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

  • Zu jenen Dichtern, deren eigene literarische Welt schwer in ein festes Schema einzuordnen ist, gehört sicherlich ganz besonders die Dichterin Moon Chung-Hee. Sehr deutlich wird dies in dem erst kürzlich im Jahr 2010 erschienenen „Dasans Mädchen“ offenbar. Ihre Gedichte besitzen immer noch eine von formalen Grenzen freie Flexibilität. Wenn eine über vierzig Jahre lang tätige Dichterin noch immer eine so frische und lebendige Sprache benutzt, so macht sie das zu einer Dichterin, deren Sprache und sprachliche Bilder noch bemerkenswerte sind als die in ihrem Werk verarbeiteten Themen. Wie Gaston Bachelard es einmal formuliert hat, ist ein Dichter bzw. eine Dichterin besonders dann sehr gefährlich, wenn er oder sie über die „furchtbare“ Waffe der „Bilderbombe“ ist, so ist verfügt. Aus diesem Grund stellt Moon Chung-Hee einen seltenen und wertvollen Fall innerhalb der Gemeinschaft der koreanischen Dichter dar, welche lange Zeit sehr dem Primat der Geschichte und der gesellschaftlichen Bedeutung literarischen Schaffens verhaftet gewesen ist, da sie eine talentvolle und zugleich luftig-leichte Vorstellungskraft besitzt.

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    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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  • Chung Ho Sung

    Chung's themes include societal schisms, poverty and alienation, but his work presents these themes with lyrical grace and innocence that removes any trace of hectoring. Jeong intentionally focuses on suffering in the hope that in despair some hope can be found and that this can become the basis for a more successful future.[4] The poet also depicts the resentment and enmity that stirs in the hearts of farmers and workers whose very roots have been taken from them in a sterile South Korean society, and their attempts to resist and overcome these conditions. He spoke for the masses and took as his poetic duty, praising people for their willful and courageous attitude toward life and helping them believe in their future. Chung's style is familiar, as in folk songs or popular ballads, which critics attribute to three things. First, they have the rhythm of songs. Second, his vocabulary is chosen for its emotive nature. Finally, he takes the quotidian live of Koreans and makes them into dramatic stories. 

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  • 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)[3] and The Great Chef (1999, 북경반점).[4] 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.[5] My Uncle, Bruce Lee is a chronicle of an uncle as seen through his nephew’s eyes.

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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.[4] 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,[5] 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."[2] 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. 

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    Han Kang, deren Name eine Anspielung auf den durch Seoul fließenden Han-Fluss ist, ist die Tochter des Schriftstellers Han Seung-won und wurde 1970 in Gwangju geboren, wuchs jedoch ab ihrem elften Lebensjahr in Seoul auf. 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. Außerdem arbeitete sie als Journalistin für die Zeitschriften „Wasser der tiefen

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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. 

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  • Ji-Young Gong

    Gong began to write full-time in 1988. Her works have focused on issues surrounding laborers, the underprivileged and those who suffer discrimination.[5] She has also written extensively about the lives of young educated women attempting to forge lives for themselves both within and without the family. Gong is a feminist writer. In many of her works, the subject of women’s struggle and that of labor movement conflate in characters that must face the twin task of building a new identity for themselves after the labor movement and finding a place for themselves in a male-dominated society. As the chaos and the repression of 1980’s gave way to the relative calm and prosperity of the 1990s, the students who had sacrificed much to bring about the necessary social changes find themselves in a world that no longer seems to require their revolutionary fervor and sacrifice. They have no choice but to lead ordinary lives without the sense of direction that was once an integral part of their identity. For women, the process of integrating back into the capitalistic society as ordinary citizens entails not only embracing materialistic goals they once disdained but also subjugating themselves to patriarchal order. Resultant anger and confusion constitute the core of Gong’s works. 

