International Journal of Korean Humanities and Social Sciences 2022-04-30T10:42:35+02:00 Editorial Team Open Journal Systems <p class="oczasopismie"><strong>INTRODUCTION:</strong><br />International Journal of Korean Humanities and Social Sciences is published once a year by the Faculty of Modern Languages and Literatures, Adam Mickiewicz University, Poznań, Poland. It contains articles, reviews and reports in English. It is devoted mainly to works dealing with broadly understood current and original studies providing valuable insight into <strong>Korean</strong> (i) humanities (classics, law, linguistics, literature, performing and visual arts, philosophy, religion), and (ii) social sciences (anthropology, communication studies, cultural studies, economics, history, political sciences, sociology, etc.).</p> <p class="oczasopismie"><strong>We are indexed in ErihPlus</strong> (date of approval: 2018.06.14).</p> <ul class="oczasopismie"> <li class="show"><a href="">ABOUT THE JOURNAL</a></li> <li class="show"><a href="">CURRENT ISSUE</a></li> <li class="show"><a href="">ARCHIVE</a></li> </ul> <div class="oczasopismie"><strong><strong>INDEXED IN:</strong> </strong>Google Scholar; WorldCat<strong><br /></strong></div> <div class="oczasopismie"><strong>DOI: </strong><a href="">10.14746/kr</a></div> <div class="oczasopismie"><strong>ISSN: </strong>2449-7444 <strong>ISSN online:</strong> 2720-6327</div> <div class="oczasopismie"><strong><br />PUBLISHED WORK ARE LICENSED UNDER A CREATIVE COMMONS:</strong></div> <div class="oczasopismie"><strong>(2016 -2020):</strong><br /><a href=""><img src="" alt="CC_by-nd/4.0" border="0" /></a></div> <div class="oczasopismie"><strong>(2020-):</strong></div> <div class="oczasopismie"><strong><a href="" rel="license"><img style="border-width: 0;" src="" alt="Creative Commons License" /></a><br /><a href="" rel="license"> Attribution 4.0 International License</a>.</strong></div> LIST OF REVIEWERS 2022-04-29T10:15:58+02:00 . . 2021-12-27T00:00:00+01:00 Copyright (c) 2021 TRANSLATING CULTURE, RATHER THAN LANGUAGE: NARRATING THE (KOREAN) NATION IN OTHER LANGUAGE(S); (EXAMPLES OF CHANG REA LEE, EUNY HONG AND KRYS LEE) 2022-04-30T10:42:35+02:00 Boris ŠKVORC <p>This article will concentrate on three major topics. The first one will be connected with the idea of globalization and universalism in relation to national cultural and literary canons. The second one will discuss the possibility of how the national language and literature can stay authentic and universal, that how it can remain simultaneously appreciated as a work of difference and an artefact of universal value. This calls for the introduction of the main topic which is the realm of translation, especially translation understood as a trans-creation, that is the re-creation of one literary world within (an)other cultural discourse, being it in a different language, or even uttered in a new <em>lingua franca</em>, which today is English. That means that the other nation can also be narrated in English, but in an English used by others for their own purposes, sometimes only commercial but other times purposely chosen as the tool of contra-hegemonic statement(s), having their own purposes and ways. How we can trans-create that in reading is of the utmost importance for interpretation. At the end of this essay we will see how that reflects on both the <em>otherness </em>of authentic culture (in this case study Korean) as well as English speaking discourse and English as an authentic language and the tool of trans-creating and disseminating the idea of literature as a global entity (or/and system).</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2021 Boris ŠKVORC BITTERNESS AND RECOGNITION: ROOM FOR OTHERS IN THE NOVELS OF STEPH CHA 2022-04-29T10:15:54+02:00 Brian Daniel WILLEMS <p>The novels of Steph Cha posit two key characteristics for openness toward others: bitterness and recognition. The thesis of this paper is that both characteristics must be present together in order for openness to occur. Cha’s Juniper Song detective series (2013-15), as well as her stand-alone novel <em>Your House Will Pay </em>(2019), foreground the role that bitterness and recognition play in an openness of Korean-Americans to other American people of color. Following the work of Jacques Rancière and Axel Honneth, bitterness is seen as a characteristic that keeps recognition from falling into the oppressive traps of one group only recognizing the pre-established modes of identity of another. Cha’s novels insist on moments of bitterness within scenes of recognition, thus showing how both characteristics, together, form an essential way for a positive openness to another to be possible. Other Korean-American authors discussed include Cathy Park Hong, Caroline Kim, and Theresa Hak Kyung Cha.