Bibliography

The LTI Korea Library maintains a bibliographic database of translations of Korean literature from all over the world.

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KOREAN WRITERS

  • CHEON Myeong-kwan

    Cheon debuted in 2003 with the short story “Frank and Me.” Before becoming a writer, he worked for a movie production company and also wrote the screenplays for films like Gun and Gun (1995, 총잡이) and The Great Chef (1999, 북경반점). Although he wrote numerous screenplays and prepared to star in a few films himself, production on these movies was suspended. Although it was a bitter time of failure, it was no doubt an important period of his training and discipline as a writer.

    Cheon turned to writing fiction in an attempt to find another means of making money, spurred on by the words of his sibling who said that he should write novels instead of writing screenplays that would never be made into movies. The result was “Frank and Me,” an absurd and hilarious story about the narrator’s unemployed husband who goes to Canada to meet his cousin Frank and ends up meeting Frank, a Los Angeles gang leader. With this short story, he won the Munhakdongne New Writer Award. Only a year later in 2004, he won the 10th Munhakdongne Novel Award for his first novel Whale (고래), which spins a wry epic tale about a country girl who transforms into an entrepreneur in the city. Aging Family (고령화 가족), featuring a motley crew of family members, is narrated by a middle-aged son who has been unemployed for the past 10 years ever since his debut film flopped. With these two works, he jump-started his writing career, receiving widespread attention from critics and readers alike as a unique and invigorating presence in the Korean literary scene. My Uncle, Bruce Lee is a chronicle of an uncle as seen through his nephew’s eyes.

     

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  • Kim’s literary world is shaped by his study of humanities and at the same time owes much to the Spanish writer, Jorges Luis Borghes, whose influence is paramount in his first collection of short stories, Twenty Years Old. The author’s admiration of Borghes is particularly evident in such stories as “Babel’s Library” and “Funes, A Master of Remembrance” which are often seen as an homage to the famed writer. Kim did not content himself with a place in the shadow of a literary great. His third novel, Good Bye Lee Sang was met with a critical reception worthy of a masterpiece at the very pinnacle of humanistic imagination. To be sure, Borghesian influence is still unmistakable, but only in the background: the novel, as a whole, is animated by the author’s own meticulous and in-depth study of Lee Sang, the Korean existentialist writer of the 1930s who produced some of the most exotic and complex stories in Korean literary history. Good Bye Lee Sang is concerned with the question of truth and of existence as well as the very definition of literature which, in Kim’s view, are not mutually exclusive. “The reason why I write,” the author has said,” is to find out whether the truth does indeed exist in the act of writing.” 

     

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    Kim Yeon-su wurde 1970 in Kimch'ŏn, in der Provinz Nord-Kyŏngsang geboren und studierte Anglistik an der Universität Sungkyunkwan. Seine literarische Tätigkeit begann mit der Veröffentlichung von Gedichten in der Sommerausgabe 1993 der Zeitschrift „Chakka segye“ (Welt der Schriftsteller). Die im Zeitalter der Diskontinuität spürbare Unsicherheit scheint Kim Yeon-su in seinem literarischen Schaffen stark beeinflusst zu haben. So schrieb er einst: „Die 80er Jahre waren die Wirklichkeit, die 90er Jahre existierten nur als Schatten.“[3] In der koreanischen Gesellschaft brauchte man in den 80er Jahren viel Mut, um ein Buch über den Sozialismus zu lesen. Kim Yeon-su ging Ende der 80er Jahre auf die Universität und las viel; in seinem Notizbuch hielt er zahlreiche Gedanken fest, wie beispielsweise zu Karl Marx. Seine Aktivitäten u.a. als Dichter, Schriftsteller, Popmusikkritiker und Journalist zeigen sein breit gefächertes Interesse. Letzteres beweist sich auch in seinen Werken, die von Popsongs, Filmen, Comics bis hin zu Gedichten reichen. Seine Stärke liegt darin, sich auf die Suche zu begeben, zu lernen und schließlich Romane zu schreiben. 

     

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  • Han's debut work, A Convict's Love, was published in 1995 and attracted attention because it was precisely and tightly narrated. Han wrote The Vegetarian, and its sister-work, Mongolian Mark by hand, as overuse of the computer keyboard had damaged her wrist. The Vegetarian is a collection of three linked novellas: The Vegetarian, Mongolian Mark, and Fire Tree. It has been reported that in her college years Kang became obsessed with a line of poetry from Yi Sang: "I believe that humans should be plants." and that Kang interpreted this to be a defensive stance against the violence of the colonial period and took this as an inspiration to write her most successful work, The Vegetarian. Han, however, says that this was misunderstanding of her statement that if a reader became sad, Han was happy that the reader's feelings had changed somehow. 

