THE ROUTLEDGE COMPANION

TO KOREAN LITERATURE

The Routledge Companion to Korean Literature consists of 35 chapters written by leaders in the feld,
who explore signifcant topics and who have pioneered innovative approaches. The collection
highlights the most dynamic current scholarship on Korean literature, presenting rigorous literary
analysis, interdisciplinary methodologies, and transregional thinking so as to provide a valuable and
inspiring resource for researchers and students alike. This Companion has particular signifcance as the
most extensive collection to date of English-language articles on Korean literature; it both ofers a
thorough intellectual engagement with current scholarship and addresses a broad range of topics and
time periods, from premodern to contemporary. It will contribute to an understanding of literature
as part of a broad sociocultural process that aims to put the feld into conversation with other felds
of study in the humanities and social sciences.
While presenting rigorous and innovative academic research that will be useful to graduate
students and researchers, the chapters in the collection are written to be accessible to the average
upper-level undergraduate student and include only minimal use of academic jargon. In an efort to
provide substantially helpful material for researching, teaching, and learning Korean literature, this
Companion includes as an appendix an extensive list of English translations of Korean literature.

Heekyoung Cho is Associate Professor in the Department of Asian Languages and Literature at
the University of Washington, Seattle. She is the author of Translation’s Forgotten History: Russian
Literature, Japanese Mediation, and the Formation of Modern Korean Literature. Her articles discuss topics
on translation and the creation of modern fiction, translation and censorship, serial publication,
world literature, and webcomics. Her current research focuses on seriality in cultural production in
both old and new media, including digital serialization and transmedial production, as well as graphic
narratives and media platforms.
Routledge Literature Companions

Also available in this series:

The Routledge Companion to Literature and Disability

Edited by Alice Hall

The Routledge Companion to Death and Literature

Edited by Daniel K. Jernigan, Neil Murphy, and W. Michelle Wang

The Routledge Companion to Victorian Literature

Edited by Dennis Denisoff and Talia Schaffer

The Routledge Companion to Australian Literature

Edited by Jessica Gildersleeve

The Routledge Companion to Jane Austen

Edited by Cheryl A. Wilson and Maria H. Frawley

The Routledge Companion to Literature and Class

Edited by Gloria McMillan

The Routledge Companion to the British and North American Literary Magazine
Edited by Tim Lanzendörfer

The Routledge Companion to Literature and Emotion

Edited by Patrick Colm Hogan, Bradley J. Irish and Lalita Pandit Hogan

The Routledge Companion to Yan Lianke

Edited by Riccardo Moratto and Howard Yuen Fung Choy

The Routledge Companion to Korean Literature

Edited by Heekyoung Cho

For more information on this series, please visit: www.routledge.com/Routledge-Literature-Companions/

book-series/RC4444
THE ROUTLEDGE COMPANION
TO KOREAN LITERATURE

Edited by Heekyoung Cho

 Cover image: © Getty Images
First published 2022
by Routledge
605 Third Avenue, New York, NY 10158
and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 selection and editorial matter, Heekyoung Cho; individual chapters,
the contributors
The right of Heekyoung Cho to be identifed as the author of the editorial
material, and of the authors for their individual chapters, has been asserted
in accordance with sections 77 and 78 of the Copyright, Designs and Patents
Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
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from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identifcation and explanation without
intent to infringe.
Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested
ISBN: 978-0-367-34849-6 (hbk)
ISBN: 978-1-032-20266-2 (pbk)
ISBN: 978-0-429-32841-1 (ebk)
DOI: 10.4324/9780429328411
Typeset in Bembo
by Apex CoVantage, LLC
 CONTENTS

List of Figures x
List of Tables xi
List of Contributors xii
Acknowledgments xix
Notes on Transliteration xx

Introduction—Redefned and Challenged: Anthologizing Korean Literary Studies 1

Heekyoung Cho

PART I
Premodern and Early Modern Korean Literature 15

SECTION I
Manuscript Culture, Materiality, Performativity 17

1 Manuscript, Not Print, in the Book World of Chosŏn Korea (1392–1910) 19

Si Nae Park

2 Performing Vernacular: Textual Practices as Bodily Events in

Premodern Korea 39
Hwisang Cho

SECTION II
Print, Medium, Transregional Interactions 55

3 Books for the Illiterate: The Haengsil-to (Illustrated Guide for Moral Deeds)
of Chosŏn Korea 57
Young Kyun Oh

v
 Contents

4 Print and Transnational Referentiality: Nam Kong-ch’ŏl’s Printing

of Kŭmnŭng chip 75
Suyoung Son

SECTION III
Novel, Gender Dynamics, Transgression 91

5 The Elite Vernacular Korean Culture of Chosŏn (1392–1910):

Indeterminacy, Hybridity, Strangeness 93
Ksenia Chizhova

6 Lovesickness and Death in Seventeenth-Century Korean Literature 108

Janet Yoon-sun Lee

SECTION IV
Language and Writing, Vernacular, Hybridity 121

7 Idu in and as Korean Literature 123

Ross King

8 Hybrid Orthographies and the Emergence of Modern Literature in

Early Twentieth-Century Korea 141
Daniel Pieper

PART II
Modernity and the Colonial Period 157

SECTION I
Gender and Sexuality 159

9 Capital, Gender, and Modernity in Colonial Korean Literature 161

Kelly Y. Jeong

10 Sexual Violence and Its Ideological Labor: Imagining Masculinist Equality

and Androcentric Ethnos in Colonial Korean Literature 173
Jin-kyung Lee

SECTION II
Translation and Crossing 185

11 Incongruent Refections: Translation and Bilingual Writings in

Colonial Korea 187
Yoon Jeong Oh

vi
 Contents

12 The Japanese “Café France”: Chŏng Chi-yong and Self-Translation 199

David Krolikoski

13 Nonsense as Sensibility: The Importance of Not Being Earnest in

Colonial Korea and Taiwan 212
Evelyn Shih

SECTION III
Modernity and Coloniality 227

14 Language, Science, and the Status of Truth in Late Colonial Korea 229
Christopher P. Hanscom

15 A Minor Modernist’s Conundrum of Representation: Kim Saryang

and the Colonized I-Novel 245
Nayoung Aimee Kwon

16 Rewriting the City: Yi Sang, Architecture, and the Figure of the

Department Store 257
Jina E. Kim

SECTION IV
Art and Politics 271

17 A Forgotten Aesthetic: Reportage in Colonial Korea, 1920s–1930s 273

Sunyoung Park

18 Conversion Literature (chŏnhyang sosŏl) and the Inward Gaze in the

Late Colonial Period 288
Mi-Ryong Shim

PART III
Liberation and Contemporary Korean Literature 299

SECTION I
Decolonization, Cold War, Humanism 301

19 Decolonizing Literature: Bridging Political Divides in the

Post-Liberation Period 303
Jonathan Glade

20 Vitalism and Existentialism in Early South Korean Literature 316

Jae Won Edward Chung

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 Contents

21 Humanism as a Problem of Empire in Modern Korean Literature 330

Travis Workman

SECTION II
Politics, Memory, Orality 343

22 Gender and Class Dynamics in the Utilitarian Discourse of the

Developmental State and Literature in 1970s and 1980s South Korea 345
Serk-Bae Suh

23 (Dis)embodiment of Memory: Gender, Memory, and Ethics in

Human Acts by Han Kang 357
Ji-Eun Lee

24 Continuing Orality in Korean Poetry: Opening a P’an for the Page 371
Ivanna Sang Een Yi

SECTION III
Race, Diaspora, Intersectionality 383

25 Ŏmma’s Baby, Appa’s Maybe: Black Amerasian Children and the

Layers of Diaspora 385
Jang Wook Huh

26 Intersecting Korean Diasporas 399

Christina Yi

27 Whose Korea Is It? Reading Zainichi Literature Intersectionally 412

Cindi Textor

SECTION IV
Division and North Korean Literature 425

28 Closed Borders and Open Letters in the Cold War Koreas 427
I Jonathan Kief

29 A Good Wife Is Hard to Find: North Korean Women in Fiction 441

Immanuel Kim

30 Children’s Literature in South and North Korea 453

Dafna Zur

viii
 Contents

PART IV
Queer Studies, World Literature, the Digital Humanities 469

SECTION I
Queer Reading and Afect 471

31 Forms of Attachment: Ardent Female Intimacies in 1920s Korea 473

Samuel Perry

32 The Poet and the Theater: Perverse Reading and Queer Poetry 488
Ungsan Kim

SECTION II
World Literature, Global Connections, the Digital Humanities 503

33 World Literature, Korean Literature, and the Medical and Health Humanities 505
Karen Thornber

34 Global Korea and World Literature 516

Jenny Wang Medina

35 The Text-Mining of Culture: The Case of a Popular Magazine in 1930s Korea 528
Jae-Yon Lee and Hyun-Joo Kim

Appendix: A Comprehensive List of English Translations of Korean Literature 547

Hyokyoung Yi

Index 695

ix
 FIGURES

1.1 The ornate cover page (left) and the title page (right) of The Small Chest of
Collected Writings of a Guest from Chosŏn held by the Asami Collection. 30
1.2 Character description found in the Iksŏnjae manuscript of Manifesting Goodness. 32
1.3 A gātha found in the Iksŏnjae manuscript of Manifesting Goodness. 33
2.1 The letter written by Yi Ŭngt’ae’s wife in 1586 that was exhumed from his
tomb in 1998. 47
3.1 Illustration of “[To] Mi’s Wife Chews Grass” (Mi ch’ŏ tamch’o). 63
3.2 Illustration of “Wŏn’gang haegok.” 66
3.3 Illustration of “Won’gang haegok,” Oryun haengsil-to. 67
3.4 Karye chimnam tosŏl, 23 a–b. 72
4.1 Nam Kong-ch’ŏl, Kŭmnŭng chip, 1.1a. 78
4.2 Qian Qianyi, Muzhai Chuxue ji, 1.1a, 1643 Yanyu tang edition. 80
4.3 Nam Kong-ch’ŏl, Kŭmnŭng chip, 1.1a, manuscript copy. 84
5.1 Leaf from Jangseogak manuscript of The Remarkable Reunion of Jade Mandarin Ducks,
executed in masterful square calligraphy. 95
5.2 Leaf from the Yonsei manuscript of The Reunion of Jade Mandarin Ducks, copied
by an elderly country resident. 99
13.1 Chogwang, woodblock-style illustration. 212
18.1 Illustration from “The New Year,” Chokwang, May 1938. 289
35.1 Average yearly frequency per issue of culture-related words. 533
35.2 Average yearly frequency per issue of terms related to social actors. 534
35.3 Network of co-occurring words, Phase One, central part (nodes: 149; edges: 552). 536
35.4 Network of co-occurring words, Phase Two, central part (nodes: 178; edges: 636). 538
35.5 Network of co-occurring words, Phase Three, central part (nodes: 164; edges: 552). 540