</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2022 Brian Daniel WILLEMS CRITICISM OF LITERATURISM IN THE 1990S: FOCUSING ON MUNHAKDONGNE 2022-04-29T10:15:55+02:00 Soonmo YANG <p>Regarding the recent critical evaluations surrounding the Korean literature field in the 1990s, this paper argues that the criticism should be presented at a more ‘intrinsic’ and ‘reflective’ level. In particular, through <em>문학동네 Munhakdongne</em> (the Literature Village) as a negative origin of today, I would like to examine the rationality of ‘literaturism’ (the art for art’s sake principle) in the 90s, which is difficult to criticize easily. This ‘rationality’ is not only one that is repeated and persuasive in today’s literature, but also one that shares much from the perspective of critically judging <em>Munhakdongne</em>. By critically examining the nature of this ‘rationality’ in the 1990s, this paper aims to define today’s Korean literature field and to prepare for the possibility of moving beyond it.</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2021 Soon-Mo YANG SOCIAL CONDITIONS OF FILM CRITICS IN SOUTH KOREA FROM 2000 TO 2020 2022-04-29T10:15:56+02:00 Eunyoung WON <p class="Abstracts">This paper empirically analyzes the social status of film critics in the Korean film industry. Film critics contribute to the creation of films as producers of specific values in film art by producing cinematographic discourse. Then how does one become a film critic? How does the film critic space operate – which can be understood as structured based on the development of the market for film magazines in the 1990s? The result of quantitative and qualitative analysis of the social recruitment of film critics from 2000 to 2020 shows that those who attained the legitimate status of film critic by winning awards in contests possess a high level of academic capital. It was also found that the location of higher education among these laureates was mainly concentrated in Seoul. Although film critics are not fully institutionalized and have an artistic mission to some extent, to access the profession of film criticism, they need to be controlled by established film critics who share similar cultural and symbolic capital each other. This suggests that symbolic power exists in the world of film criticism and that the structure can be reproduced through gatekeeping by the owners of symbolic power.</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2021 Eunyoung WON HOST-PARASITE COEVOLUTION: BONG JOON-HO’S URBAN SMELLSCAPES AND CONTAGIOUS TOUCH 2022-04-29T10:15:56+02:00 Paula JURIŠIĆ <p>This paper is an exploration of some of the modes of haptic visuality, smell, touching, being touched and contagious contact in contemporary South-Korean cinema through Bong Joon-ho’s (봉준호) Oscar-awarded 기생충 (<em>Gisaengchung</em>, <em>Parasite</em>) (2019) and his earlier film 괴물 (<em>Gwoemul</em>, <em>The Host</em>) (2006), films that, I would argue, are the most prominent examples and a culmination of the embodied visuality within the contemporary South-Korean cinema. Both films operate as the studies of the internalized forms of capitalism, a phenomenon that, according to Bong Joon-ho (봉준호), “before it’s a massive, sociological term, is just our lives”. This paper looks into the manifestations of internalized capitalism in the everyday lives of Bong Joon-ho’s (봉준호) characters, as well as spatio-temporal structures that, I would argue, best reflect the process of internalization.</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2021 Paula JURIŠIĆ DEVELOPMENT OF THE KOREAN POETIC DRAMA AND THE SIGNIFICANCE OF THE POETIC DRAMA MOVEMENT 2022-04-29T10:15:56+02:00 Hyeon-Jeong LEE <p>This paper deals with the definition and characteristics of poetic drama, and attempts to clarify the significance of poetic drama works during the time when the poetic drama movement took place. Unlike drama-poetry or plays, poetic drama is an independent art genre. It presents artistic vision through the conflict of poetics and dramas. The unity of poetic and dramatic things, which is facilitated through music, internal necessity, stage image, sound effect, and visual auditory indication, poetic drama is a part of complex art. The entire work functions as a poem and must be realized on the stage. For Choi Il-soo, in order to develop the characteristics of these poetry plays, the innatrhythm of the free verse should be embodied within these plays. He accepted Eliot’s theory and tried to establish the position that Western poetic drama