LTEA 142 Lecture Notes - Lecture 8: Kitsch, Free Verse, Orality

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22 May 2018
Lecture 8, 04.18.2018
‘eords hae ee aailale sie the earl 9s ut are fe ad usuall ourt usi
I the late 9s, popular usi eoes tred
Victor Records (JVC) and Columbia Japan open offices in Korea in 1927 and 1928 respectively
Japanese people liked minyo
Oralit appears as a a to sole poetrs readership prole ad poets fiaial proles
readings/recitals and popular music records
Popular media, does not need literacy
Pushes poets away from free verse as fixed verse is easier to sing to a musical theme
Hallu efore Hallu: The Korea Boo i iperial Japa
The Korea oo refers to a surge of iterest i all thigs Korea aog the Japaese puli
in the last years of the Japanese Empire (late 1920s - early 1940s)
Cooitat ith a Mahuria oo
Tied to the Empires policies of colonial expansion, assimilation and hierarchization
But also to the epasio of ass ulture & the Japaese pulis taste for oloial kitsh ad
eoti thigs fro the oloies
Koreans willingly participate for various reasons: making Korea better known to Japan and the
world, gaining visibility on the Japanese and international artistic scene
Showcase Korea to the Japanese
For korean writers and artists: opportunity to gain visibility in Japan, expand social network in
Japanese publishing world, foster understanding of Korea
Often in collaboration with Koreans living in Japan
But does not always work out as planned
Growing tourism industry
Imperial developmentalism and railway colonialism
Complicates our understanding of the colonial experience:
Were korea artists ho agreed to represet Korea ad proote Korea ulture to the
Japanese public resisting or collaborating?
Did the Korea oo trul gie a oie to Koreas or erel cement existing
stereotypes of Korea?
Were Japaese artists, athropologists, historias s isio of Korea a for of
Orientalism or a valuable production of knowledgE?
Did poliies aiig at fosterig Korea idetit support or suert the Epires
assimilationist policies?
How to assess the persistence of similar policies in post-1945 North and South Korea?
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Document Summary

I(cid:374) the late (cid:1005)9(cid:1006)(cid:1004)(cid:859)s, (cid:858)popular (cid:373)usi(cid:272)(cid:859) (cid:271)e(cid:272)o(cid:373)es tre(cid:374)d(cid:455) E(cid:272)ords ha(cid:448)e (cid:271)ee(cid:374) a(cid:448)aila(cid:271)le si(cid:374)(cid:272)e the earl(cid:455) (cid:1005)9(cid:1004)(cid:1004)(cid:859)s (cid:271)ut are fe(cid:449) a(cid:374)d usuall(cid:455) (cid:272)ourt (cid:373)usi(cid:272) Victor records (jvc) and columbia japan open offices in korea in 1927 and 1928 respectively. Oralit(cid:455) appears as a (cid:449)a(cid:455) to sol(cid:448)e poetr(cid:455)(cid:859)s readership pro(cid:271)le(cid:373) (cid:894)a(cid:374)d poet(cid:859)s fi(cid:374)a(cid:374)(cid:272)ial pro(cid:271)le(cid:373)s(cid:895) Japanese people liked minyo readings/recitals and popular music records. Pushes poets away from free verse as fixed verse is easier to sing to a musical theme. Hall(cid:455)u (cid:271)efore hall(cid:455)u: the (cid:862)korea(cid:374) boo(cid:373)(cid:863) i(cid:374) i(cid:373)perial japa(cid:374) The (cid:862)korea(cid:374) (cid:271)oo(cid:373)(cid:863) refers to a surge of i(cid:374)terest i(cid:374) all thi(cid:374)gs korea(cid:374) a(cid:373)o(cid:374)g the japa(cid:374)ese pu(cid:271)li(cid:272) in the last years of the japanese empire (late 1920s - early 1940s) Tied to the empires policies of colonial expansion, assimilation and hierarchization. But also to the e(cid:454)pa(cid:374)sio(cid:374) of (cid:373)ass (cid:272)ulture & the japa(cid:374)ese pu(cid:271)li(cid:272)(cid:859)s taste for (cid:858)(cid:272)olo(cid:374)ial kits(cid:272)h(cid:859) a(cid:374)d (cid:858)e(cid:454)oti(cid:272)(cid:859) thi(cid:374)gs fro(cid:373) the (cid:272)olo(cid:374)ies.

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