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

  • Moon Chung-hee

    The core of Moon Chung-hee's poetry reveals a distinctly romantic consciousness, expressed in crystalline language, dominated by a complex interplay of vivid emotions and sensations. Her fine, occasionally startling poetic sensibility is best represented in the poem Hwangjiniui norae: No, that isn't it. Even with little sunlight/ with love alone/ that is shy of new faces/ like flowers of grass/ I want to knock my whole body against a massive wall/ and fall.” Moon’s similes and metaphors are entirely subjective, having been internalized to chart the evolutions and dramas of her own emotions. Her figurative language becomes a register of her sensitivity, and movingly treats the themes of romantic love, reticence, suffering, and freedom. In a few poems such as Potatoes (Gamja), Saranghaneun samacheon dangsinege and Namhangangeul barabomyeo, Moon makes use of the elements of fairy tale narratives in order to arrive at an allegorical distillation of present reality. 

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    Moon Chung-hee wuchs in Seoul auf. Als Schülerin der Chinmyŏng Mädchen-Oberschule gewann sie bereits mehrere Literaturpreise und veröffentlichte ihren ersten Gedichtband. Anschließend wurde sie vom Meister der koreanischen Dichtkunst Sŏ Chŏng-ju unterrichtet. 1969, während ihres Studiums an der Dongguk Universität, wurde sie von der Monatszeitschrift Literatur (Wolgan munkak) zur Preisträgerin "Bestes Nachwuchstalent" ernannt und trat so in die Welt der professionellen Dichtkunst ein. 

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  • Kim Sungjong

    Kim Songjong est le représentant emblématique du roman policier sud-coréen. Il est même considéré comme son créateur. Publié en 1979, Le Dernier Témoin est le texte phare d'une oeuvre considérable. Il a été adapté deux fois au cinéma, notamment en 2001 par Bae Chang-Ho.

     

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  • Kyung-sook Shin was born in 1963 in a village near Jeongeup, North Jeolla Province in southern South Korea. She was the fourth child and oldest daughter of six. At sixteen she moved to Seoul, where her older brother lived. She worked in an electronics plant while attending night school.[4] She made her literary debut in 1985 with the novella Winter’s Fable after graduating from the Seoul Institute of the Arts as a creative writing major. Shin is, along with Kim In-suk and Gong Ji-young, one of the group of female writers from the so-called 386 Generation. She won the Munye Joongang New Author Prize for her novella, Winter Fables. Shin has won a wide variety of literary prizes including the Today’s Young Artist Award from the Korean Ministry of Culture, Sports and Tourism, Hankook Ilbo Literature Prize, Hyundae Literature Award, Manhae Literature Prize, Dong-in Literary Award, Yi Sang Literary Award, and the Oh Young-su Literature Prize. In 2009, the French translation of her work, A Lone Room (La Chambre Solitaire) was one of the winners of thePrix de l'Inapercu, which recognizes excellent literary works which have not yet reached a wide audience. The international rights to the million-copy bestseller Please Look After Mom were sold in 19 countries including the United States and various countries in Europe and Asia, beginning with China [6] and has been translated into English by Kim Chi-young and released on March 31, 2011. She won the 2011 Man Asian Literary Prize for Please Look After Mom, she was the first woman to win that award.

     

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    Kyung-sook Shin nació en un pueblo cerca de Jeongeup en la provincia de Jeolla del Norte en 1963. Era la cuarta de seis hijos. Sus padres eran campesinos pobres que no tenían los recursos económicos para mandarla a la escuela secundaria. A los 16 años se mudó a Seúl para vivir junto con su hermano mayor. Durante esta época trabajó en una fábrica de aparatos electrónicos mientras estudiaba en una escuela nocturna.3 En 1985 hizo su estreno literario con la novela corta Cuento de invierno, después de haberse graduado del Instituto de las Artes de Seúl. Kyung-sook Shin es, junto a Kim In-suk y Gong Ji-young, una de las escritoras más prominentes de la generación conocida como 386. 

     

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    Shin Kyoung-sook (oder auch Shin Kyong-suk), wuchs als vierte Tochter von sechs Geschwistern in Jeongup, Jeollado auf. Bis zum Abschluss der Mittelschule legte sie täglich 4 Kilometer Schulweg zu Fuß oder mit dem Fahrrad zurück. Die Eindrücke der Umgebung hatten eine nachhaltige Wirkung auf ihr späteres Schreiben. So ist Jeongeup nicht nur ihr Geburtsort, sondern auch ihre seelische Heimat, die den Nährboden für ihre literarische Welt bildet. Shin Kyoung-sook glaubt, dass sie nur in diesem Leben Romane schreiben wird. „Wenn mir noch ein weiteres Leben gegeben würde, würde ich keine Schriftstellerin.“ lautet ihr paradox anmutendes Liebesgeständnis zur Literatur. 