x
 TABLES

8.1 Occurrence of Four Main Glossing Types in The Night Reader (1908) 153

xi
 CONTRIBUTORS

Ksenia Chizhova is an assistant professor of Korean Literature and Cultural Studies at Princeton
University, Princeton, NJ. She works on kinship and family, history of emotions, and vernacular
calligraphy in Korea in the late seventeenth through twentieth centuries. Her manuscript Kinship
Novels of Early Modern Korea: Between Genealogical Time and the Domestic Everyday (Columbia Uni-
versity Press, 2021) focuses on Korean lineage novels and explores the construction of the so-called
genealogical subject in the vernacular Korean literary space.

Heekyoung Cho is Associate Professor in the Department of Asian Languages and Literatures
at the University of Washington, Seattle. She is the author of Translation’s Forgotten History:
Russian Literature, Japanese Mediation, and the Formation of Modern Korean Literature (Harvard
University Asia Center, 2016). Her articles discuss topics on translation and the creation of
modern fiction, translation and censorship, serial publication, world literature, and webcomics.
Her current research focuses on seriality in cultural production in both old and new media,
including digital serialization and transmedial production, as well as graphic narratives and
media platforms.

Hwisang Cho is Assistant Professor of Korean Studies at Emory University, Atlanta. He special-
izes in the cultural, intellectual, and literary history of Korea, comparative textual media, and global
written culture. Cho’s frst book, The Power of the Brush: Epistolary Practices in Chosŏn Korea, was
published by the University of Washington Press in 2020. His major work in progress is The Tales of
the Master: T’oegye and the Making of Modern Korea, a study of how the culture of storytelling about
a historical personage and its manifestation in diverse material forms have infuenced the formation
and appropriation of self-identities of various communities in Korea from the late sixteenth century
to the present.

Jae Won Edward Chung is a writer, translator, and scholar of Korean literary and visual cultures.
He studied philosophy at Swarthmore College, Swarthmore, PA, and Korean literature at Columbia
University, New York. He has previously taught at the University of Colorado Boulder and Ewha
Womans University, Seoul. He is currently an assistant professor at Rutgers University, New Bruns-
wick, NJ, in the Department of Asian Languages and Cultures. He has contributed to the Journal of
Asian Studies, Azalea: Journal of Korean Literature & Culture, Boston Review, Asia Literary Review, and
Asymptote.

xii
 Contributors

Jonathan Glade is a lecturer in Japanese Studies at the University of Melbourne, Australia. His
research interests include modern Korean and Japanese literature, the post–World War II U.S. mili-
tary occupation of Japan and southern Korea, and the globalization of Korean food.

Christopher P. Hanscom is an associate professor in the Department of Asian Languages and

Cultures at the University of California, Los Angeles, where he teaches courses on Korean literature
and flm. He is the author of The Real Modern: Literary Modernism and the Crisis of Representation in
Colonial Korea (Harvard University Asia Center, 2013), a study of theories of language and modern-
ist fction in 1930s colonial Korea; co-editor of The Afect of Diference: Representations of Race in East
Asian Empire (University of Hawai’i Press, 2016), a collection of essays ofering a new perspective on
the history of race and racial ideologies in modern East Asia; and co-editor of Imperatives of Culture:
Selected Essays on Korean History, Literature, and Society from the Japanese Colonial Era (University of
Hawai’i Press, 2013), a collection of translations of major literary critical and historical essays from
the Korean colonial period.

Jang Wook Huh is Assistant Professor of American Ethnic Studies at the University of Washington
in Seattle. He is currently completing a book manuscript on the literary connections between black
liberation struggles in the United States and anti-colonial movements in Korea during the Japanese
and American occupations. His work has appeared in American Quarterly, Comparative Literature, Jour-
nal of Korean Studies, and other venues.

Kelly Y. Jeong’s areas of research include modern and contemporary Korean literature, Korean
cinema, popular culture, postcolonial studies, and critical theory. She is the author of the book
Crisis of Gender and the Nation in Korean Literature and Cinema: Modernity Arrives Again (2011). Her
recent research and writing focus on several themes and issues in Korean cinema, such as gender and
the popular flm genre, revenge narratives, propaganda cinema, and postwar melodrama flms. She
teaches Korean Studies and Comparative Literature at the University of California, Riverside.

I Jonathan Kief is an assistant professor of Korean Studies in the Department of Asian and Middle
Eastern Studies at the University of North Carolina at Chapel Hill. He received his Ph.D. in modern
Korean and comparative literature from the Department of East Asian Languages and Cultures and
the Institute for Comparative Literature and Society at Columbia University, New York, and his
research interests include global and regional histories of Cold War culture, colonial and postcolonial
Korean-Japanese literary and intellectual exchanges, translation studies, the Korean diaspora, and
interactions between texts, images, and broadcast sound. He is currently working on a manuscript
titled Triangle Republics: Cross-Border Reading and Writing in the Cold War Koreas, which explores
interactions between North and South Korean literature within broader transnational networks of
the 1950s and 1960s.

Hyun-Joo Kim is a professor in the Department of Korean Language and Literature at Yonsei Uni-
versity, Seoul. Her research focuses on cultural discourses and concepts in Korea’s modern literature.
Her Korean books include The History of Modern Korean Proses (2004), Yi Kwangsu and His Project of
Culture (2005), and The Discovery of Society: Theories, Imaginaries, and Practices of “Sahoe” in Colonial
Korea, 1910–1925 (2013). Her recently published book Culture (2019) traces the history of translat-
ing and transfguring the concept of culture in Korea.

Immanuel Kim is the Korea Foundation and Kim-Renaud Associate Professor of Korean Literature
and Culture Studies at The George Washington University in Washington, DC. He is a specialist in
North Korean literature and cinema. His book Rewriting Revolution: Women, Sexuality, and Memory

xiii
 Contributors

in North Korean Fiction explores the complex and dynamic literary culture that has deeply impacted
the society. His second book, called Laughing North Koreans, is on North Korean comedy flms and
the ways in which humor has been an integral component of the everyday life. Finally, he translated
a North Korean novel called Friend by Paek Nam-nyong.

Jina E. Kim is an associate professor in the Department of East Asian Languages and Litera-
tures at the University of Oregon, Eugene. She is the author of Urban Modernities in Colonial
Korea and Taiwan (2019) and co-editor of The Journal of Korean Studies special issue on “Inter-
medial Aesthetics: Korean Literature, Culture, and Film” (2015). She is currently completing
a second book project on Sonic Narratives and Auditory Texts in Colonial Korea. Her research
and teaching areas are in modern Korean literature and cultural history with a focus on inter-
mediality, sound studies, the Korean diaspora, and comparative colonialisms and comparative
literary studies.

Ungsan Kim is Assistant Professor of Asian Cinema in the Department of Asian Languages and
Cultures and the Department of Film, Television, and Media at the University of Michigan, Ann
Arbor. His research interests include queer Asian cinema, inter-Asian cinema, Korean independent
cinema, and theories of sexuality and temporality. He has published research on queer cinema and
Korean cinema in general. Currently, he is at work on a monograph that explores the aesthetics and
temporal politics of contemporary queer Asian cinema.

Ross King is Professor of Korean at the University of British Columbia, Vancouver, Canada. His
research focuses on the cultural and social history of language, writing, and literary culture in Korea
and in the Sinographic Cosmopolis more broadly, with a particular interest in comparative histories
of vernacularization. He serves as editor-in-chief of Sungkyun Journal of East Asian Studies, managing
editor of the Korean Studies Library (Brill), and co-editor (with David Lurie and Marion Eggert)
of the series “Language, Writing and Literary Culture in the Sinographic Cosmopolis” (also Brill).
He is the editor of Cosmopolitan and Vernacular in the World of Wen: Reading Sheldon Pollock from the
Sinographic Cosmopolis (Brill, forthcoming).

David Krolikoski is Assistant Professor of Korean Literature at the University of Hawai’i at Mānoa.
His scholarship has appeared in Japanese Language and Literature and Azalea: Journal of Korean Literature
& Culture. Krolikoski is currently preparing a book manuscript tentatively titled Lyrical Translation:
The Creation of Modern Poetic Language in Colonial Korea for publication.

Nayoung Aimee Kwon is a professor in the Department of Asian & Middle Eastern Studies and
the Program in Cinematic Arts at Duke University, Durham, NC. She is the founding director of
Duke’s Asian American & Diaspora Studies Program and co-director of Andrew Mellon Games &
Culture Humanities Lab. Her publications include Intimate Empire (Duke University Press) and Theo-
rizing Colonial Cinema (Indiana University Press).

