Korean nationalism and foreign professionals

2015 ◽  
pp. 87-104
Keyword(s):  
Korean Nationalism

Chinese Lottery Business and Korea, 1898–1909: The Cantonese Company Tongshuntai, and East Asian Trade Networks (晩淸彩票業與朝鮮,1898–1909：廣幫華商同順泰號和東亞貿易網絡)

2017 ◽  
Vol 11 (1) ◽  
pp. 150-181 ◽  
Author(s):  
Jin-A Kang (姜抮亞)
Keyword(s):  
East Asian ◽  
Business Practices ◽  
Trade Networks ◽  
Modern Chinese ◽  
Korean Nationalism

This paper investigates Chinese-managed lottery businesses and their circulation from China into Korea. It focuses on the case of the business practices and marketing of the Cantonese company Tongshuntai, a foremost representative of Chinese capital in Korea. Through the case study of the lottery, East Asian trade networks can be understood as a kind of network circulating culture and information across the region. In 1899, the first modern Chinese lottery was issued in Shanghai. Cantonese merchants imported the Chinese lottery and broadly advertised lotteries in the newspaper in Seoul. Korea and China showed the same pattern in lottery business from the time of its rise to its demise. In 1909, there were strong regulations against lottery business both in China and Korea simultaneously. The force leading to the termination of lotteries in China was the reformative power that aimed to modernize China. In Korea, however, impetus to stop lotteries came from Korean nationalism as well as Japanese imperialist authority. 本文以廣幫華商同順泰號的營業活動爲例，探討20世紀初中國彩票在韓國的流通和華商的作用，進而討論20世紀初東亞貿易網絡的文化性功能。在1899年廣濟剬司得到官方批准，在上海創辦了江南義賑彩票，此後中國近代性彩票業眞正開始。在韓華商在江南彩票開始的當年已進口了江南票。中國與韓國，同時彩票大大流行，兩地域社會經驗了同樣的社會變化，供給者接踵而起，過熱競爭，惹起了彩票市場進一步擴大，終於引起了反對彩票的社會剬論。中國創辦國産彩票，代替洋票，杜塞了資本的外流，反而韓國消費洋票之中國彩票，爲了新政期地方財政提供了資金。1909年韓中兩國同時開始了取締彩票，但在中國取締彩票之動力是中國入憲派與改革勢力，在韓國取締彩票的是韓國民族主義情緖以及日本帝國主義。 (This article is in English).

The Feminization of Translation

Meridians ◽  
2021 ◽  
Vol 20 (1) ◽  
pp. 193-217
Author(s):  
Min Young Godley
Keyword(s):  
English Translation ◽  
Colonial History ◽  
Female Subjectivity ◽  
Korean Culture ◽  
Korean Literature ◽  
Women's Voices ◽  
Original Culture ◽  
Korean Nationalism ◽  
History Of ◽  
International Audience

Abstract The awarding of the 2016 Man Booker International Prize to Deborah Smith’s English translation of The Vegetarian brought global recognition to emergent Korean literature, but domestically it has sparked outrage among numerous Korean scholars who believe the literal inaccuracies in Smith’s translation have brought about a “national disgrace.” Situating this overheated reaction in the larger context of the colonial history of Korean nationalism, this article points out the irony that the “noble cause” of anti-imperialist resistance has historically led to the silencing of women’s voices in the context of preserving and transmitting an idea of quintessential Korean culture to an international audience. Such nationalist tendencies demand the “feminization” of the translator—requesting her to be barely visible while performing a self-effacing humility in deference to the putatively “original” culture. In contrast to this tendency, reading Han’s original and Smith’s translation together makes visible the damages that both colonization and nationalism have inflicted on the representation of female experiences. In the end, what truly scandalizes nationalist critics is not the failure of the translator to accurately convey Korean experiences, but the success of the translation in conveying an area of Korean experience they tend to neglect: that of female subjectivity.