     

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    Shin Kyeong-sook naît en 1963 dans une région rurale de Corée du Sud. Elle se passionne pour la littérature et rêve d'en faire son métier. En 1978, sa mère l'accompagne à Séoul. La jeune fille vit chez l'un de ses frères et travaille dans une usine durant la journée. Le soir, elle poursuit ses études secondaires. Elle est admise à l'université et choisit l'écriture créative comme matière principale. Après avoir terminé ses études, elle effectue ses débuts de romancière tout en faisant des petits boulots. Depuis 1993, elle se consacre entièrement à l'écriture1. Elle a publié à un rythme très régulier une dizaine de romans et des recueils de nouvelles qui lui ont valu les prix littéraires les plus prestigieux. 

     

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    申京淑は全羅北道井邑市に五人兄弟の長女として生まれる。家は貧しく、兄弟も多かったため、申は高校進学を断念せざるを得なかった。職業訓練院で技術を身につけるため母方の従姉とともにソウルへ上京する。申京淑は女工として働きながら夜間学校である永登浦女子高校産業体特別学級に入学、勉強を続けた。永登浦女子高校を卒業後、ソウル芸術専門大学文芸創作科に入学、作家としての修練を積む。ソウル芸術専門大学を卒業して1年後の1985年、文芸中央主催の新人文学賞に『겨울우화 (冬の寓話)』が入選、文壇デビューをする。  申京淑の作品の人気は、その緻密な構成と観察力にある。作中人物の内的心理を深く探求する手法が独特の文体を生み出している。1990年代頃より文壇で活躍し出した女性作家達のリーダー的存在とも言える。

     

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    Син Ген Сук родилась в деревне, в которой даже не было электричества, в простой  крестьянской семье. В деревне она провела свое детство, а в возрасте 15 лет приехала в Сеул, где она начала свою городскую жизнь в маленькой комнате со старшим братом и двоюродной сестрой. Днем она работала на заводе в технопарке Гуро, а вечером ходила в специальную женскую промышленную школу. С одной стороны это было трудное время, но с другой стороны, именно тогда она была охвачена интересом к чтению поэзии и романов.

    В 1985 году в возрасте 22 лет она дебютировала с повестью “Осенний дождь (Кёуль ухва)”, но эта повесть не привлекла особого внимания. В 1993 году она выпустила сборник рассказов под названием “Там, где был орган (Пхунгыми иттон чари)”, который заинтересовал читателей, затем в 1994 году вышел ее роман “Глубокая печаль (Кипхын сыльпхым) (2 тома)”, в 1995 году - роман “Отдельная комната (Веттан бан)”. Благодаря своему творчеству Син Ген Сук стала типичным писателем, представляющим корейскую литературу 1990-х годов.

     

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  • Lee Jung-Myung

    Estamos en 1944 en la Penitenciaría japonesa de Fukuoka. En este siniestro lugar del que pocos salen con vida, el guardia Sugiyama, famoso por su crueldad bestial, ha sido asesinado. El joven soldado Watanabe es el responsable de la investigación; pero al poco de comenzar un comunista coreano confiesa el crimen. Sin embargo, Watanabe no cree su historia y decide continuar su propia investigación a pesar de las órdenes. En la reconstrucción de los últimos meses del guardia muerto descubre la extraña relación que se ha desarrollado entre la bestia Sugiyama y Yun Dong-ju, un poeta coreano joven condenado por sedición. Mientras la guerra continua y las bombas llueven sobre el Fukuoka, Watanabe hará todo lo posible para proteger a Yun Dong-ju, cuyos versos son tan puros que rompen los corazones más duros. Pero Watanabe no sabe que se enfrenta a una conspiración que va mucho más allá de los muros de la cárcel.

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    Lee Jung-myung is a writer of historical factions. His novels include The Painter of Wind, The Deep-rooted Tree, and The Investigator.