Jae-Yon Lee is an associate professor of Korean Literature in the School of Liberal Arts at Ulsan
National Institute of Science and Technology, Korea. His research interests include twentieth-
century Korean fction and criticism, Korea’s colonial periodicals, literary sociology, and digital
literary studies. His works have been published in the Journal of Korean Studies, Korea Journal,
Acta Koreana, Sungkyun Journal of East Asian Studies, and A Companion to World Literature (Wiley-
Blackwell, 2020). Recently, he translated Franco Moretti’s Graphs, Maps, Trees into Korean (2020),
and he is currently working on a book manuscript, Networking a Series: Formation of Periodical
Authorship in 1920s Korea.

xiv
 Contributors

Janet Yoon-sun Lee is an associate professor of Korean Literature at Keimyung University, Daegu,
South Korea. She received a Ph.D. from the University of California, Los Angeles. She has published
many research articles on gender, fction, and medicine in Chosŏn Korea, and her major publications
include “‘Tale of Ch’unhyang’ as Translated by Western Missionaries,” Korea Journal (2020), “The
Matrix of Gender, Knowledge, and Writing in the Kyuhap ch’ongsŏ,” Sungkyun Journal of East Asian
Studies (2017), “Dilemma of the Lovesick Hero: Masculine Images and Politics of the Body in Sev-
enteenth-Century Korean Love Tales,” Journal of Korean Studies (2016), and “Female Desire, Illness,
Metamorphosis in ‘Lovesick Snake’ Narratives in Sixteenth-Century Korea,” Acta Koreana (2015).

Ji-Eun Lee is the author of Women Pre-Scripted: Forging Modern Roles through Korean Print (2015) and
is currently an associate professor of Korean Language and Literature and Comparative Literature at
Washington University in St. Louis, MO. Her research interests range from the nineteenth century
to contemporary times, on topics including women and gender, print culture and book history,
memory and postmemory, and travel and domesticity. Also dedicated to the translation of literary
works, she published a translation of the award-winning Korean novel I Met Loh Kiwan by Haejin
Cho in 2019. Lee received her Ph.D. in Korean Studies from Harvard University, Cambridge, MA.

Jin-kyung Lee is Associate Professor of Korean and Comparative Literature at the University of
California, San Diego. She is the author of Service Economies: Militarism, Sex Work and Migrant Labor
in South Korea (University of Minnesota Press, 2010) and a co-editor of Rat Fire: Korean Stories from
the Japanese Empire (Cornell East Asia Series, 2013).

Jenny Wang Medina is an assistant professor of Modern and Contemporary Korean Literature,
Visual Media, and Culture at Emory University, Atlanta. Her research focuses on questions of
national and global cultures, diaspora, multiculturalism, canon formation, and translation in Korean
literature, flm, and popular culture. Dr. Medina is currently writing a book manuscript based on
her doctoral research that examines South Korea’s reconfguration of Korean culture from traditional
to a dynamic cosmopolitan culture with distinction at the turn of the twenty-frst century through
literature, flm, and food media.

Yoon Jeong Oh is Assistant Professor of Korean Studies in the Department of East Asian Studies
at New York University. She is currently completing her book manuscript Translingual Interventions:
The Melancholic Other of Japanese Colonialism, Postcolonial Korea, and Transpacifc Cosmopolitanism, which
engages with translation theories, psychoanalysis, and postcolonial studies to investigate the notion
of singularity in translingual and transmedial practices of diasporic writers. Her research interests also
include urban aesthetics and the links between text, media, and culture.

Young Kyun Oh is Associate Professor of Chinese and Sino-Korean at Arizona State University,
Phoenix. He works on the cultural connections among East Asian societies with a particular focus
on language and books, and he has published on the linguistic histories and the culture of books of
East Asia. His interests lie in how cultures interact to infuence each other, how language, books, and
other kinds of media function as vehicles of cultural transmission and exchange, and how diferent
geographical regions come to form a continuous cultural space.

Si Nae Park is Associate Professor of East Asian Languages and Civilizations at Harvard Univer-
sity, Cambridge, MA. Park studies premodern Korean literature within the larger context of the
Sinographic Cosmopolis and the resultant interplays between the cosmopolitan literary Sinitic and
the vernacular. Her research interests include the role of linguistic sensibilities in the production
and difusion of literature, literary historiography, and history of the book and of reading. She is

xv
 Contributors

the author of The Korean Vernacular Story: Telling Tales of Contemporary Chosŏn in Sinographic Writing
(Columbia University Press, 2020) and co-editor of Score One for the Dancing Girl and Other Selections
from the Kimun ch’onghwa: A Story Collection from Nineteenth-Century Korea (University of Toronto
Press, 2016).

Sunyoung Park is Associate Professor in the Departments of East Asian Languages and Cultures and
Gender and Sexuality Studies at the University of Southern California, Los Angeles. Her scholarly pub-
lications include The Proletarian Wave: Literature and Leftist Culture in Colonial Korea, 1910–1945 (2015)
and an edited volume of critical essays titled Revisiting Minjung: New Perspectives on the Cultural History
of 1980s South Korea (2019). Her work as an editor and translator of Korean literature has resulted in,
among others, two translation anthologies, On the Eve of the Uprising and Other Stories from Colonial Korea
(2010) and Readymade Bodhisattva: The Kaya Anthology of Science Fiction from South Korea (2019). She
is currently working on a monograph on science fction literature and visual culture in South Korea.

Samuel Perry is Associate Professor of East Asian Studies at Brown University, Providence, RI.
Focusing on Japanese and Korean cultures in the age of empire, his major publications include Recast-
ing Red Culture in Proletarian Japan: Childhood and Korea and the Avant-garde, as well as two volumes
translated and introduced by Perry: From Wŏnso Pond, a novel by Kang Kyŏngae, and Five Faces of
Feminism: ‘Crimson’ and Other Works by Sata Ineko. An edited and translated collection of queer
Korean literature is forthcoming.

Daniel Pieper is a lecturer in Korean Studies at Monash University, Melbourne, Australia. He

received his Ph.D. in Asian Studies from the University of British Columbia, Vancouver, Canada. His
current research focuses on the emergence of vernacular Korean as a discrete subject in the modern
school, the textual diferentiation process of cosmopolitan Hanmun and vernacular Korean, and the
role of language ideology in directing language standardization in precolonial and colonial-era Korea.
His most recent book is titled Redemption and Regret: Modernizing Korea in the Writings of James Scarth
Gale and examines themes of vernacularization, linguistic modernity, and literary translation in the
missionary’s unpublished writings.

Evelyn Shih is a scholar of Chinese and Korean literatures, media, and cultures who frequently
works in a comparative mode. She is currently an assistant professor of Chinese at the University of
Colorado Boulder. Her work has been published in the Journal of Chinese Cinemas, Room One Thou-
sand, and the Journal of Korean Studies, as well as the Routledge Handbook of Modern Korean Literature.
She is also the translator of a short story written by Chang Chirak (Kim San), “A Strange Weapon,”
which has been included as supplementary material in the new edited edition of Song of Arirang: The
Story of a Korean Rebel Revolutionary in China.

Mi-Ryong Shim is Assistant Professor in the Department of Comparative Literature and Intercul-
tural Studies at the University of Georgia, Athens. A specialist in modern Korean literature and visual
culture, she is currently completing a book manuscript on the relationship between Korean mobility
and Asian regionalism in the late colonial period.

Suyoung Son is Associate Professor in the Department of Asian Studies at Cornell University,
Ithaca, NY. She is the author of Writing for Print: Publishing and the Making Textual Authority in Late
Imperial China (Harvard Asia Center, 2018) and articles on various topics in early modern Chinese
print culture, the history of authorship, and textual transmission between Qing China and Chosŏn
Korea. She is currently writing a book about the technology of knowledge production of the Sŏ clan
of Talsŏng in eighteenth-century Chosŏn Korea.

xvi
 Contributors

Serk-Bae Suh is Associate Professor of Korean Studies at the University of California, Irvine. His
book Treacherous Translation: Culture, Nationalism, and Colonialism in Korea and Japan from the 1910s
to the 1920s was published in 2013 by the University of California Press. He also co-edited, with
Charles Kim, Jungwon Kim, and Hwasook Nam, Beyond Death: The Politics of Suicide and Martyrdom
in Korea, which was published by the University of Washington Press in 2019. He is currently work-
ing on a manuscript about sacrifce in modern Korean literature and history.

Cindi Textor is Assistant Professor of Japanese in the Department of World Languages and Cul-
tures at the University of Utah, Salt Lake City. Her research is grounded in critical and transnational
approaches to the study of the Japanese empire and its aftermath, engaging with the illegible and
incoherent in literature from Korea, Okinawa, and mainland Japan. Her work has appeared in posi-
tions: asia critique, Journal of Korean Studies, and Azalea: Journal of Korean Literature and Culture.

Karen Thornber is Harry Tuchman Levin Professor in Literature and Professor of East Asian Lan-
guages and Civilizations at Harvard University, Cambridge, MA. She is the author of three mono-
graphs: Empire of Texts in Motion: Chinese, Korean, and Taiwanese Transculturations of Japanese Literature
(Harvard, 2009); Ecoambiguity: Environmental Crises and East Asian Literatures (Michigan, 2012); and
Global Healing: Literature, Advocacy, Care (Brill, 2020). Thornber has also edited or co-edited several
volumes and published more than 70 articles and book chapters. Her research focuses on the litera-
tures and cultures of East Asia (Korea, Japan, China, Taiwan) and the Indian Ocean Rim, together
with the medical and health humanities, the environmental humanities, empire, trauma, inequality,
gender, leadership, and other topics.

Travis Workman is Associate Professor in the Department of Asian and Middle Eastern Studies at
the University of Minnesota, Minneapolis, and the author of Imperial Genus: The Formation and Limits
of the Human in Modern Korea and Japan (Oakland: University of California Press, 2016). He is at work
on a collection of translations of Korean literary and cultural criticism and a manuscript on North
Korean and South Korean flm.

