Pub Date : 2022-10-01DOI: 10.1215/07311613-9859785
Hwisang Cho
Abstract:The deaths of Confucian scholars in the Chosŏn period (1392–1910) gave rise to elaborate rituals through which the bereaved reframed their relationships to the deceased as well as among themselves, and which took place most explicitly in the process of producing diverse funerary texts. Created in a specific material format and aesthetic, each funerary text addressed a particular group of people enacting its respective performative functions in the ritual proceedings. While exploring the funerary texts produced for T'oegye Yi Hwang (1501−1570), this article grapples with the indistinguishable narrative styles shown in different funerary texts despite their distinctive material conditions and ritual functions. It demonstrates that the privileged status that books enjoyed in Chosŏn Confucian tradition meant that their addressivity nullified the original tone and style of each text, because funerary texts were eventually compiled and included as part of the deceased's collection of writings in book form. This study argues that textual scholarship needs to account for hierarchies among the different textual materialities, particularly when the same texts travel across diverse media forms. It complements existing historiography that almost always uses Chosŏn funerary texts as narrative sources and takes for granted the cultural practice of writing and including them in books.
摘要:Chosŏn时期(1392-1910)儒家学者的死亡催生了复杂的仪式，通过这些仪式，丧亲者重新构建了他们与死者以及他们之间的关系，这种仪式最明显地发生在制作各种丧葬文本的过程中。以特定的材料形式和美学创作，每个葬礼文本都针对特定的人群，在仪式过程中发挥各自的表演功能。本文通过对1501 - 1570年为T’oegye Yi Hwang(1501 - 1570)制作的陪葬文本的研究，探讨了不同的陪葬文本尽管具有不同的物质条件和仪式功能，但所表现出的难以区分的叙事风格。它表明，书籍在Chosŏn儒家传统中享有的特权地位意味着它们的称呼性使每个文本的原始语气和风格无效，因为丧葬文本最终被编纂并以书籍的形式包含在死者的文集中。本研究认为，文本研究需要考虑不同文本材料之间的等级关系，特别是当相同的文本在不同的媒体形式中传播时。它补充了现有的史学，几乎总是使用Chosŏn丧葬文本作为叙事来源，并将写作和将其纳入书籍的文化实践视为理所当然。
{"title":"Obliterated Materiality: The Supremacy of the Book and Chosŏn Funerary Texts","authors":"Hwisang Cho","doi":"10.1215/07311613-9859785","DOIUrl":"https://doi.org/10.1215/07311613-9859785","url":null,"abstract":"Abstract:The deaths of Confucian scholars in the Chosŏn period (1392–1910) gave rise to elaborate rituals through which the bereaved reframed their relationships to the deceased as well as among themselves, and which took place most explicitly in the process of producing diverse funerary texts. Created in a specific material format and aesthetic, each funerary text addressed a particular group of people enacting its respective performative functions in the ritual proceedings. While exploring the funerary texts produced for T'oegye Yi Hwang (1501−1570), this article grapples with the indistinguishable narrative styles shown in different funerary texts despite their distinctive material conditions and ritual functions. It demonstrates that the privileged status that books enjoyed in Chosŏn Confucian tradition meant that their addressivity nullified the original tone and style of each text, because funerary texts were eventually compiled and included as part of the deceased's collection of writings in book form. This study argues that textual scholarship needs to account for hierarchies among the different textual materialities, particularly when the same texts travel across diverse media forms. It complements existing historiography that almost always uses Chosŏn funerary texts as narrative sources and takes for granted the cultural practice of writing and including them in books.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66151223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859759
Ksenia Chizhova, Olga Fedorenko
{"title":"Guest Editors' Introduction","authors":"Ksenia Chizhova, Olga Fedorenko","doi":"10.1215/07311613-9859759","DOIUrl":"https://doi.org/10.1215/07311613-9859759","url":null,"abstract":"","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48152353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859850
Dahye Kim
Abstract:An important and distinctive characteristic of the emergence of South Korean science fiction for an adult readership is its flourishing in digital space, predominantly written by the new generation of middle-class, techno-savvy youth beginning in the late 1980s. This article, which terms these science fiction texts from the late 1980s through the 1990s "techno-fiction," begins by examining how contemporary literary critics viewed both science fiction and the practice of digital writing as concerning symptoms of "postmodernity" that threatened older aesthetic axioms of the literary field. For these critics, techno-fiction signified the empirical facts not only that increasing numbers of texts were being produced via the mediation of computer technology but, even more concerning, that the larger, politico-economic transformation of informatization was radically restructuring the cultural landscape and everyday cultural practices. Building on these critics' calls to pay attention to the rising middle-class habitus and related cultural techniques to better understand the state of literature and culture in the age of information, and set against the backdrop of state-initiated and neoliberal processes of informatization, this article closely examines how these middle-class youth grew up to become key players in the production and consumption of techno-fiction.
