Pub Date : 2021-11-16DOI: 10.18399/acta.2014.17.1.002
Jongyon Hwang
Abstract:The purpose of the present article is to demonstrate that Sŏkkuram attained its status as a work of art through Japanese and Korean intellectuals’ efforts to invent or elevate the East and that the eulogy of its art was involved in the self-legitimizing and self-aggrandizing culture of imperial Japan. The sculptures of the grotto were not disconnected from the context of Buddhist ceremonies and practices and discussed in terms of art until they became the object of Japanese critical discourse accommodating western notions of art. Yanagi Muneyoshi, the author of the first critical essay ever written on Sŏkkuram as a work of art, tried to explain its formal features and their significance from a viewpoint of romantic and Blakean art and assumed as its characterizing and inclusive category an Eastern art which had held its unifying ground in Buddhism. His analysis of Sŏkkuram was in line with attempts to invent Buddhist art in correspondence to Christian art and, ultimately, the East to the West. In his “Sunset,” a short-story set against Kyŏngju, Yi T’ae-jun was interested in capturing what he himself had called “Eastern sentiment” evoked by the historic remains in the old capital city of Silla and located its consummation in the sublimity of Sŏkkuram. Compared to the eleven-faced-Kwanŭm bodhisattva in the text, the heroine T’aok is not just an embodiment of compassion toward all mortal beings, but also a symbol of a new East that was the dominant theme of Japanese wartime ideology. As Japan’s war intensified, and as the culture of imperial Japan took a fascist turn, the aesthetic of Sŏkkuram became irrevocably politicized. Buddhism, the source of elevating representations of the grotto, served in the war effort in the form of Imperial-Way Buddhism. The aesthetic of Oriental sublime was thus inseparably entangled with Japanese imperialist fantasies.
{"title":"Oriental Sublime: Sŏkkuram in the Japanese Imperial Landscape","authors":"Jongyon Hwang","doi":"10.18399/acta.2014.17.1.002","DOIUrl":"https://doi.org/10.18399/acta.2014.17.1.002","url":null,"abstract":"Abstract:The purpose of the present article is to demonstrate that Sŏkkuram attained its status as a work of art through Japanese and Korean intellectuals’ efforts to invent or elevate the East and that the eulogy of its art was involved in the self-legitimizing and self-aggrandizing culture of imperial Japan. The sculptures of the grotto were not disconnected from the context of Buddhist ceremonies and practices and discussed in terms of art until they became the object of Japanese critical discourse accommodating western notions of art. Yanagi Muneyoshi, the author of the first critical essay ever written on Sŏkkuram as a work of art, tried to explain its formal features and their significance from a viewpoint of romantic and Blakean art and assumed as its characterizing and inclusive category an Eastern art which had held its unifying ground in Buddhism. His analysis of Sŏkkuram was in line with attempts to invent Buddhist art in correspondence to Christian art and, ultimately, the East to the West. In his “Sunset,” a short-story set against Kyŏngju, Yi T’ae-jun was interested in capturing what he himself had called “Eastern sentiment” evoked by the historic remains in the old capital city of Silla and located its consummation in the sublimity of Sŏkkuram. Compared to the eleven-faced-Kwanŭm bodhisattva in the text, the heroine T’aok is not just an embodiment of compassion toward all mortal beings, but also a symbol of a new East that was the dominant theme of Japanese wartime ideology. As Japan’s war intensified, and as the culture of imperial Japan took a fascist turn, the aesthetic of Sŏkkuram became irrevocably politicized. Buddhism, the source of elevating representations of the grotto, served in the war effort in the form of Imperial-Way Buddhism. The aesthetic of Oriental sublime was thus inseparably entangled with Japanese imperialist fantasies.","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87053546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-16DOI: 10.18399/acta.2007.10.1.002
Xin Wei
Abstract:This article explores Koryŏ-Song literary relations by conducting an extensive survey of the Tongmunsŏn, the largest literary collection of pre-modern Korea. The chronological distribution of contributions by outstanding Korean writers in the Tongmunsŏn follows a pattern that is hard to explain solely from the point of view of Korean internal political developments. Rather, the pattern reflects the historical and diplomatic contact between Korea and China and connects Koryŏ literature to the broad scope of Chinese literary trends. Yi Kyu-bo and Yi Che-hyŏn, widely known today as two of the best Korean hanmun writers from late Koryŏ, receive focus as being exemplars of Song influences on late Koryŏ literature. In general, Northern Song played an indirect role and Southern Song played a direct role in shaping late Koryŏ literature. The purpose of this study is to open up literary studies on Koryŏ Korea to comparative research and examine the wider civilization of East Asia in a pluralistic manner.
