From Domestic Women To Sensitive Young Men

Yoon Sun Yang argues that the first literary iterations of the Korean individual were female figures in late nineteenth century domestic novels. This study disrupts the canonical account of a non-gendered, linear progress toward modern Korean selfhood and examines translation's impact on Korea's construction of modern gender roles.

"The notion of the individual was initially translated into Korean near the end of the nineteenth century and took root during the early years of Japanese colonial influence. Yoon Sun Yang argues that the first literary iterations of the Korean individual were prototypically female figures appearing in the early colonial domestic novel—a genre developed by reform-minded male writers—as schoolgirls, housewives, female ghosts, femmes fatales, and female same-sex partners. Such female figures have long been viewed as lacking in modernity because, unlike numerous male characters in Korean literature after the late 1910s, they did not assert their own modernity, or that of the nation, by exploring their interiority. Yang, however, shows that no reading of Korean modernity can ignore these figures, because the early colonial domestic novel cast them as individuals in terms of their usefulness or relevance to the nation, whether model citizens or iconoclasts. By including these earlier narratives within modern Korean literary history and positing that they too were engaged in the translation of individuality into Korean, Yang’s study not only disrupts the canonical account of a non-gendered, linear progress toward modern Korean selfhood but also expands our understanding of the role played by translation in Korea’s construction of modern gender roles."

The Routledge Handbook of Modern Korean Literature provides a comprehensive overview of a Korean literary tradition, which is understood as a multifaceted nexus of practices, both homegrown and transnational. The handbook discusses the perspectives from which modern Korean literature has thus far been defined, analyzing which voices have been enunciated, underappreciated, or completely silenced and how we can enrich our understanding of it. Taking up diverse transnational and interdisciplinary standpoints, this volume aims to encourage readers not to treat modern Korean literature as a self-evident category but to examine it anew as an uncultivated and uncharted space, unearthing its internal chasms and global connections. Divided into five parts, the themes covered include the following: Literature and power Borders and boundaries Rationality in literature and its limits Language, ethnicity, and translation Korean literature in the changing mediascape. By introducing new conceptual paradigms to the field of modern Korean literature, this book will appeal to students and scholars of Korean, East Asian, and world literature alike.

Choi examines how global Christian networks facilitated the flow of ideas, people and material culture, shaping gendered modernity in Korea.

Mediating Gender in Post-Authoritarian South Korea focuses on the relationship between media representation and gender politics in South Korea. Its chapters feature notable voices of South Korea’s burgeoning sphere of gender critique enabled by social media, doing what no other academic volume has yet accomplished in the sphere of Anglophone studies on this topic. Seeking to interrogate the role of popular media in establishing and shaping gendered common sense, this volume fosters cross-disciplinary conversations linked by the central thesis that gender discourse and representation are central to the politics, aesthetics, and economics of contemporary South Korea. In the post-authoritarian period (the late 1980s to the #MeToo present), media representation and popular discourse changed the gender conventions that are found at the core of civic, political, and cultural debates. Mediating Gender in Post-Authoritarian South Korea maps the ways in which popular media and public discourse make the social dynamics of gender visible and open them up for debate and dismantling. In presenting innovative new research on the ways in which popular ideas about gender gain concrete form and political substance through mass mediation, the book’s contributors investigate the discursive production of gender in contemporary South Korea through trends, tropes, and thematics, as popular media become the domain in which new gendered subjectivities and relations transpire. The essays in this volume present cases and media objects that span multiple media and platforms, introducing new ways of thinking about gender as a platform and a conceptual infrastructure in the post-authoritarian era.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Melodrama films dominated the North and South Korean industries in the period between liberation from Japanese colonial rule in 1945 and the hardening of dictatorship in the 1970s. The films of each industry are often read as direct reflections of Cold War and Korean War political ideologies and national historical experiences, and therefore as aesthetically and politically opposed to each other. However, Political Moods develops a comparative analysis across the Cold War divide, analyzing how films in both North and South Korea convey political and moral ideas through the sentimentality of the melodramatic mode. Travis Workman reveals that the melancholic moods of film melodrama express the somatic and social conflicts between political ideologies and excesses of affect, meaning, and historical references. These moods dramatize the tension between the language of Cold War politics and the negative affects that connect cinema to what it cannot fully represent. The result is a new way of historicizing the cinema of the two Koreas in relation to colonialism, postcolonialism, war, and nation building.

"During the late twelfth to fourteenth centuries, several precursors of what is now commonly known as Shinto came together for the first time. By focusing on Mt. Miwa in present-day Nara Prefecture and examining the worship of indigenous deities (kami) that emerged in its proximity, this book serves as a case study of the key stages of “assemblage” through which this formative process took shape. Previously unknown rituals, texts, and icons featuring kami, all of which were invented in medieval Japan under the strong influence of esoteric Buddhism, are evaluated using evidence from local and translocal ritual and pilgrimage networks, changing land ownership patterns, and a range of religious ideas and practices. These stages illuminate the medieval pedigree of Ryōbu Shintō (kami ritual worship based loosely on esoteric Buddhism’s Two Mandalas), a major precursor to modern Shinto. In analyzing the key mechanisms for “assembling” medieval forms of kami worship, Andreeva challenges the twentieth-century master narrative of Shinto as an unbroken, monolithic tradition. By studying how and why groups of religious practitioners affiliated with different cultic sites and religious institutions responded to esoteric Buddhism’s teachings, this book demonstrates that kami worship in medieval Japan was a result of complex negotiations."