{"title":"Who Is Afraid of Techno-Fiction? The Emergence of Online Science Fiction in the Age of Informatization","authors":"Dahye Kim","doi":"10.1215/07311613-9859850","DOIUrl":"https://doi.org/10.1215/07311613-9859850","url":null,"abstract":"Abstract:An important and distinctive characteristic of the emergence of South Korean science fiction for an adult readership is its flourishing in digital space, predominantly written by the new generation of middle-class, techno-savvy youth beginning in the late 1980s. This article, which terms these science fiction texts from the late 1980s through the 1990s \"techno-fiction,\" begins by examining how contemporary literary critics viewed both science fiction and the practice of digital writing as concerning symptoms of \"postmodernity\" that threatened older aesthetic axioms of the literary field. For these critics, techno-fiction signified the empirical facts not only that increasing numbers of texts were being produced via the mediation of computer technology but, even more concerning, that the larger, politico-economic transformation of informatization was radically restructuring the cultural landscape and everyday cultural practices. Building on these critics' calls to pay attention to the rising middle-class habitus and related cultural techniques to better understand the state of literature and culture in the age of information, and set against the backdrop of state-initiated and neoliberal processes of informatization, this article closely examines how these middle-class youth grew up to become key players in the production and consumption of techno-fiction.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46353339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859811
Deborah B. Solomon
Abstract:In 1912, Horii Duplication opened a branch office in Keijō, or present-day Seoul, aiming to sell what the company optimistically described as "a great invention of the East," its patented tōshaban (K. tŭngsap'an) duplicator. The tŭngsap'an was, indeed, a remarkably accessible technology. It was simple and inexpensive to operate; it could reproduce images, roman letters, and East Asian scripts; and it was capable of generating duplicates on any type of paper using readily available ink. Tŭngsap'an technology was deeply implicated in Japanese expansionism from its inception, and in Korea, its role in enabling knowledge production, surveillance, and other forms of political control furthered the reach of the colonial state. Even so, tŭngsap'an duplication was widespread beyond official use, and its unique combination of affordances led colonial authorities to view the tŭngsap'an as both a tool for and a target of state surveillance, especially as independence activists utilized tŭngsap'an duplication in fluid and interactive ways to further resistance efforts. The paradoxes that tŭngsap'an duplication embodied make it a unique site of textual practice, and a rich vantage point from which to study how arrangements of power in colonial Korea were enacted, experienced, navigated, and contested.
