Foreign Literary Research Articles

외국 문학이론의 주체적 수용에 대하여 ― 벤야민의 문학이론을 중심으로

외국 문학이론의 주체적 수용에 대하여 ― 벤야민의 문학이론을 중심으로

Western Inspirations: Early Hong Kong Literary Criticism and Foreign Literary Trends

Western Inspirations: Early Hong Kong Literary Criticism and Foreign Literary Trends

The Canonical Debate Today: Crossing Disciplinary and National Boundaries

The Canonical Debate Today: Crossing Disciplinary and National Boundaries

East and West, Ancient and Modern: A Book Review About CAO Shun-qing’s A History of Chinese and Foreign Literary Theories

East and West, Ancient and Modern: A Book Review About CAO Shun-qing’s A History of Chinese and Foreign Literary Theories

After Reading Selected Short Stories of South Chosŏn

After Reading Selected Short Stories of South Chosŏn Mo Yan (bio) There are seventeen short stories by sixteen authors in Selected Short Stories of South Chosŏn, a book composed of four hundred and seventy thousand characters. Published by the Shanghai Translation Publishing House in February 1983, this collection was probably the first large-scale introduction of Korean literature into China. According to the copyright page, thirty-nine thousand copies were printed, a large number even by today’s standards. We can also see an “inside publication” stamp on the copyright page, which means this book was not sold to the general public through Xinhua Bookstore, but distributed only among libraries of various agencies, readers with special social positions, and high officials through the so-called “Inside Bookstore.” This kind of inside publication went on for some time in China. Even during the Cultural Revolution, influential foreign literary works were translated and offered to a select few special personnel for their “critical reading” through the channel of “inside publication.” The true meaning of “critical” reading is clear when we consider that “inside” film viewing was regarded as a “privilege” at the time. There is a lengthy “Afterword” as in all books published through “inside publication.” The real purpose of this “Afterword” is for the translator to prove that he has strictly followed official guidelines. Hidden behind the obvious intention of translator [End Page 209] and publisher to watchfully steer even the few privileged readers in the right direction was, naturally, their desire to protect themselves. At the time, China still called Korea “South Chosŏn.” This afterword begins with a brief overview of the modern history of the Chosŏn peninsula. It then goes on to describe the South Korean people’s suffering under the despotic rule of America and the South Chosŏn government, and expresses hope for the South Chosŏn people’s revolution with the phrase “Wherever there is oppression, there is also resistance,” as was usually the case with afterwords of this nature. Only after this does the translator offer an overview of South Chosŏn literature. Although the usual political slogans critical of South Chosŏn are found throughout this section, readers can still gain a general understanding of literary development in South Chosŏn. I bought this book at a bookstore in 1990. There was a scarlet stamp of a library of a certain agency on its title page. I didn’t buy it because I was interested in South Chosŏn literature. I bought it because its cover was tastefully designed and it was cheap. After I brought it home, I began flipping through it idly. But pretty soon I found myself completely absorbed and I finished it in one sitting. This book taught me that Korean literature is rich, works by authors of older generations are full of vitality, and all the stories contained impressive critical attitudes toward life and reality. More recent stories published in the 1960s and 1970s by Korean writers of younger generations were already so avant-garde it was clear that they studied and referred to Western literature. This book let me know that Chinese authors in the 1980s were simply following in the footsteps of Korean writers of previous decades. Kim Tong-in, the author of “Paettaragi,” the first story in the book, would be 108 years old if he were still alive. Although he has already passed away, he would be very happy to know that a Chinese author has read his story. This is probably a reason why a writer would be satisfied with his career. Good writing survives its author. In other words, a writer can extend his life through his [End Page 210] books. “Paettaragi” is a beautiful story beginning with descriptions of emotions and landscapes. Then, a gloomy, grief-stricken seaman appears, trailing a mournful song, and begins telling his sorrowful story. He is someone who plunged his own life into hell. He had a beautiful wife. They were rich and they loved each other. But love begets jealousy. He began to suspect a relationship between his wife and his younger brother, and became jealous of them, as if possessed, and...

The foreign literary works' meaning and the inside related with the Korean war - Focus on the Poland, Turkish, Columbia's works -

The foreign literary works' meaning and the inside related with the Korean war - Focus on the Poland, Turkish, Columbia's works -

Foreign Debt and Literary Credit: Pablo Neruda and Walt Whitman

The article draws in relief how translators carry with them cultural and ideological horizons that necessarily imbue their literary production with distinctly situated historical, political, and personal dimensions. It does so first by examining how The New York Times's translation of Pablo Neruda's 1972 address to the PEN Club reframes (or distorts) his views on political and literary issues ranging from the negotiation of the Chilean national debt to his literary indebtedness to Walt Whitman, and then by examining how Neruda's 1955 translation of Whitman's ‘Salut Au Monde!’, refashions and relocates Whitman's work, imbuing it with a communist ethos consistent with Neruda's own.

