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Korean Literature and Performance?: Sijo!

Korean Literature and Performance?: Sijo! David R. McCann Another Perspective from the television drama series Winter Sonata and its descendents, through Korean musical and music groups starting with the 1990s hip-hop group Seo Tae Ji and Boys to the widely reported 2006 Madison Square Garden concert by the singer Rain. Among many features of the Wave, one less visible aspect has been its cultural transparency: in China and Japan, Korean cultural creations are perceptibly Korean, but in a somewhat abstract way. For Korean songs, Japanese- or Chinese-language lyrics may be substituted. For Korean television productions, the plots turn on what are viewed as traditional Confucian values, part of a shared Asian cultural heritage it seems, according to the audiences that have been studied. A slightly different way to put this point is that the performance, as much as the given particulars of its contents, seems to attract an international audience. If a performance dimension seems a relevant criterion by which to assess the globalizational adaptivity of Korean cultural productions, is there any comparable performance dimension to literature, and to poetry in particular? The question is not simply an academic one. Many Korean literary critics, as well as readers and authors, wonder why Korean http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Azalea: Journal of Korean Literature & Culture University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 President and Fellows of Harvard College
ISSN
1944-6500
Publisher site
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Abstract

David R. McCann Another Perspective from the television drama series Winter Sonata and its descendents, through Korean musical and music groups starting with the 1990s hip-hop group Seo Tae Ji and Boys to the widely reported 2006 Madison Square Garden concert by the singer Rain. Among many features of the Wave, one less visible aspect has been its cultural transparency: in China and Japan, Korean cultural creations are perceptibly Korean, but in a somewhat abstract way. For Korean songs, Japanese- or Chinese-language lyrics may be substituted. For Korean television productions, the plots turn on what are viewed as traditional Confucian values, part of a shared Asian cultural heritage it seems, according to the audiences that have been studied. A slightly different way to put this point is that the performance, as much as the given particulars of its contents, seems to attract an international audience. If a performance dimension seems a relevant criterion by which to assess the globalizational adaptivity of Korean cultural productions, is there any comparable performance dimension to literature, and to poetry in particular? The question is not simply an academic one. Many Korean literary critics, as well as readers and authors, wonder why Korean

Journal

Azalea: Journal of Korean Literature & CultureUniversity of Hawai'I Press

Published: Jan 28, 2008

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