Nationalism and literature—Korea South 4. The incorporation of the Korean Peninsula into the global Cold War order, Hughes argues, must be understood through the politics of the visual. The incorporation of the Korean Peninsula into the global Cold War order, Hughes argues, must be understood through the politics of the visual. Paektu Female Executive, 1959 Figure 4. The representational text, image, model, game, structure, or project, however realistic, always asserts that it is only a text, a mere picture, a copy. Taking advantage of new modes and media that emerged in the early twentieth century, these artists sought subtle strategies for representing the realities of colonialism and global modernity.
These testimonials, which followed a standard questionnaire and encouraged a personal narrative, provided material for the joint publicaiton The Code of Conduct 1955. So many colleagues and friends in the growing community of Korean studies and others in Asian studies have given me much-needed advice and support. I thus underscore the relation among colonial discursive, artistic, and filmic practices and what occupies the center of this book, the agreements and disagreements, the visibilities and invisibilities that have organized the postcolonial culture of division, authoritarianism, and developmentalism in South Korea from the mid-1940s through the early 1970s. Visuality and the Colonial Modern: The Technics of Proletarian Culture 2. This negotiation—one that precedes and, indeed, informs the experimentation with the visual register in the literary modernism of the 1930s—played a central role in producing a new way of seeing, reading, and coming to consciousness. Nancy Abelmann, University of Illinois Theodore Hughes's book breaks new ground in the study of postliberation South Korean literary and visual culture.
Lydia Liu and Tomi Suzuki read my manuscript and gave key comments at different stages of the revision process. His insightful and nuanced readings of the inextricable links between 'the colonial modern' and South Korea's Cold War modernity are essential contributions to Korean studies scholarship in any language. In her discussion of Victorian fiction, Nancy Armstrong offers four propositions meant to reconceptualize literary realism in relation to the new medium of photography: Proposition 1: By the mid-1850s, fiction was already promising to put readers in touch with the world itself by supplying them with certain kinds of visual information. Jin-kyung Lee read the manuscript at an important stage in the revision process and gave crucial advice. This visuality of memory is, in turn, linked to an imaging of a future that has already happened.
Springtime on the Peninsula, 1941 Figure 2. Working under the stress of Japanese occupation 1910--1945 and the tension of the Cold War, these artists sought subtle strategies for representing the realities of colonialism and national division. Visible and Invisible States: Liberation 3. Sophisticated and engaging, Literature and Film in Cold War South Korea is a milestone in the study of East Asian modernity. Theodore Hughes begins by unpacking the relations among literature, film, and art in Korea's colonial period, paying particular attention to the emerging proletarian movement, literary modernism, nativism, and wartime mobilization.
In Journal Korean Studies — University of Hawai'I Press Published: Nov 27, 2012. Kyu Hyun Kim, Cross Currents Hughes delivers a postcolonial study of Korea's modern literary and cinematic history that no East Asian collection can be without. They would now graft themselves onto notions of. My colleagues in the Department of East Asian Languages and Cultures and the Program in Comparative and World Literature at the University of Illinois at Urbana-Champaign made my years there truly rich and rewarding. Erasure of the proletarian literature of the colonial past occurred in tandem with the distancing and othering of the North. Kim, Allen Ginsberg, Edwin Denby, Alice Childress, Frank Herbert, and others—strikingly different from the one typically presented in accounts of the period.
At the same time, he locates post-1945 South Korean cultural production within the transnational circulation of texts, ideas, and images that took place in the first three decades of the Cold War. My family has been a constant source of encouragement along the way. Professor Chang teaches Korean grammar Madame Freedom, 1956 Figure 4. Elder Kim—the father of Sŏn-hyŏng, Hyŏng-sik fiancée—stands in between the premodern and the modern. I am deeply grateful to Jennifer Crewe, the editor at Columbia University Press, for her interest in this project and for her guidance and advice from start to finish. I am grateful most of all to John Duncan for his guidance and mentorship over the years.
This book focuses on a diverse selection of inter-Korean border crossers and the citizenship they acquire based on emotional affiliation rather than constitutional delineation. At the same time, he locates post-1945 South Korean cultural production within the transnational circulation of texts, ideas, and images that took place in the first three decades of the Cold War. Colonial modern works variously associated with the proletarian culture movement, literary modernism, nativism, and wartime mobilization involve the relation between writing and image. The E-mail message field is required. Theodore Hughes's ambitious new study shows us how Korea's colonial past persisted beyond its 'liberation. The Hand of Fate The Hand of Fate, 1954 Figure 3. Importantly, the advent of modern forms of subjectivity is marked by the invocation of an accompanying technological progress associated with Western material culture.
The visualized recollection that constitutes the protagonist Yi Hyŏng-sik as a modern, interiorized subject becomes, by the end of the text, a throwing into a collective Korean future. Coloniality in Korea, however, did not end with the Japanese defeat in 1945. The division of the Korean Peninsula, Hughes argues, must be understood through the politics of the visual, and he identifies ways of seeing and their organization of a postcolonial culture of division and authoritarianism. Motion pictures—Political aspects—Korea South 6. The relations among the triple disavowals occur within what Jacques Rancière calls the distribution of the sensible: a delimitation of spaces and times, of the visible and invisible, of speech and noise, that simultaneously determines the place and the stakes of politics as a form of experience.