Christina Yi is Associate Professor of Modern Japanese Literature at the University of British

Columbia, Vancouver, Canada. She received her Ph.D. from Columbia University, New York. Her
frst monograph, Colonizing Language: Cultural Production and Language Politics in Modern Japan and
Korea, was published by Columbia University Press in 2018. She was also the co-editor for a special
feature on zainichi (resident) Korean literature and flm for Azalea: Journal of Korean Literature and
Culture (12, 2019).

Hyokyoung Yi is the Head of Public Services and the Korean Studies librarian in the Tateuchi East
Asia Library at the University of Washington, Seattle. She has been working at UW Libraries for
nearly 20 years in varying user services and library management capacities. She was a recipient of the
2019 Distinguished Librarian Award. Prior to this position, Yi worked as Korean Studies Librarian at
Columbia University, New York. She has served on many university libraries committees, as well as
national committees such as the Committee on Korean Materials and held elected positions on the
executive board of the Council of East Asia Libraries (CEAL). She holds a B.A. from Ewha Womans
University, Seoul, and an MLIS from Rutgers, The State University of New Jersey.

Ivanna Sang Een Yi is Assistant Professor of Korea Studies at Cornell University, Ithaca, NY. She
received her Ph.D. from the Department of East Asian Languages and Civilizations at Harvard Uni-
versity, Cambridge, MA. As a scholar of Korean literature, culture, and performance, her research
focuses on the performative dimensions of living oral traditions as they interact with literature and

xvii
 Contributors

the environment from the late Chosŏn period to the present. Her current book project, Continuing
Orality and the Environment in Korean Literature, examines the fourishing of Korean oral traditions
such as p’ansori (epic dramatic storytelling) and sijo (lyric poetry) through transformative encounters
with writing, the environment, and recording technology. Before coming to Cornell, she was a visit-
ing assistant professor at the University of Colorado Boulder and a Korea Foundation Postdoctoral
Fellow at Washington University in St. Louis, MO.
Dafna Zur is Associate Professor in the Department of East Asian Languages and Cultures at Stan-
ford University, Palo Alto, CA. Her book Figuring Korean Futures: Children’s Literature in Modern Korea
traces the investments and aspirations made possible by children’s literature in colonial and postcolo-
nial Korea. She is working on a new project on science and literature in Cold War North and South
Korea. She has published articles on North Korean popular science, North Korean science fction,
North Korean translations of Russian science fction, the Korean War in North and South Korean
children’s literature, childhood in cinema, and Korean popular culture.

xviii
 ACKNOWLEDGMENTS

I cannot adequately express my gratitude to all of the scholars who have contributed their inspiring
and engaging research to this volume and to Michelle Salyga and Bryony Reece, Routledge senior
editor and editorial assistant, respectively, who invited me to edit this volume and generously walked
me through the whole process. I am also deeply grateful to Hyokyoung Yi, Korean Studies librarian
at the University of Washington in Seattle, and to UW graduate assistants Hayley Park and Seyoung
Nam for working on the list of English translations of Korean literature for many months despite
numerous challenges in the process.

xix
 NOTES ON TRANSLITERATION

Korean words are transliterated in the McCune-Reischauer system, Japanese in the Hepburn system,
and Chinese in the Pinyin system, except for the names and words widely known in English by other
spellings.

xx
 INTRODUCTION
Redefned and Challenged: Anthologizing Korean
Literary Studies
Heekyoung Cho

We understand that all concepts are inherently fuid and unstable, and that their boundaries are
porous and constantly being challenged and redefned. This is also true of the categorical and con-
ceptual terms that are integral to this volume, such as “Korean,” “literature,” “premodern,” “mod-
ern,” “the vernacular,” “world literature,” “humanism,” “diaspora,” “gender,” and “queer.” The act of
writing and publishing work about such terms, topics, or felds is two-pronged, especially when the
piece questions conventional interpretations; the act itself contributes to further dissemination of the
term or concept involved, confrming its widespread use and infuence while also deconstructing and
reshaping it. This edited volume on Korean literature likewise confrms and makes visible “Korean
literature” as a concept and category while simultaneously questioning and redefning it. It therefore
aims to promote the study of Korean literature and to (tentatively) defne it as a feld of study, but it
concurrently seeks to rethink the ways in which Korean literature is addressed.
Both as a concept and in the form of books and other printed matter, Korean literature is not an
isolated entity; rather, it is part of the diverse networks and relations that constitute the equally fuid
term “world literature.” Moreover, as I have suggested elsewhere, incorporating the insightful views
of scholars such as Shu-mei Shih (2013), Karen Thornber (2014), and Pheng Cheah (2016), world
literature needs to be perceived not as a subset of literature or a specifc category of literary texts but
as “entangled literary relations and the process whereby those relations appear and change,” which
“continuously engender new meanings and understandings of literature and society” (Cho 2021,
581). If world literature is extensive networks of literary events and relations, then Korean literature
is also a type of these relations. This approach helps us recognize literature not as a passive description
of the world but as a formative force that shapes the world. Thus, “literature helps us understand
the world not only through what it represents in its content and form, or through the way it is con-
structed, but also through its broad relationalities to other literatures and histories” (Ibid.). In this
way, I would suggest, the consideration of literature as process and relation draws our attention to the
constantly changing quality of literary formations and of literature’s internal and external dynamics.
It also alerts us to literature’s active interactions with other types of writing and expression, and with
broad sociocultural factors and values as well.
With the view of literature as process and relation, the texts and themes in Korean literature
are readdressed in a new way or incorporated to develop novel ideas, while creating reconfgured
connections with other literary events. Korean literature is reformulated and expanded not only by
diasporic texts, such as Pachinko (a recent novel written in English on the Korean minority in Japan),
or their translations into multiple languages but also by texts from inside the generally accepted

DOI: 10.4324/9780429328411-1 1
 Heekyoung Cho

boundaries of the term “Korean literature.” For example, Ross King’s chapter (Chapter 7) on idu in
and as literature challenges the idea of what Korean literature is, what the vernacular is, and what
literary language is. In particular, the understanding of idu as literature questions our rigid thought
patterns that exclude less conventional literary events as nonliterary and that reinforce such inelastic
ideas over time without entertaining much doubt. The chapters in this volume individually and col-
lectively rethink the boundaries of Korean literature through multilayered discussions of the complex
literary relations and processes that encompass both literary and sociopolitical factors.

Te Place of Tis Volume in Researching and Teaching Korean Literature

The Routledge Companion to Korean Literature consists of 35 chapters written by leaders in the feld who
explore signifcant topics and who have pioneered innovative approaches. The collection highlights
the most dynamic current scholarship on Korean literature, presenting rigorous literary analyses,
interdisciplinary methodologies, and transregional thinking so as to provide a valuable and inspiring
resource for researchers and students alike.
This Companion has particular signifcance as the most extensive collection to date of English-
language articles on Korean literature; it both ofers a thorough intellectual engagement with current
scholarship and addresses a broad range of topics and time periods, from premodern to contempo-
rary. Although Korean literature is a relatively new feld in English-speaking higher education, it has
consolidated and thrived since the turn of the twenty-frst century, seeing the publication of numer-
ous scholarly monographs and signifcant growth in the availability of English translations of Korean
literary works. Many major colleges and universities teach Korean literature in English, but teachers
still lack a collection of scholarly essays for use in classroom teaching. Thus, while presenting rigorous
and innovative academic research that will be useful to graduate students and researchers, the chapters
in this collection are written to be accessible to the average upper-level undergraduate student and
include only minimal use of academic jargon.
The Routledge Companion to Korean Literature is much broader in scope than the typical scholarly
anthology. It is not an introductory overview of Korean literary history or specifc literary genres;
instead, it provides scholars and students with an in-depth understanding of important issues in
the current feld of Korean literature in light of its relationship with other academic felds. While
including prominent research topics in Korean literature, it pays special attention to transregional and
interdisciplinary approaches, thus contributing to an understanding of literature as part of a broad,
dynamic, sociocultural process that aims to put the feld in conversation with other felds of study in
the humanities and social sciences.
In an efort to provide substantially helpful material for researching, teaching, and learning
Korean literature, this Companion includes, as an appendix, an extensive list of English translations of
Korean literature compiled by Hyokyoung Yi, Korean Studies librarian at the University of Wash-
ington in Seattle. It will help instructors design Korean literature courses by pairing literary works
with scholarly essays. Though not perfect, this list is the most comprehensive list of English transla-
tions of Korean literature to date, and it will also be available as an online, searchable database that
can be updated by adding further publications. It was particularly difcult to list a text under a single
specifc genre or period when it straddles diferent categories; moreover, it was sometimes impossible
to identify a text without physical access to books and publications due to the lack of library services
during the Covid-19 pandemic. Although there were some available lists of book titles, it was a
painstaking process to clean up their data due to signifcant bibliographical errors and omissions and
due to the fact that the titles and relevant bibliographical information from journals and anthologies
all had to be newly extracted. A more extensive version of our fnal list includes all of the multiple
entries for an individual poem; they are not included in this volume due to spatial limitations, but
should be available soon online.