Contextualizing Revolutionary Operas

2020 ◽  
pp. 135-158
Author(s):  
Keith Howard
Keyword(s):  
Soviet Union ◽  
Kim Il Sung ◽  
The North ◽  
Chinese Model ◽  
The Soviet Union ◽  
Kim Jong Il ◽  
Korean Nationalism ◽  
The 1960S ◽  
Collective Creation ◽  
The Impact

Chapter 5 is the second of three chapters on “revolutionary operas.” It explores how revolutionary operas reflect and are distinct from parallel genres in the Soviet Union, as well as how they may have been influenced by Chinese model works. It shows how ideology, including Soviet socialist realism and North Korean nationalism, and also collective creation and “seed theory,” is embedded in operas. It discusses the involvement of the North Korean leadership, and in particular Kim Jong Il, in opera creation, and explores the impact of comments made by the leadership after the premieres of the first three operas. The chapter asks what was known about opera in Korea before 1945, offering a discussion of the traditional genre of p’ansori, its twentieth-century ch’anggŭk staged equivalent, and how these two genres—and specific musicians associated with them who moved from Seoul to Pyongyang and continued their careers there into the 1960s—fared. These older forms were effectively stopped dead when Kim Il Sung remarked that they were reminiscent of a time when people traveled by donkey and wore horsehair hats, and, after the five revolutionary operas, they were replaced by “people’s operas” in the new, revolutionary opera mold.

An Eternal Parting: Staging Internal Diaspora, Performing South Korean Nationalism

2016 ◽  
Vol 41 (3) ◽  
pp. 231-244 ◽  
Author(s):  
HYUNJUNG LEE
Keyword(s):  
South Korea ◽  
The South ◽  
South Korean ◽  
Group Movement ◽  
Performance Group ◽  
Korean Diaspora ◽  
Ethnic Populations ◽  
Korean Nationalism

The myth of Korean-ness is reconstructed via the figures of minorities in a documentary/performance, An Eternal Parting, performed by the South Korean performance group Movement Dang-Dang in 2011 and 2013. It showcases the phenomena of Korean diaspora, starting with the deportations of Korean exiles from Siberia under Stalin during the 1930s, and hinges on the presence of the descendants of exiled Korean ethnic populations in contemporary South Korea, including how they are both accepted and excluded by their countrymen. However, although An Eternal Parting tries to redefine the myth of Korean-ness from a marginal viewpoint, its fundamental ambivalence does not escape hegemonic Korean ideologies of nationalism, bloodline, family and home.

From the “Nationals of the Superior Country” to the “Scumbags”: The Reversal of the Image of Chinese in Korea at the Late 19th Century (1896–1899)

2018 ◽  
Vol 12 (1) ◽  
pp. 76-115
Author(s):  
En-Mei Wang
Keyword(s):  
Social Status ◽  
19Th Century ◽  
General Public ◽  
Western Civilization ◽  
Overseas Chinese ◽  
Late 19Th Century ◽  
The Social ◽  
Korean Nationalism

After the end of the First Sino-Japanese War, the social status of the Chinese in Korea changed dramatically, and so did their image. They were viewed as the nationals of the superior country beforehand, but were considered “unruly,” “uncivilized,” “barbaric,” and “unsanitary and dirty” thereafter. This research aims to explore how and why this reversal of image happened by focusing on the reportages of the Independent from 1896 to 1899. The Independent, or Tongnip Sinmun, was one of the modern newspapers influenced by the Western civilization. Published fully in Korean, the Independent was meant to enlighten the Korean multitudes by reporting the situation of the nation to the general public. From 1896 to 1899, the Chinese were put in a position of “nationals without treaty,” which led to the fall of their status in Korea due to lack of protection of their country. Their image was further damaged because of the rise of Korean nationalism, which was elaborated along with the modernization. By examining the Chinese in Korea at the end of 19th century and the change of their image, this research tries to illustrate an intensive case of “Othering,” (that is, the birth of the Overseas Chinese) for the reason that they were considered to be not only superior, but also “Us” in the Hua-Yi system（華夷體系）before the War, and foreigners because of the Korean nationalism.

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