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/lp/university-of-hawai-i-press/2018-k-wi-ch-nsa-ch-nsa-ch-nsa-ch-nsa-EcuN9SNoHs
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- Publisher
- University of Hawai'I Press
- ISSN
- 1939-6120
- eISSN
- 1944-6500
- DOI
- 10.1353/aza.2022.0010
- Publisher site
- See Article on Publisher Site
Abstract
2018 K’w iŏ Chŏnsa–Chŏnsa ( ) 前史 · C h ŏ n s a ( ) · C h ŏ n s a ( ) 戰史 戰士 By Kim Keonhyung Translated by Seth Chandler 1. Emotional Theater of Tragic Self-Sacric fi e ust as feminism has led Korean literature to encounters with new J readers and a new aesthetic sense, queer narrative is currently creating new directions as well. Having popped up sporadically throughout literary history, queer narratives have recently undergone an explosive expansion. As a result, a reading of Korean literature’s queerness and queer representation itself is now urgent. The first direct representations referencing queerness by name in the Korean literary world are Che Ho-ki’s “Kei (Gay)” and “Sŭlp’ŭn Kei (Sad Gay)” (Munhak gwa Sahoe, Winter 1992). However, the speaker of these poems understands the word gay to mean transgender, as can be seen in the statement “My body / Isn’t right for me” (“Gay”). This ignorance of the categories 1. This article is a summary of Kim Keonhyung, “2018 K’wiŏ Chŏnsa–Chŏnsa ( )·Chŏnsa ( )Chŏnsa ( )” (Munhak Tongne, Summer 2018). 前史 戰史 戰士 2. Translations of texts quoted in this article are the translator’s unless otherwise
Journal
Azalea: Journal of Korean Literature & Culture – University of Hawai'I Press
Published: Jul 14, 2022