, particularly its energetic pursuit of democracy, a market economy of culture and outward cultural globalisation (the Korean Wave). This book helps readers to understand the continuous presence of the ‘strong state’ in Korean cultural policy and its implications for the cultural life of Koreans. It argues that this exceptionally active cultural policy sets an important condition not only for artistic creation, cultural consumption and cultural business in the country, but also for the nation's ambitious endeavour to turn the success of its pop culture into a global phenomenon.
In Hegemonic Mimicry, Kyung Hyun Kim considers the recent global success of Korean popular culture—the Korean wave of pop music, cinema, and television, which is also known as hallyu—from a transnational and transcultural perspective. Using the concept of mimicry to think through hallyu's adaptation of American sensibilities and genres, he shows how the commercialization of Korean popular culture has upended the familiar dynamic of major-to-minor cultural influence, enabling hallyu to become a dominant global cultural phenomenon. At the same time, its worldwide popularity has rendered its Koreanness opaque. Kim argues that Korean cultural subjectivity over the past two decades is one steeped in ethnic rather than national identity. Explaining how South Korea leaped over the linguistic and cultural walls surrounding a supposedly “minor” culture to achieve global ascendance, Kim positions K-pop, Korean cinema and television serials, and even electronics as transformative acts of reappropriation that have created a hegemonic global ethnic identity.
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.
Soma and friends fall through a whirlpool into a castle under a murky lake. There, Soma meets the Eastern Race Wiseman who tells him that he is the chosen owner of the Heart Sword. He also instructs Soma how to improve his swordsmanship and, ultimately, master the Chunwangshin Sword.
Tomboy Mi-Ha is an extremely active and competitive girl who never likes to lose to anyone. She's such a tomboy that all boys are scared of her, and that's exactly what her brother wanted and trained her to be. It took him six long years to train her into a pseudo-military style girl to protect her from anyone else. Bishonen Sung-Suh is a new transfer student who's got the looks, the determination, and attitude to sweep her off the feet. Could this male beauty be able to tame the beast? Will Mi-Ha's brother let them be together and happily ever after? If you want it you've got to Bring It On!
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.
Finally, the characters of Lost Saga are back in action, but this time in the real world! After finishing one of his most deadly assignments, Roto comes face-to-face with Alpha ... and the true identity of all the players are revealed!
The Snow Drop nursery is So-Na's safe haven, but when the young girl's father forces her to enroll in a new high school, she is reminded that life in the outside world is no Garden of Eden.
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