2
 Introduction

Te Structures and Frames

All anthologies have their own frames, visible-invisible or external-internal, and framing may both
limit and enable (Edwards 2003; Baer 2020). Framing discourses and frames themselves can be
manipulative and delimiting, and they may impose an oppressive hierarchical structure on certain
discourses. Yet, they can also enable texts to be presented diferently, within a new discursive envi-
ronment. As a result, framing in an anthology is a complicated and challenging process and involves
multiple layers of decisions.
One of the main decisions for this volume consisted of choosing the texts to be included. Because
an anthology cannot include everything on a topic or feld, the present collection of Korean literature
is limited to a certain group of texts. The editor’s selection process was not the sole factor involved;
the availability and willingness of potential contributors afected the structure of this volume as well.
The chapters included here are essays written in English, mostly by scholars in English-speaking
cultures, and particularly in North America (the United States and Canada), although there are also
chapters by scholars who reside in Korea and Australia. A next step would be to produce a volume
of translations of studies written in Korean and other languages to complement and communicate
with the present volume.
Readers will be able to clearly discern the external frame of this Companion through its table of
contents, which is divided into four parts with multiple sections under each part. A loosely chrono-
logical organization was employed primarily to help students and scholars choose chapters to read
when they are interested in a particular period and to make the selection process convenient when
instructors teach literature from a specifc period. Hand in hand with this broad chronological struc-
turing, chapters are further ordered by thematic and topical connections. Thus, each part of the
volume is subcategorized according to conceptual framings designed to provoke interest and sug-
gest links among individual essays, so as to help scholars and teachers utilize the chapters discussing
diferent periods in their theme-focused literary courses. Occasionally, the volume also juxtaposes
thematically connected, but temporally distanced texts within the same section. For example, Samuel
Perry’s article discussing female emotional attachments in the colonial period is paired with Ungsan
Kim’s article about queer poetry readership of contemporary texts to emphasize the growing interest
in queer studies in the Korean literary feld.
In terms of internal framing, I encouraged contributors to write about a topic they have been
exploring for an extended period of time, rather than a smaller project that is more or less a digres-
sion from their overall research trajectory. In so doing, my aim was to ofer an expert’s insights and
broad knowledge on each topic examined in these chapters, so that this Companion provides concise,
well-informed background knowledge while also delivering in-depth analyses of specifc texts and
themes.

Temes, Topics, and Teir Relations

The chapters in Part I are concerned with premodern and early modern cultural practices revolving
around such topics as language, writing, medium, performativity, gender, and transregional rela-
tions. They incorporate multiple and divergent approaches, so as to provide a rich understanding
of the ways in which textual production engaged with various quotidian practices and sociocultural
contexts, while questioning prevailing assumptions on relevant topics. For instance, the frst section
in Part I, titled “Manuscript Culture, Materiality, Performativity,” pairs two chapters by Si Nae Park
and Hwisang Cho so as to highlight the afordances and possibilities provided by the materiality and
circulation of manuscripts. Park’s chapter “Manuscript, Not Print, in the Book World of Chosŏn
Korea (1392–1910)” redresses the overemphasis placed on printing and highlights neglected attention
to the contribution of manuscripts. Serving as a useful overview of Chosŏn book culture, it rethinks

3
 Heekyoung Cho

the celebratory appraisals of Korea’s printing technology and the impact of print and discusses the
manuscript-heavy nature of Chosŏn book culture, the ubiquity of scribal publishing and circulation,
and manuscripts’ strong coexistence with printed books. The signifcance of manuscript culture in
Chosŏn Korea is also demonstrated in other chapters later in this volume, such as Ksenia Chizhova’s
(dealing with the circulation of vernacular lineage novels; see Chapter 5) in which we see the long-
lasting coexistence and interaction of privately circulating manuscripts, commercial manuscripts, and
block-printed novels until the early twentieth century.
One of the topics underscored in Si Nae Park’s chapter is the materiality of Chosŏn manuscripts.
Park discusses their adaptability and afordances through an examination of the material characteris-
tics of two cases: (1) manuscripts of The Small Chest of Collected Writings by Choson Guests from the
eighteenth century, which utilize printlike page features, including lines for text block and columns,
and (2) a manuscript of Record of Manifesting Goodness and Inspiring Righteousness from the late seven-
teenth century. These two cases efectively show us the ways in which manuscripts fexibly interacted
with the medium of print, both approximating printed works and separating themselves from print.
Hwisang Cho’s “Performing Vernacular: Textual Practices as Bodily Events in Premodern Korea”
aims to understand the performative nature of vernacular practices in relation both to the way in
which Korean people engaged with literary Sinitic texts and to their everyday epistolary practices.
Performative vernacular elements discussed in this chapter are (1) interlinear glosses inserted in liter-
ary Sinitic texts, using local vernacular notations that assumed oral and aural experiences through
vocalization, and (2) the spiral layout of letters as a new textual trend combined with the bodily
movement of rotating the sheet of paper in the processes of writing and reading, which was devel-
oped in new vernacular epistolary communities mainly consisting of elite women in the late ffteenth
century and later also used in literary Sinitic letters written by male elites in the late sixteenth cen-
tury. Cho highlights the fact that these vernacular elements were mostly manuscript phenomena
and were removed from or rearranged on printed pages. This study on vernacular vocalization and
somatic engagement with spiral letters reminds us of the importance of considering materiality and
performativity to the adequate understanding of a text. Cho’s study, agreeing with studies arguing for
the inapplicability of diglossia in describing the written culture of premodern Korea, emphasizes the
hybridizing phenomena between literary Sinitic and vernacular Korean through the use of various
notating and glossing apparatuses such as idu, hyangch’al, and kugyŏl.
The second section in Part I, “Print, Medium, Transregional Interactions,” includes chapters on
print culture by Young Kyun Oh and Suyoung Son. Oh’s chapter, “Books for the Illiterate: The
Haengsil-to (Illustrated Guide for Moral Deeds) of Chosŏn Korea,” discusses a group of guides compiled
and circulated since the ffteenth century to educate the illiterate masses (as imagined by the literati)
through heroic stories promoting Confucian values. In examining the illustrations in these guides,
Oh argues that these visual components were not included to supplement the written text but as a
visual aid for recalling the stories, functioning as a site of memory and thus contributing to cultivat-
ing collective memory. Oh’s study also brings up broader issues of transregional interactions and the
relations between image and text. The compilation, revision, and circulation of illustrated books to
morally transform illiterate masses were not limited to Chosŏn Korea but were also connected to
the similar Confucian endeavor that had long been prevalent in China, and in particular to Song-
dynasty Chinese scholars’ understanding of words and pictures. The case of the haengsil-to also illu-
minates the relationship between the written, the visual, and the multimedia or multimodal features
of book production in Chosŏn Korea. Son’s chapter, “Print and Transnational Referentiality: Nam
Kong-ch’ŏl’s Printing of Kŭmnŭng chip,” investigates transregional referencing in book publishing
practices between Chosŏn Korea and Qing China, with a focus on the relationship between the late
eighteenth-century, scholar-ofcial Nam Kongch’ŏl’s Collections of Kŭmnŭng and the early Qing poet
Qian Qianyi’s Collection of Initial Learning. Aligning Nam’s publishing practice with a broad change
in Chosŏn print culture, Son argues that Nam’s simulation of the Qing imprint was a result not of

4
 Introduction

reckless copying of the Qing print culture but of his endeavor to engage in transregional conversa-
tions with the Qing literati. More importantly, Nam’s revival of the features of Qian Qianyi’s collec-
tion of pre-Qing writings in his own imprint may have been his attempt to contain the traces of the
lost Sinocentric civilization that were censored under the Manchu rule, thereby utilizing the materi-
ality of the print as a tool for transcultural referencing. Son’s chapter also provides a useful overview
of changes in Chosŏn print culture as a backdrop to Nam Kongch’ŏl’s self-publishing practice, which
is particularly useful as an introduction to the eighteenth-century print culture of Chosŏn Korea and
its interaction with Qing China.
In the third section of Part I, “Novel, Gender Dynamics, Transgression,” the intersections between
the novel and gender become a central focus. Ksenia Chizhova’s chapter, “The Elite Vernacular
Korean Culture of Chosŏn (1392–1910): Indeterminacy, Hybridity, Strangeness,” attends to the his-
tory and textual elements of The Remarkable Reunion of Jade Mandarin Ducks (one of the lineage novels
on kinship life) that circulated in the eighteenth century to show hybrid and fuid moments of elite
vernacular Korean culture of late Chosŏn Korea. It also discusses the manuscript’s connections to the
cult of qing, prevalent in the late imperial Chinese cultural production, and the subversive nature of
the gender transgressions represented in the novel. In tandem with vernacular Korean calligraphic
and epistolary practices, the lineage novel became a crucial part of elite women’s cultural scene and
of their social identities by the late seventeenth century. This chapter can also be discussed jointly
with Hwisang Cho’s chapter on the everyday epistolary practice focusing on spiral letters developed
among elite women. Hence, we see that indeterminacy and fuidity are not confned to the bound-
aries of elite vernacular Korean culture but are also factors in manuscript culture. The existence of
multiple manuscript versions of lineage novels accompanying various comments and materiality,
including diferent handwriting, is another example highlighting the fexibility and afordances that
manuscripts possess vis-à-vis imprints, as addressed in Si Nae Park and Hwisang Cho’s chapters
(Chapters 1 and 2, respectively).
Also in this third section of Part I, Janet Yoon-sun Lee’s chapter “Lovesickness and Death in
Seventeenth-Century Korean Literature” focuses on the gendered understanding of female lovesick-
ness and death represented in “Tale of Unyŏng,” a love story between a young male scholar and a
palace woman. It demonstrates that the deaths of lovesick women are a contentious site where vari-
ous cultural and political values and messages formed, collided, and coexisted, and where negotia-
tions among desire, body, and the Confucian ideology took place. On the one hand, the fctional
construction of a woman’s suicide as an honorable death, Lee argues, expresses political messages
that the female character’s suicide is an act of resistance—that is, an expression of her agency and
autonomy of which she was deprived by social customs. On the other, the characterization of the
female death as honorable can be understood as the outcome of a cultural obsession that praises
female martyrdom as an act symbolizing Confucian morality. Lee’s chapter adds an insightful cultural
interpretation of women as fctional lovesick characters to the discussions of other chapters on female
activities of writing and copying, circulating, and reading novels and letters in premodern and early
modern Korea.
The fourth and last section of Part I is titled “Language and Writing, Vernacular, Hybridity” and is
dedicated to linguistic issues in literature. Ross King’s “Idu in and as Korean Literature” demonstrates
that idu (an auxiliary form of inscription used to record the vernacular Korean form in Sinographic
texts), albeit limited, served as a vehicle for literary production. Idu was used in literary texts such
as sijo, kasa, and fctional narratives written in literary Sinitic or literary Chinese, and it served as a
medium for literarized administrative and judicial documents. King’s discussion of the deployment of
idu in literary texts, and as a type of literary genre, readdresses text production with idu and expands
the discursive scope of linguistic and literary hybridization and vernacularization. As also discussed
in Hwisang Cho’s chapter, King problematizes the strong legacy of the understanding of premodern
Korean language and writing as diglossic. His discussion about idu in and as literature efectively

