Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.159
C. Zhang
In the latter part of the Cultural Revolution, Japanese movie scenarios were translated.The 15 translated films about the reality of Japanese society were newly produced at the time. Many of them were produced by social directors closely related to China and recommended by the Kinema Junpo editorial department.The intensive translation of the Japanese movie scenarios was due to the normalization of diplomatic relations between China and Japan, the deterioration of Sino-Soviet relations, the political situation in China, and the diversification of Japanese movies.The translation inherited the attention paid to social directors before the Cultural Revolution and promoted the Japanese Movie Boom in the latter part of the period.
{"title":"Translation of Japanese Movie Scenarios During the Cultural Revolution of China","authors":"C. Zhang","doi":"10.22628/bcjjl.2021.13.1.159","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.159","url":null,"abstract":"In the latter part of the Cultural Revolution, Japanese movie scenarios were translated.The 15 translated films about the reality of Japanese society were newly produced at the time. Many of them were produced by social directors closely related to China and recommended by the Kinema Junpo editorial department.The intensive translation of the Japanese movie scenarios was due to the normalization of diplomatic relations between China and Japan, the deterioration of Sino-Soviet relations, the political situation in China, and the diversification of Japanese movies.The translation inherited the attention paid to social directors before the Cultural Revolution and promoted the Japanese Movie Boom in the latter part of the period.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80974987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.93
K. Santos
Japan’s Cool Japan Initiative has aimed to tap Japan’s cultural industry to boost the country’s soft power all over the globe. In Southeast Asia, Cool Japan has its merits in countries such as Thailand and Singapore where Japanese cultural products, ranging from restaurants to television shows, have become easily accessible. Borrowing from Koichi Iwabuchi, Cool Japan provides opportunities for the country to present their “cultural odour.” That said, when the government is no longer in control of different cultural products, this ‘cultural odour’ takes a different shape. As a country that has not been central to Cool Japan initiatives, the Philippines presents an interesting case of localisations that negotiate Japanese cultural products in the Philippines. Focusing on observations of Japan’s contents industry, particularly access to anime and manga, this paper highlights how local consumers have made efforts to transform the ‘cultural odour’ of these Japanese products. This paper focuses on digital outputs such as social media fan works and dōjinshi of popular anime shows that bravely challenge the meanings of these Japanese cultural products. I argue that these localisations present critical transformations of Japanese popular culture which has led to knowledge from deviates from normative notions of Japan.
{"title":"Localising Japanese Popular Culture in the Philippines：Transformative Translations of Japan’s Cultural Industry","authors":"K. Santos","doi":"10.22628/bcjjl.2021.13.1.93","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.93","url":null,"abstract":"Japan’s Cool Japan Initiative has aimed to tap Japan’s cultural industry to boost the country’s soft power all over the globe. In Southeast Asia, Cool Japan has its merits in countries such as Thailand and Singapore where Japanese cultural products, ranging from restaurants to television shows, have become easily accessible. Borrowing from Koichi Iwabuchi, Cool Japan provides opportunities for the country to present their “cultural odour.” That said, when the government is no longer in control of different cultural products, this ‘cultural odour’ takes a different shape. As a country that has not been central to Cool Japan initiatives, the Philippines presents an interesting case of localisations that negotiate Japanese cultural products in the Philippines. Focusing on observations of Japan’s contents industry, particularly access to anime and manga, this paper highlights how local consumers have made efforts to transform the ‘cultural odour’ of these Japanese products. This paper focuses on digital outputs such as social media fan works and dōjinshi of popular anime shows that bravely challenge the meanings of these Japanese cultural products. I argue that these localisations present critical transformations of Japanese popular culture which has led to knowledge from deviates from normative notions of Japan.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88907969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.61
Suraya Md Nasir
The trans-cultural consumption of Japanese Manga in Malaysia has prompted a significant amount of manga-influenced local works. As an outcome, traces of Japanese Manga can be found through its iconic art styles, storytelling and Japanese culture in these works. While fans show the positive response for these manga-influenced local works, the artists’ community shows the opposite response, in particular, related to the representation of the “typical Japanese manga-style”, resulting in the idea that these artists are turning away from the “local art style” which has been pioneered by the predecessors. The sentiment of Japanese Manga as a “single art style” contributed to this misconception on what constitutes a Japanese manga identity. In which the researcher proposes the introduction of ‘Essay Manga’ (コミックエッセイ or エッセイマンガ) as a way to divert the attention of Japanese Manga’s art style, by shifting to the other attributes of Japanese Manga which is the story. Essay Manga is a manga work that describes the events that happened around the manga artist but without any specifications towards manga visual conventions. To illustrate the importance of story versus art style in Essay Manga, the characteristics, forms, examples are sketched out trough the works of Hosokawa Tenten and Azuma Hideo. A section on Malaysia “local art style” is also discussed and ties in with the discussion of Manga. Eventually, the study argues that Japanese Manga is not limited to visual representation; instead, it is accommodated by its engaging storytelling, thus justifying Essay Manga’s potential as a multimodal literacy works.