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  • Eun’s writing combines quotidian trivialities, a sometimes jesting style, sophistication and cynicism. One of her primary themes is the impossibility of real communication between people. Eun is also a feminist, although she often departs from any kind of theoretical approach in her exploration of the larger human condition and, in fact, is intensely suspicious of any ideological approaches to life.[3]

    Eun made her entrance to the Korean literary scene in 1995 with her short novel Duet. The next year won the Munhakdongne Fiction Award for her novel A Gift From a Bird[3] which portrayed the world of adults through the skeptical eyes of a twelve-year-old narrator.[4] Since her debut she has written 10 books, including six collections of short stories and four novels. Secrets and Lies, published in 2005, is the three-generation story of two interrelated families.[4]

    Eun’s Gift from a Bird is a coming of age novel that takes place between 1969 and 1995. Kang Jinhee, a woman in her mid-30s, reminisces about her life as a spirited twelve-year-old girl. In the beginning of the novel, she declares: “When I turned twelve, there was no need for me to grow.” In order to survive her troubled life, the young Jinhee learns to detach herself from her emotions. Asserting that people should observe themselves from a distance, she comes to possess a cynical and contemptuous personality, which becomes her defense mechanism.[5]

    Eun has won other awards including the 1997 Dongseo Literature Award, the 1998 Yi Sang Literary Award, the 2000 Korean Literature Award,[3] the Munhak Dongne Literature Award in 1996, the Korean Literature Award for Fiction in 2000, the Hanguk Ilbo Literature Award in 2002, and the 2007 Dong-in Literary Award for Beauty Snubs Me.[8] In 2012 her story "Discovery of Solitude" was chosen by LTI Korea as one of three short stories to be the subject of their LTI Essay competition.[9]

     

     

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    Eun Hee-kyung wurde 1959 geboren. Sie wuchs in einer wohlhabenden Familie in der Provinz auf und begegnete schon früh der Literatur in Form von Märchen, in deren Welt sie ganz und gar versinken konnte. Im Alter von 13 Jahren zog sie mit ihrer Familie nach Seoul. 1977 begann sie mit ihrem Studium der koreanischen Literatur. Den Vorsatz aus ihrer Kindheit, Schriftstellerin zu werden, gab sie nicht auf. In den 80er Jahren arbeitete sie als Gymnasiallehrerin, als Lektorin diverser Verlage oder als Verlagsberaterin. 1994 ließ sie sich beurlauben, nahm ein Notebook und zog sich zum Schreiben in ein buddhistisches Kloster zurück. Dort entstanden fünf kleine Erzählungen und den Kurzroman Das Duett, mit dem sie einen Literaturpreis gewann und schließlich als Schriftstellerin debütierte. Sie lebt mit ihrer Familie nahe Seoul.[2]

     

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    Le Cadeau De L’Oiseau est un roman initiatique qui se déroule entre 1969 et 1995. Kang Jin-hee, une trentenaire, se rappelle la la jeune fille fougueuse qu’elle était à douze ans. Dès les premières pages, elle écrit : « Quand j’ai eu douze ans, je n’avais plus besoin de grandir. » Pour survive à sa vie tourmentée, la jeune Jin-hee apprend à se détacher de ses émotions. Assurant qu’il est préférable de se s’observer soi-même de façon objective, elle se forge une une personnalité cynique et dédaigneuse qui lui sert de mécanisme de défense.

    Cynisme et mépris sont les deux traits caractéristiques de l’écriture d’Eun Hee-kyung. Sans tenir compte de leur situation présente, ses personnages voient le monde et se voient eux-mêmes avec froideur et sans pitié ; la médisance est leur seule protection. Pour l’auteur, toutes les idéologies sont suspectes et ouvertes au ridicule : famille, amour romantique, rationalité, pouvoir, prestige…

    Eun Hee-kyung sait aussi nous parler d’amour puisque ses personnages froids en apparence ne sont-ils pas les premiers à avoir besoin de relations?  Ses œuvres attirent par un savant mélange d’humour et de cynisme, parfois sophistiqué et parfois coupant. Même si Eun Hee-kyung se moque ouvertement des interactions de la vie de tous les jours et des manies conventionnelles, ses œuvres font preuve d’un profond désir d’authenticité.

     

     

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    Ын Хи Ген дебютировала в 1995 году с рассказом “Дуэт (Ичжунчжу)”, в том же году она получила литературную премию от “Мунхактоннэ” за роман “Подарок птицы (Сээ сонмуль)”, который привлек большое вниманиечитателей. С тех пор Ын Хи Ген считается писательницей, представляющей современную Корею.