{"title":"\"A Great Invention of the East, Unsurpassed in History\": Tŭngsap'an Mimeography in Korea, 1910–1945","authors":"Deborah B. Solomon","doi":"10.1215/07311613-9859811","DOIUrl":"https://doi.org/10.1215/07311613-9859811","url":null,"abstract":"Abstract:In 1912, Horii Duplication opened a branch office in Keijō, or present-day Seoul, aiming to sell what the company optimistically described as \"a great invention of the East,\" its patented tōshaban (K. tŭngsap'an) duplicator. The tŭngsap'an was, indeed, a remarkably accessible technology. It was simple and inexpensive to operate; it could reproduce images, roman letters, and East Asian scripts; and it was capable of generating duplicates on any type of paper using readily available ink. Tŭngsap'an technology was deeply implicated in Japanese expansionism from its inception, and in Korea, its role in enabling knowledge production, surveillance, and other forms of political control furthered the reach of the colonial state. Even so, tŭngsap'an duplication was widespread beyond official use, and its unique combination of affordances led colonial authorities to view the tŭngsap'an as both a tool for and a target of state surveillance, especially as independence activists utilized tŭngsap'an duplication in fluid and interactive ways to further resistance efforts. The paradoxes that tŭngsap'an duplication embodied make it a unique site of textual practice, and a rich vantage point from which to study how arrangements of power in colonial Korea were enacted, experienced, navigated, and contested.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46528173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859837
Ksenia Chizhova
Abstract:A ubiquitous part of everyday life, North Korean calligraphy is an easily overlooked and yet integral element of the country's mass mobilization art. Under the curation of Kim Jong Il (Kim Chŏngil, 1941–2011), calligraphy was mobilized as a mechanism for the articulation of organistic national unity centered on the ruling Kim family and captured through the idea of the "social and political living body" (sahoe chŏngch'i chŏk saengmyŏngch'e), which mediated the familial transition of power. Cultivating penmanship identical to that of his father and expanding the hagiographic project around the revolutionary calligraphy of his parents, Kim Il Sung (Kim Ilsŏng, 1912–94) and Kim Jong Suk (Kim Chŏngsuk, 1917–49), Kim Jong Il worked out an image of charismatic familial embodiment by means of the script. In addition, calligraphy constitutes a disciplinary apparatus that coordinates performances of political intimacy, bodily training, and political interpretation within the space of everyday life. Drawing on the North Korean calligraphy textbooks, art periodicals, and visual archive, this article contextualizes the dichotomy of the idiosyncratic style of the male leaders and the feminized, ubiquitous Ch'ŏngbong style, connected with the figure of Kim Jong Suk. Special attention is given to the body symbolism and somatic discipline of North Korean calligraphy, which underlie its political efficacy as inscriptional and hermeneutic practice.
{"title":"North Korean Calligraphy: Gender, Intimacy, and Political Incorporation, 1980s–2010s","authors":"Ksenia Chizhova","doi":"10.1215/07311613-9859837","DOIUrl":"https://doi.org/10.1215/07311613-9859837","url":null,"abstract":"Abstract:A ubiquitous part of everyday life, North Korean calligraphy is an easily overlooked and yet integral element of the country's mass mobilization art. Under the curation of Kim Jong Il (Kim Chŏngil, 1941–2011), calligraphy was mobilized as a mechanism for the articulation of organistic national unity centered on the ruling Kim family and captured through the idea of the \"social and political living body\" (sahoe chŏngch'i chŏk saengmyŏngch'e), which mediated the familial transition of power. Cultivating penmanship identical to that of his father and expanding the hagiographic project around the revolutionary calligraphy of his parents, Kim Il Sung (Kim Ilsŏng, 1912–94) and Kim Jong Suk (Kim Chŏngsuk, 1917–49), Kim Jong Il worked out an image of charismatic familial embodiment by means of the script. In addition, calligraphy constitutes a disciplinary apparatus that coordinates performances of political intimacy, bodily training, and political interpretation within the space of everyday life. Drawing on the North Korean calligraphy textbooks, art periodicals, and visual archive, this article contextualizes the dichotomy of the idiosyncratic style of the male leaders and the feminized, ubiquitous Ch'ŏngbong style, connected with the figure of Kim Jong Suk. Special attention is given to the body symbolism and somatic discipline of North Korean calligraphy, which underlie its political efficacy as inscriptional and hermeneutic practice.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44751050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859772
Seunghye Lee
Abstract:This article examines woodblock prints of the Sūtra of the Dhāraṇī of the Precious Casket Seal of the Concealed Complete-Body Relics of the Essence of All Tathāgatas, a short text that came to serve as a backbone for the textual relic cult and, starting in the early Koryŏ, became an important part of consecratory deposits of Buddhist icons. This article focuses on how material embodiments of dhāraṇīs were enshrined in the Korean context and how such enshrinement defined their function and meaning. Through an analysis of the Dhāraṇī of the Precious Casket Seal in diverse forms, visual designs, and ritual contexts from the eleventh to the fourteenth century, the article demonstrates that the materiality of this important dhāraṇī was key to its performativity as a sacred object that could consecrate otherwise manmade architectural or iconic entities. By so doing, this study reveals key aspects of the Buddhist visual culture that have long remained obscure, while contributing to the growing scholarship on textual materiality in premodern Korea.