{"title":"Understanding Manga as a “Style” through Essay Manga’s Multimodal Literacies：And Its Relations to the Discourse on “local art style” in Malaysian Comics","authors":"Suraya Md Nasir","doi":"10.22628/bcjjl.2021.13.1.61","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.61","url":null,"abstract":"The trans-cultural consumption of Japanese Manga in Malaysia has prompted a significant amount of manga-influenced local works. As an outcome, traces of Japanese Manga can be found through its iconic art styles, storytelling and Japanese culture in these works. While fans show the positive response for these manga-influenced local works, the artists’ community shows the opposite response, in particular, related to the representation of the “typical Japanese manga-style”, resulting in the idea that these artists are turning away from the “local art style” which has been pioneered by the predecessors. The sentiment of Japanese Manga as a “single art style” contributed to this misconception on what constitutes a Japanese manga identity. In which the researcher proposes the introduction of ‘Essay Manga’ (コミックエッセイ or エッセイマンガ) as a way to divert the attention of Japanese Manga’s art style, by shifting to the other attributes of Japanese Manga which is the story. Essay Manga is a manga work that describes the events that happened around the manga artist but without any specifications towards manga visual conventions. To illustrate the importance of story versus art style in Essay Manga, the characteristics, forms, examples are sketched out trough the works of Hosokawa Tenten and Azuma Hideo. A section on Malaysia “local art style” is also discussed and ties in with the discussion of Manga. Eventually, the study argues that Japanese Manga is not limited to visual representation; instead, it is accommodated by its engaging storytelling, thus justifying Essay Manga’s potential as a multimodal literacy works.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88483281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.166
Yenhung Lai
The book Salad Anniversary (1987) by Tawara Machi sold a million copies. This study attempts to illustrate the possible influences of Salad Anniversary on Taiwanese people’s creative activities, through a comparative literary analysis. To be more specific, I’d like to explore the context and significance of the reception of Tawara Machi’s literary works in two fields, namely Taiwanese tanka poetry and Chinese pop music platforms.
{"title":"The Influences of Salad Anniversary on Taiwan","authors":"Yenhung Lai","doi":"10.22628/bcjjl.2021.13.1.166","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.166","url":null,"abstract":"The book Salad Anniversary (1987) by Tawara Machi sold a million copies. This study attempts to illustrate the possible influences of Salad Anniversary on Taiwanese people’s creative activities, through a comparative literary analysis. To be more specific, I’d like to explore the context and significance of the reception of Tawara Machi’s literary works in two fields, namely Taiwanese tanka poetry and Chinese pop music platforms.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83670717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.23
Hyeyoung Jung
The term “Namyang Archipelago” has been forgotten in Korea. Although the Namyang Islands were imbricated in the lives of Koreans during the colonial period, few Koreans know the term nowadays. During the colonial period, “Namyang Fever” was prevalent in Chosun. Namyang was thought of as an idealized land, but its natives were described as uncivilized barbarians. Such contradictory views are found in Kim Nae-sung’s adventure novel for boys The Golden Cave, published in 1937. This study examines the meaning of the obsession with Namyang in colonial Chosun, concentrating in particular on this novel.When the novel was published in 1937, Chosun was undergoing a mania for gold and a veritable gold rush. During this period, Kim Nae-seong was drawing readers’ attention to the Namyang Islands by describing them as the place where The Golden Cave is located. It was not that Kim Nae-seong wanted to encourage people to migrate to the Namyang Archipelago out of self-interest. All the children who go on adventures in the novel try to use the gold they have found in the public interest, through initiatives such as building an orphanage. They are aiming for a life that abandons the primacy of “one’s desire,” “one’s success,” and “one’s joy”, and think only of the public interest. This form of life meant 殉忠, “giving one’s life for the country,” which the Japanese Empire required of colonial Koreans during this period.