5
 Heekyoung Cho

complicates the dichotomic view by further blurring the boundaries between cosmopolitan liter-
ary Sinitic and vernacular Korean written in han’gŭl. Daniel Pieper’s chapter (Chapter 8), “Hybrid
Orthographies and the Emergence of Modern Literature in Early Twentieth-Century Korea,” articu-
lates the shift from a premodern cosmopolitan language ideology to modern nationalist language ide-
ology, and it provides an informative understanding of the reconfguration of the linguistic landscape
around the turn of the twentieth century, which he calls the phenomenon of “experimental textual-
ity,” including diverse mixed-script vernacularization. Through his examination of two pre-colonial
texts that utilize interlinear glossing in hanja, han’gŭl, or both (Yi Injik’s Tears of Blood, published in
1906, and Yu Kilchun’s Reader for Night School Laborers, published in 1908), Pieper focuses on emer-
gent experimental hybrid orthographies that disappeared from the linguistic landscape during the
1910s to show the diverse vernacularizing possibilities before the shift to highly dichotomized, script-
based establishment of genres such as the pure han’gŭl for literary texts and kukhanmun for expository
writing. This chapter again emphasizes the inadequacy of identifcation of the vernacular based on
scripts, as is clearly demonstrated in Ross King’s chapter on the use of idu in and as literary texts.
Part II explores modernity and the colonial period and consists of four sections focusing on
gender and sexuality, translation and crossing, modernity and coloniality, and art and politics. In
the frst section, Kelly Y. Jeong’s “Capital, Gender, and Modernity in Colonial Korean Literature”
considers the way in which the complex entanglement of these three factors is described in three
canonical texts from the 1930s: Yŏm Sangsŏp’s Three Generations, Ch’ae Mansik’s Peace Under Heaven,
and Yi Sang’s “The Wings.” The 1930s was a period of the coexistence of rapid modernization and
war mobilization, while also being deeply patriarchal. Though difering in their political and liter-
ary stances, these three fctional works all address the themes of humanity, gender, modernity, and
colonial capitalism through the interaction between money and the characters in these stories. They
also show women’s fexible identity successfully crossing the boundaries of diferent classes and social
positions under the capitalist development in colonial Korea. Jeong posits that the only way for colo-
nial Koreans to weather this bleak historical period may have been to distance themselves from the
colonial reality, as demonstrated in Yi Sang’s “The Wings.” Her discussion of this story can be read
together with Jina E. Kim’s later chapter on colonial architecture and Yi Sang’s poetic confrontation
(Chapter 16) and also Evelyn Shih’s later discussion on Yi Sang in the comparative context of colonial
nonsense writing (Chapter 13).
Jin-kyung Lee’s chapter, “Sexual Violence and Its Ideological Labor: Imagining Masculinist
Equality and Androcentric Ethnos in Colonial Korean Literature,” illustrates the nexus between
sexual violence against women and the development of the idea of equality. Based on Nancy Arm-
strong’s argument that modern concepts and changes frst existed only as writing and discourses and
preceded ideological and sociocultural changes in Europe, Lee argues that literary presentations and
discourses contributed to the imagination and construction of masculinist understanding of ideas
such as universality, equality, and sovereignty. Through a dense analysis of the literary texts pro-
duced between the late 1910s and mid-1930s, she demonstrates that empirical sexual violence against
women was developed through literary discourses into an ideological violence that helped male elites
imagine universality and equality as masculine, while subjugating gender equality to a masculinist
imagining of equality. Thus, literary narratives became a pretext for the ideological construct of a
modern society of androcentric egalitarianism.
The second section of Part II, titled “Translation and Crossing,” showcases the complexities of
translation, bilingual writing, and transcultural relations. Yoon Jeong Oh’s chapter, “Incongruent
Refections: Translation and Bilingual Writings in Colonial Korea,” positions translation as discursive
resistance to monolingualism in the realm of bilingual writing in colonial Korea, through an analysis
of Chang Hyŏkchu’s Japanese adaptation of Ch’unhyangjŏn in 1938 and Kim Saryang’s employment
of translation as a mode of creating new possibilities of diferent modalities from standardized national
languages. In other words, Oh observes, Kim Saryang’s view of translation as bilingual writing frees

6
 Introduction

colonial writers from the dilemma they held between the colonial and metropolitan languages,
which are strongly aligned with the concept of national languages, and provides new linguistic pos-
sibilities untethered from the modern national language and literature. This chapter also provides a
useful overview of the standardization of written Korean during the colonial period. Oh’s discussion
on Kim Saryang’s approach to translation and bilingual writing can be read together with Nayoung
Aimee Kwon’s later chapter on the double bind that Kim Saryang experienced as a colonial modern-
ist writer (Chapter 15). David Krolikoski’s chapter, “The Japanese ‘Café France’: Chŏng Chi-yong
and Self-Translation,” addresses colonial Korean writers’ bilingual writing as a form of self-translation.
Whereas Yoon Jeong Oh’s discussion of bilingualism and translation engages with a more abstract
level of translation as an instance of multimodal linguistic possibilities, Krolikoski’s chapter provides
a more detailed comparative analysis of specifc texts: Chŏng Chi-yong’s frst Korean poem (1926),
“Café France,” and its Japanese version, written a year before the Korean version. Krolikoski sees
the Korean version as a product of self-translation and argues that Chŏng cultivated a form of free-
verse rhythm using paralleled structural repetition, which was efective in both Japanese and Korean
regardless of the phonetic diferences between the two languages. Despite the similarities between
the two poems, Krolikoski points out, they may have delivered a diferent sense of alienation to the
two diferent linguistic communities, and especially to the colonial subject in a foreign land.
Evelyn Shih’s chapter, “Nonsense as Sensibility: The Importance of Not Being Earnest in Colo-
nial Korea and Taiwan,” connects Korean and Taiwanese writers who practiced and promoted colo-
nial nonsense writing in the 1930s. Nonsense literature was not an isolated practice but had a global
context. It was a phenomenon that was observed in Euro-American modernist and surrealist litera-
ture in the 1920s and 1930s, in Japanese mass culture in the form of “ero-guro-nansensu,” in colonial
Korea as an expression of the social absurdity of the colonial modernity, and in colonial Taiwanese
antiquarian poetry that was full of absurd references to classical texts in the 1930s. Thus, Korean
writers’ engagement with nonsense literature is connected to the various sites of the practice—that
is, to their experience of both the global and the colonial. By analyzing specifc texts from the 1930s
by Yi Sang, Ch’ae Mansik, Pak T’aewŏn, and other writers who published in the popular periodical
Pyŏlgŏn’gon in tandem with writings that appeared in the Taiwanese periodical Three Six Nine Tabloid,
Shih argues that the politicality of the colonial aesthetics of nonsense resides in opening up a space of
freedom and disobedience under a colonial regime.
Multifaceted connections between the modern and the colonial are unpacked in the third section
of Part II, “Modernity and Coloniality.” To address colonial Korean intellectuals’ understanding of
language and literature in relation to the truth and reality, Christopher P. Hanscom’s chapter, “Lan-
guage, Science, and the Status of Truth in Late Colonial Korea,” examines the debates around facts
(or scientifc knowledge) in late colonial Korea and philosopher and critic Sŏ Insik’s approaches to
the relationship between scientifc and literary truths. Both in Sŏ’s writing and in this chapter, science
is understood as a phenomenon that requires a network of interpretation structured through lan-
guage. Thus, the fact is not considered to be something that provides unmediated access to reality or the
real, and discussion surrounding the fact creates a contentious space in which to question its relation-
ship with truth, the real, and the social. By dismantling the assumptions relating to scientifc truth
through the incorporation of Hegelian dialectic in his conceptualization of truth, Sŏ’s discussion on
truth undermines an empiricist imperial discourse that upholds confdence in the scientifc truth and
dismisses subjective narratives that are a crucial part of knowledge production. While treating objec-
tive truth as a linguistic phenomenon and a form of expression, Sŏ understands that literature is a
site of the production of truth and politics. Nayoung Aimee Kwon’s chapter, “A Minor Modernist’s
Conundrum of Representation: Kim Saryang and the Colonized I-Novel,” theorizes what she calls
“the conundrum of representation,” which refers to the double bind of the colonial modern subject
who experiences being relegated to a devalued and unrecognized status by metropolitan standards
of value in the new hierarchical modern and colonial world order. What is central to the modern