works and theories are unique to Korea. This deepening perception of theory led to a poetic drama movement with the creators. In this paper, we classify its characteristics by focusing on approximately 18 poetic drama works. From 1920 to 1999, 18 representative works were classified, focusing on the completeness of the works and the remarkable artists. The characteristics of works can largely be divided into historical, narrative, reality, and philosophy. The meaning of this classification can serve as an opportunity for poetic dramas to advance into more diverse topics or forms. The poetic drama movement was dominated by critics and poets with the aim of pursuing independent Korean art works, and although it failed in performance and popularization, it was an achievement of the times to give a glimpse into the possibility of poetic drama. Poetic drama can act as a new element in the genre of poetry and drama that are losing original literary character, and there is a need to revive in Korean literature.</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2021 Hyeon-Jeong LEE RELATIONS BETWEEN ACTIVISTS AND CITIZENS, THE INTERNAL DRIVING FORCE OF THE SOCIAL MOVEMENT AS A FESTIVAL: A CASE STUDY OF THE 2016 – 2017 CANDLELIGHT VIGILS 2022-04-29T10:15:57+02:00 Doo Hyeong LEE <p>The 2016-2017 candlelight vigil was a very important event because it led to the impeachment of an incumbent president for the first time in South Korea’s constitutional history. Above all, it was a remarkable phenomenon in that it unfolded peacefully and acted like a festival even though many citizens gathered on the streets to demand the president’s impeachment, which is essentially an extreme argument under institutional democracy. Violence, which was common in previous mass movements, was impossible in the 2016-2017. Some emphasized the heightened sense of citizenship, while others understand it in a historical context, but it does not see the dynamics of change that exist within the mass movement. Moreover, peaceful and festive gatherings have received a lot of attention, especially in the 2000s. And this is highlighted as a strategy for citizens who voluntarily come out on the street to keep their distance from activists. The existence of a movement dealing with various political agendas was seen as a risk of distorting the purpose of the manifestation. For citizens, distancing from them is an important strategy to preserve the purity of the movement. Therefore, the ‘flag’, which is a symbol of the movement, was excluded from the square. However, the so-called ‘Any Flag Festival’ that appeared at the 2016-2017 candlelight vigils bridges the gap between the movement represented by the flag and the general participants. The group play using flags relieved the tension between the movement’s organization and the citizens, which was an internal conflict factor in the manifestation, which coincidentally led them to be together. As a result, this formed an important social context for mass movements such as festivals, which became important in the 2000s, to be completed in 2016 and 2017.</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2021 Doo Hyeong LEE THE SOCIOCULTURAL FACTORS INFLUENCING THE STUDY OF KOREAN HISTORY IN INDONESIA 2022-04-29T10:15:57+02:00 Rostineu ROSTINEU <p>The historic event of the Korean Youth Independent Movement during the Japanese colonial period in Indonesia, which involved soldiers from Korea, has become a point of interest for Indonesian people, especially Indonesian millennials and historians. Since Indonesia’s independence from the Japanese colonial rule in 1945, Indonesia has gone through various difficulties and faced political crises, just as Korea has. This article discusses the social and cultural factors, particularly Indonesian millennials’ activities and interests which influence the study of Korean history in Indonesia. At several points, this research shows that the millennials’ mastery of the Korean language is important for the development of Korean historical studies in Indonesia. Applying the desk review method, this research finds a great interest among Indonesian millennials to study Korean history. One of the encouraging factors is the role of Korean history reviewers who bring Korean historical sources closer to Indonesian audiences through seminars that are intended for not only scholars, but also other millennials and the general public. The growth of Korean language users should be an important instrument to further develop not only the study of Korean history, but also diplomatic relations between Korea and Indonesia.</p> 2021-12-27T00:00:00+01:00 Copyright (c) 2021 rostineu ROSTINEU