{"title":"Text, Materiality, and Enshrinement Practices: Visual Culture of a Buddhist Dhāraṇī in Late Medieval Korea","authors":"Seunghye Lee","doi":"10.1215/07311613-9859772","DOIUrl":"https://doi.org/10.1215/07311613-9859772","url":null,"abstract":"Abstract:This article examines woodblock prints of the Sūtra of the Dhāraṇī of the Precious Casket Seal of the Concealed Complete-Body Relics of the Essence of All Tathāgatas, a short text that came to serve as a backbone for the textual relic cult and, starting in the early Koryŏ, became an important part of consecratory deposits of Buddhist icons. This article focuses on how material embodiments of dhāraṇīs were enshrined in the Korean context and how such enshrinement defined their function and meaning. Through an analysis of the Dhāraṇī of the Precious Casket Seal in diverse forms, visual designs, and ritual contexts from the eleventh to the fourteenth century, the article demonstrates that the materiality of this important dhāraṇī was key to its performativity as a sacred object that could consecrate otherwise manmade architectural or iconic entities. By so doing, this study reveals key aspects of the Buddhist visual culture that have long remained obscure, while contributing to the growing scholarship on textual materiality in premodern Korea.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41544988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859876
Olga Fedorenko
Abstract:An iconic medium of underground antiauthoritarian student activism in the 1980s, taejabo, or large "big-character" paper posters, has experienced a revival in postmillennial South Korea. Despite democratization and the availability of numerous online platforms, taejabo remains an important low-tech medium for students' expression on matters of local, national, and international significance. This article explores taejabo's transformations—from flourishing as an analogue counter-establishment medium in the 1980s, to experimental digital adaptations and the medium's decline in the 1990s, to taejabo's comeback in the 2010s as a postdigital medium. Drawing on scholarship on remediation, media materiality, and postdigitality, this article argues that taejabo's abiding relevance and coherent identity have been anchored in its ontology as publicly displayed large sheets of inscribed paper, and in its material performativity. In particular, taejabo's spatiality enables it to not simply represent different ideas but emplace them, literally confronting onlookers and materially transforming campuses into places of contestation. Contemporary taejabo's intermediality between paper and digital illustrates how online media, rather than being disruptive, are incorporated into established media practices.
{"title":"Taejabo: Remediations and Materiality of South Korean Wall Posters","authors":"Olga Fedorenko","doi":"10.1215/07311613-9859876","DOIUrl":"https://doi.org/10.1215/07311613-9859876","url":null,"abstract":"Abstract:An iconic medium of underground antiauthoritarian student activism in the 1980s, taejabo, or large \"big-character\" paper posters, has experienced a revival in postmillennial South Korea. Despite democratization and the availability of numerous online platforms, taejabo remains an important low-tech medium for students' expression on matters of local, national, and international significance. This article explores taejabo's transformations—from flourishing as an analogue counter-establishment medium in the 1980s, to experimental digital adaptations and the medium's decline in the 1990s, to taejabo's comeback in the 2010s as a postdigital medium. Drawing on scholarship on remediation, media materiality, and postdigitality, this article argues that taejabo's abiding relevance and coherent identity have been anchored in its ontology as publicly displayed large sheets of inscribed paper, and in its material performativity. In particular, taejabo's spatiality enables it to not simply represent different ideas but emplace them, literally confronting onlookers and materially transforming campuses into places of contestation. Contemporary taejabo's intermediality between paper and digital illustrates how online media, rather than being disruptive, are incorporated into established media practices.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43114788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859824
Anna J. Lee
Abstract:This article examines South Korean propaganda leaflets as a border-crossing medium designed as "paper bombs," or psychological weapons, of the continued Korean War during the Park Chung Hee period. Instead of focusing on the militaristic elements of the earlier leaflets, this article traces the propaganda leaflets' evolving content about daily economic life and consumption. Historically embedded in the larger narratives of political, ideological, and institutional changes of society in postwar South Korea, the article captures both the materiality and transient nature of the leaflets themselves and the purpose they served as cultural advertisement tools signaling the shifting atmosphere of the Cold War context in Korea. In the leaflets, leisure, consumption, and the pleasures of shopping were exaggerated and magnified, intended to entice the North Korean population and invite them to a different way of life, the "everyday life of consumption" in material comfort and a lifestyle of well-being. Stimulating a way to rethink political penetration into private economic lives, the leaflets became printed windows through which to visualize the forbidden possibilities of capitalism and consumerist modernity, generating internal conflict and the desire to defect to South Korea.