{"title":"The Popular Novels of Colonial Chosun and the Fantasy of ‘Namyang’, Focused on The Golden Cave","authors":"Hyeyoung Jung","doi":"10.22628/bcjjl.2021.13.1.23","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.23","url":null,"abstract":"The term “Namyang Archipelago” has been forgotten in Korea. Although the Namyang Islands were imbricated in the lives of Koreans during the colonial period, few Koreans know the term nowadays. During the colonial period, “Namyang Fever” was prevalent in Chosun. Namyang was thought of as an idealized land, but its natives were described as uncivilized barbarians. Such contradictory views are found in Kim Nae-sung’s adventure novel for boys The Golden Cave, published in 1937. This study examines the meaning of the obsession with Namyang in colonial Chosun, concentrating in particular on this novel.When the novel was published in 1937, Chosun was undergoing a mania for gold and a veritable gold rush. During this period, Kim Nae-seong was drawing readers’ attention to the Namyang Islands by describing them as the place where The Golden Cave is located. It was not that Kim Nae-seong wanted to encourage people to migrate to the Namyang Archipelago out of self-interest. All the children who go on adventures in the novel try to use the gold they have found in the public interest, through initiatives such as building an orphanage. They are aiming for a life that abandons the primacy of “one’s desire,” “one’s success,” and “one’s joy”, and think only of the public interest. This form of life meant 殉忠, “giving one’s life for the country,” which the Japanese Empire required of colonial Koreans during this period.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72488800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.4
D. Choi
In 2021, the 100th anniversary celebration of the birth of the Korean poet Chi-Hun Cho took place in Korea University. As a member of the Blue Deer School (Cheong-rok pa), Chi-Hun Cho left behind many poetic masterpieces. His poetry is widely recognized as expressing the spirit of Korean nationalism. Cho’s students and other literary society members commemorated his death with recitations of his works of poetry. In order to achieve such honor and respect, the literary person must live a life that is in agreement with the words and themes of their work. Cho was one of those honorable people, as he lived as a man with such a philosophy and a warm heart. As we live in an era when humanity and morality seem to be vanishing, we honor and celebrate the life of Cho, who has had such a great influence on the history of Korean literature.
{"title":"A Celebration of the 100th Anniversary of Chi-Hun Cho’s Birth","authors":"D. Choi","doi":"10.22628/bcjjl.2021.13.1.4","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.4","url":null,"abstract":"In 2021, the 100th anniversary celebration of the birth of the Korean poet Chi-Hun Cho took place in Korea University. As a member of the Blue Deer School (Cheong-rok pa), Chi-Hun Cho left behind many poetic masterpieces. His poetry is widely recognized as expressing the spirit of Korean nationalism. Cho’s students and other literary society members commemorated his death with recitations of his works of poetry. In order to achieve such honor and respect, the literary person must live a life that is in agreement with the words and themes of their work. Cho was one of those honorable people, as he lived as a man with such a philosophy and a warm heart. As we live in an era when humanity and morality seem to be vanishing, we honor and celebrate the life of Cho, who has had such a great influence on the history of Korean literature.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79949872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.175
Koku Zui
This book is an outstanding academic study of modern Japanese literature in China. It has been published by Sichuan University with the support of the central university research fund. It examines the work of Doppo Kunikida, a famous writer in the Meiji era in Japan, particularly “Aitei Tushin” (Letters to my beloved brother), “Musashino” and other works, and uses a large number of Chinese and Japanese documents and historical materials to explore the relationship between Kunikida’s literary output and the development of imperial Japan. The text also places Kunikida in the context of the multiple connections of Japanese literature with Chinese and English literature, and reinterprets his work from the interdisciplinary perspectives of media studies, discourse analysis, geography and translation studies. This can constitute a break with the conventional narrative surrounding Japanese literary history, and prompt relevant Japanese studies to incorporate the Chinese context.
{"title":"The Historicity and Internality of the Imperial Landscape：A Study of Doppo Kunikida’s Work","authors":"Koku Zui","doi":"10.22628/bcjjl.2021.13.1.175","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.175","url":null,"abstract":"This book is an outstanding academic study of modern Japanese literature in China. It has been published by Sichuan University with the support of the central university research fund. It examines the work of Doppo Kunikida, a famous writer in the Meiji era in Japan, particularly “Aitei Tushin” (Letters to my beloved brother), “Musashino” and other works, and uses a large number of Chinese and Japanese documents and historical materials to explore the relationship between Kunikida’s literary output and the development of imperial Japan. The text also places Kunikida in the context of the multiple connections of Japanese literature with Chinese and English literature, and reinterprets his work from the interdisciplinary perspectives of media studies, discourse analysis, geography and translation studies. This can constitute a break with the conventional narrative surrounding Japanese literary history, and prompt relevant Japanese studies to incorporate the Chinese context.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83621988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.8
Hideto Tsuboi
Since 2020, everything has changed with the worldwide spread of COVID-19 and the emergence of variants. In the field of humanities, we are still unable to figure out how to face such situation and how to translate it in the first place. One way is to relearn the representations of historical plagues and calamities, but it is a determined event of the past, and no one can judge whether it is effective as a means to solve the future situation. My essay takes the form of a letter written 10 years later by the future “I” to myself today. In the world 10 years later, “I,” who lives as a Komorîto, writes a letter to her/his past self, on the assumption that it is completely divided between two kinds of people：Gaishuto, who continue to live outside as they did before the Corona era, and Komorîto, who do not go out at all but simply stay at home. Like any other disciplines, humanities have a common understanding that we cannot talk about phenomena that are not fixed or that continue to vary. That’s why we get anxious. In this essay, I have ironically described a situation in which the content written in the writing process is quickly invalidated.