7
 Heekyoung Cho

experience of the colonized is the perception of the self as belated and unauthentic and, thus, the
experience of the self as Other. While theorizing the concept of the conundrum of representation
as a backdrop to understanding the colonial Korean writer Kim Sarayng’s experience, Kwon further
analyzes Kim Saryang’s Japanese-language short story “Into the Light,” which won Japan’s prestigious
Akutagawa Prize. In its reading of the Japanese evaluation of the story and Kim’s own approach to
his writing in the imperial language, this chapter coins the term “colonized I-novel” as an expres-
sion that manifests the contradictory assimilationist demands placed on the colonized writer by the
imperial literary establishment.
Jina E. Kim’s chapter, “Rewriting the City: Yi Sang, Architecture, and the Figure of the Depart-
ment Store,” examines Yi Sang’s Japanese-language texts published in the journal Korea and Archi-
tecture and a short story, “Wings,” that contemplates the department store as a real object and as a
cultural and ideological space in which uneven colonial modernity is revealed and constructed. As
both a writer and an architectural technician, Yi Sang provides an insightful critique of colonial
architecture and modes of expression in art forms. Through her analysis of various layers of these
texts, Kim argues that Yi Sang’s writings lay bare the contradictions infected in Japanese colonial
architecture projects and deride the monumental displays of such buildings as false promises of the
colonial power. Kim also pays attention to Yi Sang’s bilingualism, which enables him to disrupt lin-
guistic coherence and stability and, in turn, exposes the inability of both the Japanese and the Korean
national languages to express the experiences of colonial modernity.
The last section of Part II foregrounds the issue of art and politics through discussions relating to
leftist literary movements. Sunyoung Park’s chapter, “A Forgotten Aesthetic: Reportage in Colonial
Korea, 1920s–1930s,” introduces the history of the reportage tradition in colonial Korea, which was
promoted by leftist writers. Although Korean reportage did not experience a surge in popularity as
in the West, it makes a signifcant contribution to our understanding of leftist culture. Park’s chapter
provides a helpful overview of the international development of reportage as an experimental aes-
thetic in post–World War I Europe, as well as of its development in 1920s and 1930s Korea. It also
discusses specifc stories of Yi Pungmyŏng’s reportage-style labor fction, which were inspired by
reportage journalism. Reportage literature often employed nonfction news items, pamphlets, and
workers’ writing, providing dynamic interconnections between literature and reality. The Korean
reportage tradition had been forgotten due to the anti-communist policy in South Korea until the
late twentieth century and also due to the view of reportage as a noncanonical and irregular genre in
literary history. Mi-Ryong Shim’s chapter, “Conversion Literature (chŏnhyang sosŏl) and the Inward
Gaze in the Late Colonial Period,” explores the conversion literature that appeared on the colonial
Korean literary scene after socialist movements were suppressed and Korean leftists were forced to
recant their political beliefs in the 1930s. These writings resembled conversion testimonials or formal
accounts of conversion that were written under pressure, but in an intimate and autobiographi-
cal style. Unlike conversion testimonials, however, conversion literature under colonialism reveals
ambivalent approaches to conversion, casting doubt on the completeness of conversion and the
assumed accessibility to interiority. By analyzing conversion literature written by Yi Kiyŏng, Han
Sorya, and Ch’ae Mansik in the late 1930s, Shim discusses how conversion literature relates to the
colonial state’s management of the interiority of the colonized and argues that such works lay bare
the contradictions of institutionalized conversion and Japanese colonialism.
Part III of the volume features a broad range of topics and themes revolving around postwar
Korea, including the postcolonial era, political engagement, diasporic communities, and North
Korean literature. The three chapters in the frst section, “Decolonization, Cold War, Humanism,”
delve into the complex ways in which seemingly diferent or competing concepts, discourses, and
groups are connected, providing a fuller understanding of the colonial and early Cold War eras.
Disagreeing with the views that overemphasize ideological and political factions in U.S.-occupied
South Korea (1945–1948), Jonathan Glade’s chapter, “Decolonizing Literature: Bridging Political

8
 Introduction

Divides in the Post-Liberation Period,” argues that writers with diferent ideological visions collabo-
rated in the process of seeking historical transformation and decolonization. Glade specifcally exam-
ines the interactions and collaborations between the leftist literary organization Chosŏn Munhakka
Tongmaeng (Alliance of Korean Writers) and the so-called nationalist camp writers. Quite a few
writers and intellectuals in the occupation period wrote detailed fctional and nonfctional accounts
of Japanese colonial rule, and this act of narrating the colonial past served as a starting point for
decolonization and the future construction of a new Korea and new postcolonial national literature.
Jae Won Edward Chung’s chapter, “Vitalism and Existentialism in Early South Korean Literature,”
explores the appearance of two competing aesthetic ontologies of vitalism and existentialism in South
Korea from the early Cold War era through the 1950s. Rather than dealing with these two seemingly
incommensurable visions of humanism separately, Chung examines them together, considering their
common indebtedness to the German idealist tradition in relation to the question of how literature
should address the universal problem of the human condition. In his discussion of the competing lit-
erary forms of “lifeness,” Chung focuses on Kim Tongni’s aesthetic of saeng (vitalism), which is often
connected to the folk tradition, and the cultural discourse surrounding silchon (existentialism), which
is considered cosmopolitan. Last, Travis Workman’s chapter, “Humanism as a Problem of Empire
in Modern Korean Literature,” articulates the way in which Korean literature and criticism engaged
with the discourses of humanism during both the colonial period and the postcolonial era. Human-
ism, or the notion of the universal human, was an essential concept in institutionalizing discourses
and policies of colonial assimilation, and it remained to be a powerful grounding for both South
Korea’s anti-communist ideology and North Korea’s Juche ideology of self-reliance. The Japanese
imperial state and both of the postcolonial Korean states quite successfully incorporated humanist
ideologies to legitimize their governments, although humanism was also frequently mobilized for
anti-imperialist resistance during the colonial period and by democratic political movements in both
North and South Korea. Indeed, the concepts of the universal human were polyvalent and were
incorporated by many groups with various national, class, and gender identities to validate their
sociopolitical hegemony. Workman examines the impacts of humanist concepts and discourses on
literary and critical texts in relation to culturalism, Marxism, and imperial nationalism and addresses
the legacies of humanist discourses of the Japanese empire that continued to emerge in North and
South Korea during the Cold War era.
The second section of Part III, titled “Politics, Memory, Orality,” presents a complex network
in which politics and gender are intertwined with various facets of utilitarian discourse, memory
and ethical storytelling, and continuing orality in South Korean literature. Serk-Bae Suh’s chapter,
“Gender and Class Dynamics in the Utilitarian Discourse of the Developmental State and Literature
in 1970s and 1980s South Korea,” focuses on Park Chung Hee’s utilitarian discourse of the develop-
mental state and various literary texts that emerged in response to the rapid industrialization in South
Korea in the 1970s and 1980s. Park Chung Hee’s book The Country, the Revolution, and I (1963) takes
up the case of a girl’s idle hand holding a poetry book and denounces both the leisure class and the
female gender as exemplars of pure consumption that do not produce utilitarian values. Suh also ana-
lyzes three other literary texts that employ the hand as an important trope for engaging with Korean
society. Hwang Sŏgyŏng’s “Exquisite Hands” (1973) and Hwang Chiu’s “Variety Show, 1984” (1985)
criticize the darker sides of rapid industrialization, but they remain problematic because they join
Park Chung Hee’s gendered utilitarian view. Cho Sŏnjak’s “Yŏngja’s Heyday,” in contrast, features a
female worker from the lower class and challenges the dichotomous dynamics of gender and class.
Suh, however, emphasizes that all of these narratives demonstrate how deeply the utilitarian ideology
infused individuals under the developmental state.
Ji-Eun Lee’s chapter, “(Dis)embodiment of Memory: Gender, Memory, and Ethics in Human Acts
by Han Kang,” examines literary works written by a new generation of Korean female writers after
the Cold War, which approach the memories of historical events through the creation of an afective

9
 Heekyoung Cho

and ethical assemblage. These works difer from highly gendered pre-1990s works of historical fc-
tion, which were written mostly by male writers, who often provide a coherent perspective and
monolithic account of historical events. Through an in-depth analysis of Han Kang’s Human Acts
(2014), which ofers intimate and visceral accounts of the 1980 Kwangju massacre, Lee discusses
memory, trauma, and remembering and delves into the impacts they have on the issue of ethical sto-
rytelling. While asking the important question of what it means for a female writer to write history,
Lee goes further to argue that Han’s novel makes a tragic Korean memory truly universal by leav-
ing it fragmented and unfnishable and resisting it being labeled and hyperpoliticized, thus creating
Kwangju as a metaphor for human injustice and violence everywhere. Building on the recent studies
on orality that emphasize the interaction between orality and literacy and reject treating them as
binary phenomena, Ivanna Sang Een Yi’s chapter, “Continuing Orality in Korean Poetry: Opening a
P’an for the Page,” proposes the concept of continuing orality in order to understand the continuing
fourishing of oral traditions in literature. While considering literature as a mode of oral performance,
Yi analyzes contemporary poetry written by Kim Hyesun and Kim Chiha under the military regimes
and its engagement with orality appearing in Korean p’ansori (epic dramatic storytelling). By employ-
ing the features of p’ansori performances, these two poets create sonic environments that invite the
audience’s active participation and response to sociopolitical injustices, including political oppression
and gender discrimination. Yi resists the assumption that sees p’ansori as a genre that is incompatible
with modern literary forms and therefore a marker of decline. Instead, she suggests that the transfor-
mation of p’ansori features constantly emerging in written texts is a sign of the oral tradition’s viability.
The third section of Part III, “Race, Diaspora, Intersectionality,” discusses layers of diaspora
and identity through literary works written in three diferent languages—Korean, Japanese, and
English—all of which highlight marginalized communities in diferent sociocultural situations. Jang
Wook Huh’s chapter, “Ŏmma’s Baby, Appa’s Maybe: Black Amerasian Children and the Layers of
Diaspora,” analyzes textual representations of black Amerasian children in 1960s Korea, focusing
on two texts: Paek Inbin’s Black Joe (1964), a male author’s novella about a teenage boy, and Kim
Sundŏk’s Mom, Why Am I Black Alone? (1965), a teenage girl’s autobiographical story. Examining the
ways in which blackness and biracial families are represented and circulated in Korean society, Huh
argues that Korean-black children, who inhabit the most marginalized status in Korean society due
to racial othering and the system of patriarchy, are a site that manifests multiple forms of diaspora,
both national and racial. In addition to providing an in-depth analysis of specifc Korean textual rep-
resentations of blackness and biracial children, this chapter aligns the Korean cases with broad studies
of diaspora and race to help the reader understand the problem of racial violence and identity forma-
tion in a global context. Meanwhile—complicating a prevalent understanding that diasporas, both as
specifc cultural historical experiences and as a concept and method of analysis, reorient or readdress
conventional spatial confgurations and identity formation—Christina Yi’s chapter, “Intersecting
Korean Diasporas,” argues that some forms of diasporic articulation reify the borders and boundaries
that they mean to challenge. Yi specifcally analyzes two recent novels on Zainichi Koreans (Korean
minorities residing in Japan): Ch’oe Sil’s Jini’s Puzzle (Jini no pazuru, 2016), a novella written in
Japanese by a Zainichi Korean woman, and Min Jin Lee’s Pachinko (2017), the frst English-language
novel that describes Zainichi Koreans. In relation to the dissemination of diasporic texts, this chapter
addresses the global market of translation, the conditions for translatability, and their relevance to the
texts of diaspora, which are always transnational and multi-oriented. Yi also provides a useful histori-
cal overview of Zainichi Koreans and their cultural and political relations with diferent states (i.e.,
the two divided Koreas and Japan). Cindi Textor’s “Whose Korea Is It? Reading Zainichi Literature
Intersectionally” explores a mode of intersectional reading through the examination of two contem-
porary novels written by Koreans in Japan: Sagisawa Megumu’s Hontō no natsu (The True Summer,
1992), and Ch’oe Shil’s Jini no pazuru. By asking broad fundamental questions of who belongs to
Korea, to whom Korea belongs, and whose Korean literature it is, Textor claims that the employment