    Han's literary career began when she published five poems including “Winter in Seoul,” in the winter issue of Literature and Society in 1993. Her career in fiction began the following year when her work "Red Anchor" won the Seoul Shinmun Sprin Literary Contest. Her first collection, "Love of Yeosu," was published in 1995. In 1998, Han participated in a program at the University of Iowa International Writing Program. Her works published in Korea include, "Fruits of My Woman" (2000); novels including The Black Deer (1998), Your Cold Hand (2002), The Vegetarian (2007), Breath Fighting (2010), and Greek Lessons (2011). Han is a musician and interested in art, and her work often reflects this. 

     

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    Han Kang, deren Name eine Anspielung auf den durch Seoul fließenden Hangang ist, ist die Tochter des Schriftstellers Han Seung-won (Han Sŭngwon) und wurde 1970 in Kwangju geboren, wuchs jedoch ab ihrem elften Lebensjahr in Seoul auf. Sie studierte an der Yonsei Universität Koreanische Literatur und graduierte dort im Jahr 1993. Han debütierte mit Gedichten, die in der Zeitschrift "Literatur und Gesellschaft" (Munhak-kwa sahoe) erschienen, bekannt wurde sie kurz darauf jedoch als Prosaschriftstellerin. 1994 gewann sie mit der Kurzgeschichte Rotes Segel (붉은 닻) den Literaturpreis der Zeitung Seoul Shinmun. Danach schrieb sie kontinuierlich und veröffentlichte mehrere Bände von Erzählungen. Im Jahre 1999 gewann sie einen Preis für den besten koreanischen Roman, 2000 den "Preis für junge Künstler von heute" des Ministeriums für Kultur und Tourismus und schließlich 2005 den Yi-Sang-Literaturpreis. Außerdem arbeitete sie als Journalistin für die Zeitschriften „Wasser der tiefen Quelle“, „Journal der Publikationen“ und „Quelle“. Ihr Werk Die Vegetarierin wurde 2010 verfilmt und der Kurzroman Baby Buddha diente als Grundlage für den Film Scar. Derzeit lehrt Han Kreatives Schreiben am Seoul Institute of the Arts.

     

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    Su primera obra "El amor en Yeosu" se publicó en 1995 y llamó la atención porque estaba narrada de forma precisa y firme. 3 Escribió La vegetariana, que es la suma de tres cuentos relacionados:4 "La vegetariana", "La mancha mongólica" y "Los árboles en llamas". Se dice que se inspiró en un verso de Yi Sang: "Creo que las personas han de ser plantas", que Hang Kang interpretó como una posición contra la violencia del período colonial nipón. En 1993 comenzó su carrera literaria con el poema "El invierno de Seúl", que se publicó en la revista Literatura y Sociedad. Sin embargo, se ha dedicado más a la novela que a la poesía. Su prosa llamó la atención de los críticos y de los lectores por su estilo poético y sensual, y también por el carácter inquisitivo de sus obras. Hasta ahora ha publicado cuatro recopilaciones de cuentos: El amor en Yeosu, El fruto de mi mujer, Caja de lágrimas y El diseño amarillo de la eternidad; y seis novelas: El venado negro, Tus frías manos, La vegetariana, Pelea de aliento, La hora de griego y Viene el muchacho.5 Varias de sus novelas, como La vegetariana y La hora de griego, han sido traducidas al japonés, español, francés, vietnamita y otras lenguas.6 Han Kang ganó el Premio de Novela Coreana con su novela corta El niño Buda en 1999, el Premio al Artista Joven del Año en 2000, el Premio Yi Sang en el año 2005 por "La mancha mongólica" y el premio Dong-in en 2010 por Pelea de aliento. Bebé Buda y La vegetariana se han adaptado al cine.

     

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  • Kim's stories feature young people in their 20s who have moved up to Seoul from other parts of the country. After industrialization and urbanization began in earnest in the 1960s, Korean literature frequently dealt with the subject of young people who turned their backs on their hometowns to come to Seoul. However, though young people continued to move to the capital after the new millennium, literary interest in their stories began to decrease. Because Kim spent most of her childhood growing up in a rural village called Seosan and only began living in Seoul in her 20s, she imbues the lives of the characters in her stories with a strong sense of realism. 