Bibliography of Defoe Studies in the Far East: China and Taiwan, Japan, and Korea

Bibliography of Defoe Studies in the Far East: China and Taiwan, Japan, and Korea Spiro Peterson, Sungkyu Cho, Hope Cotton, Minoru Oda, Huang Xian-fang, and Sung-Kyoon Kim China and Taiwan The Farther Adventures of Robinson Crusoe is the first extensive Western fiction about China; Crusoe sees me Great Wall and travels across the country; the Farther Adventures is the first of Defoe's novels in which characters cross vast continents. Actual contact between China and Western nations is a fraught and not especially pretty story. Beginning around 2000 B.C., a uniform, identifiable "Chinese" culture was established and, through a succession of dynasties, preserved and developed. Although European trade began in the middle of the sixteenth century, China maintained a largely anti-foreign and isolationist policy until 1834, when China opened Canton to Western trade. This isolation makes the Chinese episode in Farther Adventures especially notable. Characteristic of the nineteenth century was relentless external pressure, including the Opium War (1839-42) perpetrated by Great Britain to gain wider trade concessions, and some internal discontent and unrest stemming from dissatisfaction with me policies of me ruling Ch'ing dynasty. China was compelled to cede Hong Kong at the end of the Opium War, and soon France, Germany, and Russia forced trade advantages. Upheaval within China continued, and a brief republican rule (1912-16) ended in decades of civil wars and unrest. Ultimately , in October 1949, Chinese communists defeated the nationalists. While EIGHTEENTH-CENTURY FICTION, Volume 8, Number 1, October 1995 96 EIGHTEENTH-CENTURY FICTION the communists rose to power under the leadership of Mao Tse-tung and created the People's Republic of China on the mainland, the nationalists fled to Taiwan. Read in light of the domination of the communist government, the Chinese entries of this bibliography become additional cultural indicators of the nation's socio-political landscape. Out of the early twentieth-century events came the birth of the country's interest in Western literature. The first translation of Robinson Crusoe into Chinese appeared in 1905. Significantly, though, this translation reflects Chinese epistemologies as much as it does Western ones. This flirtation with, yet hesitancy to embrace, Western culture and its values seems indicative of China's twentiethcentury political history and its struggle to re-create itself as a nation independent of dynastic rule. The political climate of this ancient land has made a great impact on literature and art in the past half century. Defoe studies in China have gone through three historical periods since the foundation of the People's Republic of China in 1949. During the ten years between 1949 and 1959, the policy "letting a hundred flowers blossom and a hundred schools of thought contend"—a policy set forth by chairman Mao Tse-tung for promoting the progress of literature, the arts, and the sciences—brought about for the first time a flourishing of foreign, especially English, literary studies. Many major authors—Shakespeare, Milton, Byron, Shelley, Dickens, Shaw, among others—and introductions to, comments on, and criticism of their works were published. This stream of translations included Defoe's The Wanderings ofRobinson and Moll Flanders. The glamour of Robinson Crusoe not only made Defoe one of me English writers most familiar to Chinese readers, but also made Robinson a hero in me hearts of children who were greatly impressed by his adventurous and diligent spirit. The impact of Robinson's spirit upon youth was encouraged and advocated, for the diligence, perseverance, courage, and patience of his spirit have much in common with Confucian philosophy and embody the highest virtues in Chinese culture. During the 1960s "left-deviationist thinking" began to dominate ideological and political fronts in China. Accordingly, foreign literary works were divided into three categories: revolutionary ones represented mainly by Shelley and Byron; classical bourgeois literary works represented mainly by Shakespeare, Dickens, and Ernest Hemingway; and counter-revolutionary ones represented mainly by Pearl S. Buck and T.S. Eliot. Defoe's work fell into the second category. The left-deviationists required that works in this category be passed down and assimilated with discrimination. They were criticized and regarded as "savage beasts and fierce floods." The study of Defoe and foreign literature was...

Characteristics of the Monographic Scholarship of Foreign Literary Studies by Native Speakers of English

Tentative pour evaluer la nature des sources utilisees par les etudiants de langue anglaise preparant un diplome de litterature etrangere, en anglais. Cette evaluation porte aussi sur la diffusion de ces sources bibliographiques: livre, article de revue, manuscrit, these. Des distinctions ont ete etablies en fonction des langues, et en fonction du niveau des sources: sources primaires ou sources secondaires. Cette evaluation est comparee avec ce qui se passe dans le domaine de la litterature de langue anglaise

Foreign Literary Notices

Foreign Literary Notices

Foreign Literary Notices

Foreign Literary Notices