    Принесший успех писательнице роман “Подарок птицы” представляет из себя воспоминания главной героини Кан Чжин Хи, которой уже больше 30 лет, о своем юношестве. В водной части Кан Чжин Хи дерзко говорит: “ После 12 лет мне нет надобности расти.” Для того, чтобы выжить в этом мире, Кан Чжин Хи делит свое “я” на “видимое я” и “наблюдающее я”. Она утверждает, что необходимо наблюдать себя с некоторого расстояния. Таким образом, характер Кан Чжин Хи приобретает оттенки цинизма и озлобления, что является своеобразной защитой от внешнего мира и секретом жизни.

     

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    La distancia de la que nos habla Eun Hee-kyung se produce, sobre todo, cuando una voz intercede entre el protagonista y el lector; o como diría en el prólogo arriba mencionado, cuando entre el protagonista (‘yo que ven’) y el lector aparece otra voz (la del ‘yo que mira’), la voz a través de la cual se guía el lector para conocer al otro yo, el ‘yo que ven’. El problema está en la mirada retorcida del ‘yo que mira’ al observar a su otro yo. No se identifica, ni mucho menos, más bien se burla de él, lo descalifica y lo ridiculiza, pero de esa mirada nace la distancia que caracterizan las novelas de la autora, sardónicas como contemplativas, conocidas como “novela de modos y costumbres”. El distanciamiento de Eun Hee-kyung no es sólo una técnica literaria, sino su propia forma de enfrentarse a la vida, algo estrechamente ligado a su visión del mundo y a sus valores. Quiere observarse con el desapego que da la distancia porque lo que ella desea es que el ‘yo que mira’ vigile y controle a su otro, ‘el yo que ven’, para que no se desboque ni se desmande, como una instancia moral y enjuiciadora, lo mismo que el Superyó de Freud o la mirada del ajeno interiorizada de Foucaul, vigile y controle a su otro, ‘el yo que ven’, a fin de que no se desboque ni se desmande. Sea como fuere, lo cierto es que el hecho de que exista un ‘yo que mira’ convierte el comportamiento del ‘yo que ven’ en una mera actuación.

     

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NEWS FROM ABROAD

  • Moon's poems contain global appeal

    Moon Chung-hee is one of Korea's well known and recognized poets. While there are many female poets in Korea, her lyrical poems have been challenging traditional vocabularies from a male-dominant Confucian society with her unique boldness and beauty. Her vocabularies are bravely bold as a middle-aged woman in Korean society. She maintains quality of poetry with erotic themes.

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  • Delhi Book Fair: About business and cultural ties

    The international publishers participating in the ongoing Delhi World Book Fair 2015 not only want to do good business, but also bridge cultural ties and introduce their literary landscape to the Indian audience. South Korean exhibitors too aren't selling books, but they would be donating these books to the Korean Cultural Centre in the capital to promote their literary stalwarts and help those Indian students who are learning the language. "There are many Indian students who are learning the South Korean language. So we want them to improve their writing and reading skills through these...

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  • Foreign participants at Book Fair look to boost cultural ties

    Overseas participants at the ongoing New Delhi World Book Fair are seeking to turn a new page beyond conventional agenda of strengthening business ties with India and striving to enhance cultural relations. Representatives of Singapore and South Korea, the 'Guest Country' and the 'Focus Country' respectively at the fair say they are certainly looking for copyright partners in India.  

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  • The Vegetarian by Han Kang review – an extraordinary story of family fallout

    Yeong-hye is, in her husband’s opening words, “completely unremarkable in every way”. She is a reasonably diligent homemaker, a reasonably attentive spouse, not deeply unhappy and driven by no great passions. Her husband, Mr Cheong, is a mediocre employee, not greatly ambitious, mildly unenthused by his life but not dramatically so. Time ticks by, and the two of them get on with living their ordinary lives; but their ordinariness, it turns out, is more fragile than they realise. Things begin to fracture the day Yeong-hye throws away all the meat from the freezer and announces that hencefort...

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  • Seoul Literary Society hosts novelist Ha Il-ji

    Literature-loving foreign diplomats had the opportunity to hobnob with a distinguished Korean author at a gathering in Seoul last week. The Seoul Literary Society hosted Ha Il-ji, a novelist renowned for breaking boundaries and setting trends in the literature scene. “I wanted to be a writer as a child and have walked the path of literature all my life,” said the 60-year-old author at the Swedish ambassador’s residence in Seoul on Tuesday. “As a yokelish boy from the countryside, I was shocked after reading Shakespeare’s ‘Hamlet.’ It had a combination of unconventional form and timeless uni...

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