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    Gong Ji-young wurde 1963 in Seoul geboren und absolvierte ein Anglistikstudium. Mit der Veröffentlichung ihrer Erzählung In der Morgendämmerung in der Herbstausgabe der Zeitschrift „Ch'angjak-kwa pip'yŏng“ begann 1988 ihre schriftstellerische Tätigkeit. Sie gewann im selben Jahr den „Literaturpreis des 21. Jahrhunderts“ sowie den „Koreanischen Literaturpreis“. Sei es in ihren ersten Romanen, in denen hauptsächlich die von den Mitstreitern ihrer Generation gesammelten Erfahrungen verbildlicht worden sind, oder sei es in ihren späteren Werken, in denen sie die Aufmerksamkeit mehr und mehr auf die erwachende Schönheit der Gesten verletzter Seelen, die ihr Leid teilen, lenkt - immer ist Gong Ji-youngs anfängliche Haltung präsent. Sie strebt ein Leben an, in dem sie sich ihrer schriftstellerischen Tätigkeit nicht zu schämen braucht. 

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NEWS FROM ABROAD

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    Avez-vous lu les nouvelles de Kim Ae-ran, Baek Ka-hum, Ahn Yeong-sil, Jo Kyung-ran, Park Chan-soon, Kim Yeon-su, Choi Jin Young, Han Kang, Yoon Sung-hee, Pyun Hye-young ? Toutes écrites par des femmes (sauf une) de la Corée du Sud, appartenant (pour les neuf dixièmes) à la génération née après 1970 et cultivant un genre très apprécié en Corée, issu d’une longue tradition de la littérature féminine. 

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  • Prix de l’Inaperçu Etranger 2014 pour Ma vie dans la supérette de KIM Ae-ran

    KIM Ae-ran, lauréate du Prix de l’Inaperçu Etranger 2014 pour son recueil de nouvelles Ma vie dans la supérette. KIM Ae-ran, Ma Vie dans la supérette, traduit du coréen par KIM Hye-gyeong et Jean-Claude de Crescenzo, éditions Decrescenzo   Des quatre fictions qui composent ce recueil, également partagés entre flânerie, mélancolie, vertige et détails, difficile d’en choisir une. Le talent de la jeune auteure coréenne, née en 1980, est évident, tout en sobriété et en belles références. Si le décor est coréen, l’art est un heureux mélange de littératures orientales et occidentales :...

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  • Ko Un. Salerno ascolta la voce del poeta coreano.

    È grazie all’impegno di Casa della Poesia che abbiamo potuto ascoltare a Salerno la voce di Ko Un, il poeta, scrittore e saggista coreano più volte candidato al Nobel per la Letteratura. Ascoltare la sua voce e intenderne l’animo. Come dice in una sua poesia: “un poeta nasce negli spazi tra crimini, / furti, uccisioni, frodi, violenze, / nelle zone più oscure di questo mondo”. 

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  • Korėjietis Yi Munyol parašė knygą „Lietuvaitė“

    Leidykla „Mintis“ išleido korėjiečių Ji Munjol (Yi Munyol) knygą „Lietuvaitė“. Šiame romane rašoma apie miuziklų kūrėją – muzikos redaktorę, kurios tėvas yra korėjietis, o mama – lietuvė. Romane atsiskleidžia maištinga meniška siela, XXI a. herojės tapatybės ir meilės paieškos, melancholiškas būdas ir klajoklė dvasia, skatinanti įveikti kraujo ryšius bei prisirišimą prie gimtinės ir nesiliauti sekti savąjį pašaukimą. Miuziklų muzikinės dalies redaktorė Kim Hėrion yra korėjietė, amerikietė ir lietuvė tuo pat metu. Egzotiškų europietiškų veido bruožų, nuostabių muzikinių gabumų charizmatiš...

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  • An Education: ‘I’ll Be Right There,’ by Kyung-sook Shin

    Translated books make up only about 3 percent of titles published in America, so I’m ecstatic to see the Korean writer Kyung-sook Shin’s rising popularity. Her previously translated novel, “Please Look After Mom,” hit the New York Times best-seller list and is now available in more than 20 countries. Korean literature, in general, seems to be getting some long overdue recognition. Of note, Dalkey Archive Press has been collaborating with the Literature Translation Institute of Korea to release 25 novels and story collections. This excites me, not just as a Korean-born American, but also ...

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