{"title":"Song China’s Role in Shaping Late Koryŏ Literature: An Analytical Survey of the Tongmunsŏn","authors":"Xin Wei","doi":"10.18399/acta.2007.10.1.002","DOIUrl":"https://doi.org/10.18399/acta.2007.10.1.002","url":null,"abstract":"Abstract:This article explores Koryŏ-Song literary relations by conducting an extensive survey of the Tongmunsŏn, the largest literary collection of pre-modern Korea. The chronological distribution of contributions by outstanding Korean writers in the Tongmunsŏn follows a pattern that is hard to explain solely from the point of view of Korean internal political developments. Rather, the pattern reflects the historical and diplomatic contact between Korea and China and connects Koryŏ literature to the broad scope of Chinese literary trends. Yi Kyu-bo and Yi Che-hyŏn, widely known today as two of the best Korean hanmun writers from late Koryŏ, receive focus as being exemplars of Song influences on late Koryŏ literature. In general, Northern Song played an indirect role and Southern Song played a direct role in shaping late Koryŏ literature. The purpose of this study is to open up literary studies on Koryŏ Korea to comparative research and examine the wider civilization of East Asia in a pluralistic manner.","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90753422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-16DOI: 10.18399/acta.2008.11.1.006
K. O'Rourke
Abstract:There is a useful distinction in contemporary English poetry practice between craft and technique, where craft refers to the nuts and bolts of poetry practice—rhyme, meter, syllable count, etc., and technique refers to the inspirational side, the soul of the poet. Craft can be learned; technique is a gift.There are two radically different poetry traditions in Korea, hansi and vernacular poetry. In the case of hansi, craft is determined by the rules of Chinese poetry; but in the case of vernacular poetry craft is a very vague concept, not formally discussed until the beginning of the twentieth century when Japanese scholars became interested in hyangga and Koryŏ kayo, and the first generation of Korean sijo scholars established the framework of sijo criticism.The elaboration of a prosody of Korean poetry remains an urgent task. The tradition has been technique rather than craft based.
{"title":"Reflections on Translating Classical Korean Poetry","authors":"K. O'Rourke","doi":"10.18399/acta.2008.11.1.006","DOIUrl":"https://doi.org/10.18399/acta.2008.11.1.006","url":null,"abstract":"Abstract:There is a useful distinction in contemporary English poetry practice between craft and technique, where craft refers to the nuts and bolts of poetry practice—rhyme, meter, syllable count, etc., and technique refers to the inspirational side, the soul of the poet. Craft can be learned; technique is a gift.There are two radically different poetry traditions in Korea, hansi and vernacular poetry. In the case of hansi, craft is determined by the rules of Chinese poetry; but in the case of vernacular poetry craft is a very vague concept, not formally discussed until the beginning of the twentieth century when Japanese scholars became interested in hyangga and Koryŏ kayo, and the first generation of Korean sijo scholars established the framework of sijo criticism.The elaboration of a prosody of Korean poetry remains an urgent task. The tradition has been technique rather than craft based.","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83419341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-16DOI: 10.1163/2468-1733_shafr_sim200070141
P. Mceachern
{"title":"Negotiating on the Edge: North Korean Negotiating behavior by Scott Snyder (review)","authors":"P. Mceachern","doi":"10.1163/2468-1733_shafr_sim200070141","DOIUrl":"https://doi.org/10.1163/2468-1733_shafr_sim200070141","url":null,"abstract":"","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77076123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-16DOI: 10.18399/acta.2008.11.1.005
Michael C. Kalton
Abstract:Translation is a means to remove a linguistic barrier and enable communication. But that way of understanding the problem is too simple, for the notion that the barrier to be overcome is a matter of unfamiliar language assumes that words carry meaning independently from their larger social/cultural context. The interesting challenge of the translator is to bridge not only a language barrier but also the temporal and cultural gap between the milieu of the source and the milieu the reader. Standing with one foot in each milieu, the translator is aware of assumptions, understandings, and expectations that belong to one but not the other. In the case of philosophy, this is often the major point of interest: adventurous readers come to texts from distant times and places hoping to discover something new, a challenge to the world of their accustomed thinking. But to really “hear” something new most often demands sufficient linkage to the familiar; absent such linkage, the material translated simply sounds bizarre, and the translation has in fact failed. And even worse, traditions themselves die and become museum pieces when they fail to “translate.”I will argue that the two most central concepts in Neo-Confucian discourse, i (li) and ki (chi), generally translated as “principle” and “material force,” represent a rather extreme example of this problem. A close analysis of the difficulties that emerge in this case will also serve as a sketch of the general terrain that renders the translation of Neo-Confucian thought difficult. In philosophy the paradoxical reality is that at precisely the points where there may be the most to learn the barriers to communication are often the highest.