{"title":"A Letter to Myself in the Past","authors":"Hideto Tsuboi","doi":"10.22628/bcjjl.2021.13.1.8","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.8","url":null,"abstract":"Since 2020, everything has changed with the worldwide spread of COVID-19 and the emergence of variants. In the field of humanities, we are still unable to figure out how to face such situation and how to translate it in the first place. One way is to relearn the representations of historical plagues and calamities, but it is a determined event of the past, and no one can judge whether it is effective as a means to solve the future situation. My essay takes the form of a letter written 10 years later by the future “I” to myself today. In the world 10 years later, “I,” who lives as a Komorîto, writes a letter to her/his past self, on the assumption that it is completely divided between two kinds of people：Gaishuto, who continue to live outside as they did before the Corona era, and Komorîto, who do not go out at all but simply stay at home. Like any other disciplines, humanities have a common understanding that we cannot talk about phenomena that are not fixed or that continue to vary. That’s why we get anxious. In this essay, I have ironically described a situation in which the content written in the writing process is quickly invalidated.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84089181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.53
Peichen Wu
The travelogue Wareteki Nihon was published in December 2018 by Hakushui Sha, and included the work of eighteen Taiwanese writers from various generations. All their works in the text relate to their travels in Japan. These Taiwanese writers are Kan Yao-Ming, Ko Yu-fen, Huang Li-Chun, Wang Sheng-Hong, Jiang E, Chen Bo-Chin, Hu Mu-Ching, Sheng Hao-We, Chu He-Chih, Wu Ming-Yi, Lu Hui-Hsin, Yi Ge-Yan, Yen Shu-Hsia, and Liu Shu-Hui, whose works in this anthology depict Japanese scenery, culture and literature, and so on. This paper will focus on how this publishing project started, the process of producing this travelogue, and the evaluations and responses of Japan’s literary circle and the mass media to it after its publication in Japan.
{"title":"Traveling Japan, Writing Japan：The Translation and Publishing of the Travelogue Wareteki Nihon","authors":"Peichen Wu","doi":"10.22628/bcjjl.2021.13.1.53","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.53","url":null,"abstract":"The travelogue Wareteki Nihon was published in December 2018 by Hakushui Sha, and included the work of eighteen Taiwanese writers from various generations. All their works in the text relate to their travels in Japan. These Taiwanese writers are Kan Yao-Ming, Ko Yu-fen, Huang Li-Chun, Wang Sheng-Hong, Jiang E, Chen Bo-Chin, Hu Mu-Ching, Sheng Hao-We, Chu He-Chih, Wu Ming-Yi, Lu Hui-Hsin, Yi Ge-Yan, Yen Shu-Hsia, and Liu Shu-Hui, whose works in this anthology depict Japanese scenery, culture and literature, and so on. This paper will focus on how this publishing project started, the process of producing this travelogue, and the evaluations and responses of Japan’s literary circle and the mass media to it after its publication in Japan.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79186802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.178
Hyoung-duck Kwak
Son Jiyon’s “Contemplating Post-War Okinawan Literature：Gender, Ethnicity, and National Identity” criticizes the East Asian framework for understanding, and delves deeply into the intersection of postwar conditions and the Cold War in relation to Okinawa, through an analysis of various texts. As the author suggests, the situation of Okinawa is a microcosm of wider problems that are prevalent in the consciousness of East Asia as a whole, and which therefore can be understood at a fundamental level by Koreans, because they overlap with the contradictions thrown up by war and division in South Korea.
{"title":"An Analysis of the Post-war Conditions of Okinawa and the Effects of the Cold War on the Island","authors":"Hyoung-duck Kwak","doi":"10.22628/bcjjl.2021.13.1.178","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.178","url":null,"abstract":"Son Jiyon’s “Contemplating Post-War Okinawan Literature：Gender, Ethnicity, and National Identity” criticizes the East Asian framework for understanding, and delves deeply into the intersection of postwar conditions and the Cold War in relation to Okinawa, through an analysis of various texts. As the author suggests, the situation of Okinawa is a microcosm of wider problems that are prevalent in the consciousness of East Asia as a whole, and which therefore can be understood at a fundamental level by Koreans, because they overlap with the contradictions thrown up by war and division in South Korea.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85668393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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