     

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    Kim Ae-ran met en scène de jeunes protagonistes ayant une vingtaine d’années qui viennent à Séoul pour poursuivre leurs rêves. Après l’industrialisation et l’urbanisation rapide de la Corée du Sud dans les années 1960, la littérature coréenne a souvent traité le sujet des jeunes coréens quittant leur village pour se rendre dans la capitale. Pourtant, alors que ce phénomène dure encore, la littérature s’est peu à peu désintéressée de ce sujet. Ayant passé la majeure partie de son enfance en zone rurale avant de s’installer à Séoul, Kim Ae-ran dépeint avec réalisme ces nouveaux citadins venus s’installer dans la capitale1. Kim Ae-ran a étudié la mise en scène et l’écriture de spectacle lors de son passage à l'université, et c’est peut-être pour cela que ses œuvres manifestent un intérêt particulier pour les petits espaces. Ses descriptions humoristiques de ces protagonistes évoluant dans ces espaces évoquent une sensibilité profonde de l'auteure. Ses œuvres les plus récentes se concentrent ainsi sur l’évolution du quotidien des jeunes habitants de Séoul. 

     

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    金愛爛は、特定の世代の風俗をリアルに描く作家である。だが、彼女の小説の持つ美徳はそれにとどまらない。相対的貧困感が、生存を脅かす大きな問題であるとの実感を持つ若者世代。金愛爛は、彼らの内面を注視する。貧しさ、就職、恋愛、寂しさ、疎通といった問題に悩む若者たちの声に耳を傾け、彼らの密やかな悲しみを活字に込めて送り出す。そうした作業を通じて金愛爛の小説は、社会学的な種々の問いを呑み込みながら、さらに豊かさを増してゆく。 苦難に満ちた日常を生きる主人公は、金愛爛の小説の定番である。ところが、彼女の作品からは、憂穆や絶望といったものは全く感じられない。それは、彼女ならではの想像力の賜であろう。例えば、処女長編『どきどき僕の人生』の主人公は早老症にかかった少年だが、彼は、両親の若いころを想像しながら小説を書くことで、死と隣り合わせの苦痛に満ちた時間を療々しく生きてゆく。このようなことからわかるように、金愛爛の小説において想像力とは、悲しみに打ち勝ち、辛さに屈しないための能力だと言える。

     

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    金爱烂,1980年生于仁川,毕业于韩国艺术综合学校戏剧创作专业。凭借短篇小说《不敲门的家》获得第一届大山大学文学奖小说奖,2005年凭借《老爸,快跑》成为大山创作基金和韩国日报文学奖最年少获奖者,被媒体冠以年度“韩国文坛最大的收获之一”。此后获得李孝石文学奖、今日青年艺术家奖、金裕贞文学奖等奖项。她的作品揭示了当代韩国青年社会文化层面的贫乏,其“透明的感性、机智的文体和清新的想象力”获得众多读者的喜爱。 许先哲,自由职业人,2007年因反义《圣诞特典》艺术。获得第6届韩国文学翻译新人奖,从此踏入文学反义的世界。至今已有多不翻译作品,其中代表作有长篇小说《张石兆家房客们》(金昭晋 著),短篇小说集《老爸,快跑》和《噙满口水》(金爱烂 著)。

     

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    El cuento corto de Kim ae-ran “¡Corre, papi!” festejó en el 2005 el reconocimiento del público siendo galardonado con el Premio de Literatura Hanguk Ilbo. Kim tenía 25 años en aquel entonces y era la ganadora más joven entre todos los galardonados anteriores, sorprendiendo también la primicia del hecho, ya que se presentaba como una nueva autora que aún no había publicado ninguna antología de cuentos cortos anteriormente. En el 2008, su cuento corto “Marcas de cuchillo” ha merecido el Premio de Literatura Yi Hyoseok. Por tanto, ella fue la ganadora de este premio más joven de todos los tiempos. Cuando se menciona el nombre de Kim ae-ran, siempre va acompañado por las palabras ‘más joven’ o ‘escritora joven’. Tal vez, este fenómeno haya sido natural mientras seguía cumpliendo veintitantos, sin embargo, ya han pasado cinco años desde su inicio literario. Y, aunque presente un estilo de escritura fresca y animada, propia de una escritora joven, no se pueden dejar de tomar en serio la seriedad y el valor de sus obras.

     

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  • HAEMIN

    Haemin est un moine bouddhiste coréen. Il partage sa vie entre la Corée et les États-Unis, où il enseigne les sciences des religions. Diplômé des universités de Princeton et de Harvard, il est traduit pour la première fois en français.Ce que l’on voit en s’arrêtant, son deuxième livre s’est vendu à plus de 2,8 millions d’exemplaires en Corée du Sud, il est d’ailleurs resté pendant près de seize mois au premier rang des Best-sellers en Corée du Sud. Son second livre a la particularité d’avoir été écrit sur Twitter quasiment dans son intégralité (Haemin Sunim est l’un des utilisateurs de Twitter les plus suivi en Corée du Sud). L’idée d’utiliser les réseaux sociaux comme moyen d’expression est née d’une volonté de partager « A quoi cela sert-il de cultiver sa morale intérieure et de méditer tout seul ? J’aimerais tant que tout le monde puisse être heureux ».

     

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