10
 Introduction

of an intersectional framework enriches our understanding of these questions, and that Zainichi lit-
erature in particular provides us with a productive venue for developing such intersectional reading.
Incorporating the concept of intersectionality developed in women-of-color feminist thought, as
in Christina Yi’s chapter, Textor applies this notion of intersectionality to a transnational approach
to Korea and Korean literature to tease out the further complexity of internally divided identities.
Constant expansion of the defnition of Korea or Korean literature is worth little, Textor points out,
if the expansion still marginalizes the newly included and does not attend to its internal divisions and
hierarchies.
Titled “Division and North Korean Literature,” the last section of Part III discusses the writerly
and readerly connections among North and South Korea and Japan and diferent literary devel-
opments between North and South Korea in relation to gender issues and children’s literature. I
Jonathan Kief ’s chapter, “Closed Borders and Open Letters in the Cold War Koreas,” underscores
the incomplete and unstable division of the two Koreas during the frst three decades after Korea’s
liberation in 1945 by means of an examination of open letters written by authors residing in North
and South Korea and Japan. Kief defnes these open letters as “orthogonal,” in that they articulated
multidirectional messages and were circulated triangularly among the two Koreas and Japan. He
stresses the role of the mediation of Japan in this triangular relationship, because this form of let-
ter writing was often employed by writers of the diasporic community in Japan and published and
circulated in Japan. Arguing against the studies that examine writings of the two Koreas and Japan as
isolated entities, Kief emphasizes that they need to be read as fellow participants in interactive dia-
logues. Immanuel Kim’s chapter, “A Good Wife Is Hard to Find: North Korean Women in Fiction,”
focuses on 1980s North Korean fction that began to question the ideal image of a married couple
described in 1960s and 1970s North Korean fction, which typically portrays a wife who devotes
herself to her husband’s revolutionary agenda for the nation. Through a detailed analysis of Ch’oe
Sang-sun’s Morning Star, which shows violence toward women and disrupts the image of conjugal
couples’ harmonious unity, Kim shows that 1980s North Korean fction also raises the larger ques-
tions of what constitutes the happiness of individual family members and how to resolve ongoing
conficts between the binary realms of public and private life. North Korean fction in the 1980s thus
expresses women’s agency and voices against gendered norms prescribed by the state and normalized
patriarchal discourse.
Dafna Zur’s chapter, “Children’s Literature in South and North Korea,” outlines a cultural and
political discourse on childhood and the concept of tongsim, or the child-heart, constructed in the
early twentieth century, and the literary landscape dominated by it during the colonial period and
in postcolonial South and North Korea. Although a few elite magazines and newspapers were the
only venues for children’s literature, targeting a select group of literate children in the pre-1945
period, children’s literature in postwar South Korea became a mainstream cultural phenomenon
and a site for the dissemination of dominant national narratives. Tongsim in South Korea came to be
reconfgured as authentic national identity and was based on the network of the child, nature, and
the anti-communist nation. In North Korea, however, tongsim became connected to a scientifcally
and objectively provable world that foresees a social and political utopia, and children’s literature was
considered to be something that ofered an opportunity to construct a way of thinking that would
serve the North Korean revolution.
Part IV in this volume showcases relatively new and growing interests in Korean literary studies,
such as queer studies, world literature, and the digital humanities. The frst section, titled “Queer
Reading and Afect,” expands on queerness by delinking it from sexual identity. Samuel Perry’s
chapter, “Forms of Attachment: Ardent Female Intimacies in 1920s Korea,” explores how emotional
attachments between young women were narrativized and represented in journalistic writings and
fctional works in mid-1920s Korea. In this group of texts, which were published in magazines such
as Sin yŏsŏng and Pyŏlgŏn’gon, schoolgirl intimacies were accepted as a normal stage of adolescence,

11
 Heekyoung Cho

and this assumption provided a foundation for understanding homosexuality (tongsŏng yŏnae) as a
highly feminized term and as an accepted phase of heterosexual development. The feminized under-
standing of homosexuality was closely related to Korea’s experience as a colony, and these narratives
were written mostly by elite Korean male writers who utilized women’s sexuality to maintain their
privilege and authority under colonial rule. Perry, however, suggests that these narratives and rep-
resentations may also have served to cultivate intergenerational understanding of female kinship and
intimacy. Ungsan Kim’s chapter, “The Poet and the Theater: Perverse Reading and Queer Poetry,”
engages with the recent surge of queer interest in the Korean literary feld. Focusing on queer read-
ership, or the reader’s “perverse” reading, Kim underscores that the discussion of queer poetry and
literature should engage with a way of reading that appreciates queerness in the text, rather than
focus on identifying the sexuality of the poet and its connection to the text. Kim points out that the
recently developed trend in literary criticism in relation to queer literature, which centers on the
concept of Tangsajasŏng, or the “signifcance of authorial agency,” relegates the literary and political
potential of a text to the elements of authorial identity and agency. Preoccupation with the author’s
sexual identity also forecloses the divergent possibilities created by the text’s own queerness that is
free of authorial agency and may thereby reduce queer writing to a means of identity politics.
The second and last section of Part IV, “World Literature, Global Connections, the Digi-
tal Humanities,” expands the scale of literary studies in terms of broad cultural connections and
quantitative methodology. Through a conversation with recent discourses of world literature, Karen
Thornber’s chapter, “World Literature, Korean Literature, and the Medical and Health Humanities,”
begins with the recognition that scholars of world literature do not pay much attention to texts that
are not circulated in Western languages, despite the inclusive defnitions of world literature. East
Asian literatures, including Korean literature, are therefore still constantly relegated to the periphery
of the discipline of world literature. It is not an ethical inclusion when the conceptual expansion
of a discipline or feld continuously marginalizes the newly added, as discussed in Cindi Textor’s
chapter on Zainichi literature and its relation to Korean literature (Chapter 27). Thornber’s chapter
further highlights another signifcant failure of the discipline of world literature, namely, its lack
of interaction with other humanistic felds, such as the medical and health humanities, that deal
with globally signifcant challenges. Thornber provides a case study that engages with global health
issues and world literature through the detailed analysis of an Urdu translation of a Korean novel, Yi
Ch’ŏngjun’s Your Paradise (Tangsindŭl ŭi ch’ŏnguk, 1976), which deals with a Korean leprosarium and
mistreated marginalized group. Jenny Wang Medina’s chapter, “Global Korea and World Literature,”
turns to the globalization of Korean literature in relation to the global recognition of Korean popular
culture, branded with the prefx “K-,” as a commodifable cultural product. It thus asks the broad
question of what roles Korean literature, as “high culture,” plays in conceptualizing global Korean
culture in the twenty-frst century. Medina examines how the changes in the international percep-
tion of Korean culture have afected Korean literature by discussing the institutional eforts to global-
ize Korean literature as “world literature,” the translation projects of Korean literature, and Korea’s
active participation in global literary events. Although their defnitions of and approaches to world
literature difer, the chapters by Thornber and Medina complement each other, providing divergent
analyses of world literature, the role of translation in the circulation and understanding of Korean
literature, and its transregional dynamics in the global arena.
Finally, the co-authored chapter “The Text-Mining of Culture: The Case of a Popular Magazine
in 1930s Korea,” by Jae-Yon Lee and Hyun-Joo Kim, is the scholarly result of a digital humanities
project that explores what the term and concept of “culture” meant in 1930s colonial Korea. “Cul-
ture” was one of the overdetermined and sociopolitically important terms of the time, along with
“literature” and “art.” By text-mining the 1930s popular magazine Samch’ŏlli, published by a group of
intellectuals who supported culture as a vanguard of sociopolitical movement in colonial Korea, this
chapter investigates the semantic networks relating to culture and the changing meanings of culture.

12
 Introduction

Lee and Kim argue that their quantitative methodology, in tandem with linguistic analysis, demon-
strates that the semantic network of Korean culture in the 1930s was far broader and more infuential
than previously described, thereby enriching our understanding of the episteme of 1930s Korean
society. This chapter is also a useful resource on using small-scale big data in conducting a digital
humanities project, because it describes the thought processes involved for each step of the project.
As the chapters included in this volume collectively demonstrate, academic felds are constantly
redefned by being crossed, expanded, questioned, or merged. The concepts and practices of felds
and disciplines promote constructive and systemic knowledge formation, but they can restrict radical
innovations. All felds and disciplines must therefore await pioneering steps or crossings and welcome
intellectual confrontations if they are to continue to thrive. I hope that this edited volume ofers
another productive site for further conversations and future innovations in Korean literary studies.

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Whose Korea is it? Reading Zainichi Literature Intersectionally

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Closed Borders and Open Letters in the Cold War Koreas

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A Good Wife is Hard to Find

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The Text-Mining of Culture

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