{"title":"Paper Bomb Warfare: Propaganda Leaflets about Consumerism in South Korea during the Park Chung Hee Period (1961–1979)","authors":"Anna J. Lee","doi":"10.1215/07311613-9859824","DOIUrl":"https://doi.org/10.1215/07311613-9859824","url":null,"abstract":"Abstract:This article examines South Korean propaganda leaflets as a border-crossing medium designed as \"paper bombs,\" or psychological weapons, of the continued Korean War during the Park Chung Hee period. Instead of focusing on the militaristic elements of the earlier leaflets, this article traces the propaganda leaflets' evolving content about daily economic life and consumption. Historically embedded in the larger narratives of political, ideological, and institutional changes of society in postwar South Korea, the article captures both the materiality and transient nature of the leaflets themselves and the purpose they served as cultural advertisement tools signaling the shifting atmosphere of the Cold War context in Korea. In the leaflets, leisure, consumption, and the pleasures of shopping were exaggerated and magnified, intended to entice the North Korean population and invite them to a different way of life, the \"everyday life of consumption\" in material comfort and a lifestyle of well-being. Stimulating a way to rethink political penetration into private economic lives, the leaflets became printed windows through which to visualize the forbidden possibilities of capitalism and consumerist modernity, generating internal conflict and the desire to defect to South Korea.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49111352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859863
J. Chung
Abstract:In the 1990s, South Korean literature underwent a crisis of relevance due to the changing materiality of cultural production as shaped by globalization, neoliberalism, and technological saturation. Nevertheless, the postmillennial decades have witnessed an efflorescence of new styles and voices in the literary field. Abroad, South Korean literature in translation has achieved unprecedented success in Anglophone publishing. At home, #MeToo has converged with structural critiques against the literary institution, animated by online social movements and new paradigms for understanding relationships between politics, affect, and everyday life. This article begins by exploring these phenomena through the framework of "literary materiality," understood as a set of contradictions about tangible and intangible properties distributed across intransitivity of signs, book-as-thing, codes and networks, material conditions of writerly life, and entities that confer and mediate literary value. The article goes on to examine the case of Yun Ihyŏng, whose oeuvre and activism have mobilized against the culture of literary commodification operating immanently in and across these forms. This article argues that her attempt to claim moral autonomy from the South Korean literary system is a promising vector in the ongoing struggle to dis-alienate literary culture in the age of neoliberal globalization.
{"title":"Politics of Literary Materiality: Yun Ihyŏng and Postmillennial South Korean Literature","authors":"J. Chung","doi":"10.1215/07311613-9859863","DOIUrl":"https://doi.org/10.1215/07311613-9859863","url":null,"abstract":"Abstract:In the 1990s, South Korean literature underwent a crisis of relevance due to the changing materiality of cultural production as shaped by globalization, neoliberalism, and technological saturation. Nevertheless, the postmillennial decades have witnessed an efflorescence of new styles and voices in the literary field. Abroad, South Korean literature in translation has achieved unprecedented success in Anglophone publishing. At home, #MeToo has converged with structural critiques against the literary institution, animated by online social movements and new paradigms for understanding relationships between politics, affect, and everyday life. This article begins by exploring these phenomena through the framework of \"literary materiality,\" understood as a set of contradictions about tangible and intangible properties distributed across intransitivity of signs, book-as-thing, codes and networks, material conditions of writerly life, and entities that confer and mediate literary value. The article goes on to examine the case of Yun Ihyŏng, whose oeuvre and activism have mobilized against the culture of literary commodification operating immanently in and across these forms. This article argues that her attempt to claim moral autonomy from the South Korean literary system is a promising vector in the ongoing struggle to dis-alienate literary culture in the age of neoliberal globalization.","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49123144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.1215/07311613-9859915
S. Asokan
{"title":"Movie Minorities: Transnational Rights Advocacy and South Korean Cinema by Hye Seung Chung and David Scott Diffrient (review)","authors":"S. Asokan","doi":"10.1215/07311613-9859915","DOIUrl":"https://doi.org/10.1215/07311613-9859915","url":null,"abstract":"","PeriodicalId":43322,"journal":{"name":"Journal of Korean Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44013426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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