{"title":"The Quandary of Translating Neo-Confucian Thought: Killing a Tradition for Lack of Words","authors":"Michael C. Kalton","doi":"10.18399/acta.2008.11.1.005","DOIUrl":"https://doi.org/10.18399/acta.2008.11.1.005","url":null,"abstract":"Abstract:Translation is a means to remove a linguistic barrier and enable communication. But that way of understanding the problem is too simple, for the notion that the barrier to be overcome is a matter of unfamiliar language assumes that words carry meaning independently from their larger social/cultural context. The interesting challenge of the translator is to bridge not only a language barrier but also the temporal and cultural gap between the milieu of the source and the milieu the reader. Standing with one foot in each milieu, the translator is aware of assumptions, understandings, and expectations that belong to one but not the other. In the case of philosophy, this is often the major point of interest: adventurous readers come to texts from distant times and places hoping to discover something new, a challenge to the world of their accustomed thinking. But to really “hear” something new most often demands sufficient linkage to the familiar; absent such linkage, the material translated simply sounds bizarre, and the translation has in fact failed. And even worse, traditions themselves die and become museum pieces when they fail to “translate.”I will argue that the two most central concepts in Neo-Confucian discourse, i (li) and ki (chi), generally translated as “principle” and “material force,” represent a rather extreme example of this problem. A close analysis of the difficulties that emerge in this case will also serve as a sketch of the general terrain that renders the translation of Neo-Confucian thought difficult. In philosophy the paradoxical reality is that at precisely the points where there may be the most to learn the barriers to communication are often the highest.","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81141835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-16DOI: 10.1163/2468-1733_shafr_sim200070094
{"title":"Tyranny of the Weak: North Korea and the World, 1950–1992 by Charles Armstrong (review)","authors":"","doi":"10.1163/2468-1733_shafr_sim200070094","DOIUrl":"https://doi.org/10.1163/2468-1733_shafr_sim200070094","url":null,"abstract":"","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88267780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jae-Buhm Hwang, Keith Pratt, Alon Levkowitz, Sehjae Chun, Thorsten Traulsen, Michael C. E. Finch, Guy Podoler, Xin Wei, J. Ryu, Yi Hyo-Sŏk, Young-Ji Kang, Bruce Fulton, Michael Reinschmidt, Andrei Lankov, Sem Vermeersch, Bernhard Seliger, Sungwon Sohn
Abstract:This article explores the relationship between South Korean national identity and the country’s patriotic landscape. It attempts to decipher the images and the codes that museums, memorial halls, and monuments transmit to the local audience in order to establish a sense of spatial and temporal sameness and unity among the members of the nation. The analytic tool which is employed for that purpose is the distinction between “mythology” and “memory,” which makes it possible to avoid the commonly metaphorical use of the latter term. The framework of the analysis is presented in the form of a historical survey of the interaction between governing mythology, i.e. the dominant narrative preferred and advanced by the state, and collective and personal memories in South Korea. This underscores the fact that the present-day natural image of a landscape, which is dominated by images of the colonial past, is actually a late development. Only in the 1980s, when new socio-political conditions allowed for governing mythology and memory to converge and place the colonial past at the forefront of national identity, was this demonstrated by a wave of constructing memorial sites for the colonial past.In this context, it is possible to analyze which images are transmitted and how, and why specifically those images are important. Both external and internal challenges have influenced the decision to base governing colonial mythology on the role of South Korea as the legitimate son, who is responsible for the commemoration of deceased patriots, by relying on a set of familiar cultural and religious images. A highly passionate patriotic language that echoes early twentieth-century rhetoric, not only assists in strengthening the connection between the post-colonial South and pre-divided Korea, but it also mirrors the ongoing concern for the stability of the country. Also, the patriotic landscape sanctifies the death of the patriots, though death as a value is not sanctified. This demonstrates the way through which the concept of patriotism, which forms the emotional linchpin of nationalism, is tied to the idea of civic consciousness and the fulfillment of daily national obligations.
{"title":"Editor’s Note","authors":"Jae-Buhm Hwang, Keith Pratt, Alon Levkowitz, Sehjae Chun, Thorsten Traulsen, Michael C. E. Finch, Guy Podoler, Xin Wei, J. Ryu, Yi Hyo-Sŏk, Young-Ji Kang, Bruce Fulton, Michael Reinschmidt, Andrei Lankov, Sem Vermeersch, Bernhard Seliger, Sungwon Sohn","doi":"10.3828/ijeap.2022.9","DOIUrl":"https://doi.org/10.3828/ijeap.2022.9","url":null,"abstract":"Abstract:This article explores the relationship between South Korean national identity and the country’s patriotic landscape. It attempts to decipher the images and the codes that museums, memorial halls, and monuments transmit to the local audience in order to establish a sense of spatial and temporal sameness and unity among the members of the nation. The analytic tool which is employed for that purpose is the distinction between “mythology” and “memory,” which makes it possible to avoid the commonly metaphorical use of the latter term. The framework of the analysis is presented in the form of a historical survey of the interaction between governing mythology, i.e. the dominant narrative preferred and advanced by the state, and collective and personal memories in South Korea. This underscores the fact that the present-day natural image of a landscape, which is dominated by images of the colonial past, is actually a late development. Only in the 1980s, when new socio-political conditions allowed for governing mythology and memory to converge and place the colonial past at the forefront of national identity, was this demonstrated by a wave of constructing memorial sites for the colonial past.In this context, it is possible to analyze which images are transmitted and how, and why specifically those images are important. Both external and internal challenges have influenced the decision to base governing colonial mythology on the role of South Korea as the legitimate son, who is responsible for the commemoration of deceased patriots, by relying on a set of familiar cultural and religious images. A highly passionate patriotic language that echoes early twentieth-century rhetoric, not only assists in strengthening the connection between the post-colonial South and pre-divided Korea, but it also mirrors the ongoing concern for the stability of the country. Also, the patriotic landscape sanctifies the death of the patriots, though death as a value is not sanctified. This demonstrates the way through which the concept of patriotism, which forms the emotional linchpin of nationalism, is tied to the idea of civic consciousness and the fulfillment of daily national obligations.","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83602089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-16DOI: 10.18399/acta.2014.17.1.005
Soh-Youn Kim
Abstract:Though Kim Ki-duk (Kim Kidŏk) has been most notorious as a filmmaker for his bleak and misogynistic imagination, most notably in The Isle (Sŏm), Address Unknown (Suchwiin pulmyŏng), Bad Guy (Nappŭn namja), The Coast Guard (Haeansŏn), and Samaritan Girl (Samaria), 3 Iron (Pinjip) seems rather a moderate and romantic love story. Nevertheless, the film still remains problematic mainly because of its enigmatic narrative line. The sensational poster image of the female protagonist embracing her husband, while at the same time kissing her lover, epitomizes what is at stake in 3 Iron from a Lacanian perspective. This article is devoted to the task of identifying the logic of subjectivization and different directions of freedom operating in that strange love triangle.What is noticeable in describing the subjectivity of protagonists is 3 Iron’s elaborate use of mise-en-scène through windows and mirrors. The function of reflective materials is to show the protagonists in love as alienated, split and spectral. Being spectral means being related to the status of the Real as otherness or nothingness. In that regard, the personages in Las Meninas could be applied to the characters in this film in terms of their topological status: the royal couple and Min’gyu, Velasquez and T’aesŏk, the princess and Sŏnwha. The first pair has the status of the Other, the second the Real and the third the Symbolic shifting to the Real. In addition, Lacan’s rotated double-mirror device helps us to understand why subjectivization, or the psychoanalytic cure, means separation, or freedom, from the mirror of the Other. The transgressive couple seems to achieve freedom in the end.However, the different choices made by the masculine and feminine subjects need to be analyzed more closely on the basis of Lacan’s theory of sexuation. T’aesŏk finally becomes a ghostly existence and leaves the symbolic reality completely, whereas Sŏnwha decides to return home while letting her life and house remain open to the spectral being of T’aesŏk. According to Lacan, Sŏnwha’s way of living could be interpreted as having ultimate freedom because she treats the Symbolic as being ‘not-all’, that is, as being a reality containing an infinite gap that changes the reality from inside. By contrast, T’aesŏk’s choice is subject to the idea of reality as being ‘total’, thus he subtracts himself as an exceptional blot in the Symbolic. T’aesŏk’s way of enjoying freedom is limited because his resistant position is still inherently bound to the existent reality. In that sense, 3 Iron represented a crucial moment for the appearance of feminine subjectivity in Korean cinema during the 2000s, when so much effort had been made to rebuild the masculinity lost mainly as a result of the social decline following “the IMF crisis”.
{"title":"Mirror Play, or Subjectivization in 3 Iron: Based on Lacan’s Analysis of Las Meninas and his Optical Model","authors":"Soh-Youn Kim","doi":"10.18399/acta.2014.17.1.005","DOIUrl":"https://doi.org/10.18399/acta.2014.17.1.005","url":null,"abstract":"Abstract:Though Kim Ki-duk (Kim Kidŏk) has been most notorious as a filmmaker for his bleak and misogynistic imagination, most notably in The Isle (Sŏm), Address Unknown (Suchwiin pulmyŏng), Bad Guy (Nappŭn namja), The Coast Guard (Haeansŏn), and Samaritan Girl (Samaria), 3 Iron (Pinjip) seems rather a moderate and romantic love story. Nevertheless, the film still remains problematic mainly because of its enigmatic narrative line. The sensational poster image of the female protagonist embracing her husband, while at the same time kissing her lover, epitomizes what is at stake in 3 Iron from a Lacanian perspective. This article is devoted to the task of identifying the logic of subjectivization and different directions of freedom operating in that strange love triangle.What is noticeable in describing the subjectivity of protagonists is 3 Iron’s elaborate use of mise-en-scène through windows and mirrors. The function of reflective materials is to show the protagonists in love as alienated, split and spectral. Being spectral means being related to the status of the Real as otherness or nothingness. In that regard, the personages in Las Meninas could be applied to the characters in this film in terms of their topological status: the royal couple and Min’gyu, Velasquez and T’aesŏk, the princess and Sŏnwha. The first pair has the status of the Other, the second the Real and the third the Symbolic shifting to the Real. In addition, Lacan’s rotated double-mirror device helps us to understand why subjectivization, or the psychoanalytic cure, means separation, or freedom, from the mirror of the Other. The transgressive couple seems to achieve freedom in the end.However, the different choices made by the masculine and feminine subjects need to be analyzed more closely on the basis of Lacan’s theory of sexuation. T’aesŏk finally becomes a ghostly existence and leaves the symbolic reality completely, whereas Sŏnwha decides to return home while letting her life and house remain open to the spectral being of T’aesŏk. According to Lacan, Sŏnwha’s way of living could be interpreted as having ultimate freedom because she treats the Symbolic as being ‘not-all’, that is, as being a reality containing an infinite gap that changes the reality from inside. By contrast, T’aesŏk’s choice is subject to the idea of reality as being ‘total’, thus he subtracts himself as an exceptional blot in the Symbolic. T’aesŏk’s way of enjoying freedom is limited because his resistant position is still inherently bound to the existent reality. In that sense, 3 Iron represented a crucial moment for the appearance of feminine subjectivity in Korean cinema during the 2000s, when so much effort had been made to rebuild the masculinity lost mainly as a result of the social decline following “the IMF crisis”.","PeriodicalId":42297,"journal":{"name":"Acta Koreana","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85911154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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