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Journal of East Asian Libraries, No. 165, October 2017
Journal of East Asian Libraries Volume 2017 | Number 165 Article 1 10-2017 Journal of East Asian Libraries, No. 165, October 2017 Follow this and additional works at: https://scholarsarchive.byu.edu/jeal BYU ScholarsArchive Citation (2017) "Journal of East Asian Libraries, No. 165, October 2017," Journal of East Asian Libraries: Vol. 2017 : No. 165 , Article 1. Available at: https://scholarsarchive.byu.edu/jeal/vol2017/iss165/1 This Full Issue is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of East Asian Libraries by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Journal of East Asian Libraries Journal of the Council on East Asian Libraries No. 165, October 2017 CONTENTS From the President 3 Essay A Tribute to John Yung-Hsiang Lai 4 Eugene W. Wu Peer-Review Articles An Overview of Predatory Journal Publishing in Asia 8 Jingfeng Xia, Yue Li, and Ping Situ Current Situation and Challenges of Building a Japanese LGBTQ Ephemera Collection at Yale Haruko Nakamura, Yoshie Yanagihara, and Tetsuyuki Shida 19 Using Data Visualization to Examine Translated Korean Literature 36 Hyokyoung Yi and Kyung Eun (Alex) Hur Managing Changes in Collection Development 45 Xiaohong Chen Korean R me for the Library of Congress to Stop Promoting Mccune-Reischauer and Adopt the Revised Romanization Scheme? 57 Chris Dollŏmaniz’atiŏn: Is It Finally Ti Reports Building a “One- 85 Paul W. T. Poon hour Library Circle” in China’s Pearl River Delta Region with the Curator of the Po Leung Kuk Museum 87 Patrick Lo and Dickson Chiu Interview 1 Web- 93 ProjectCollecting Report: Social Media Data from the Sina Weibo Api 113 Archiving Chinese Social Media: Final Project Report New Appointments 136 Book Review 137 Yongyi Song, Editor-in-Chief：China and the Maoist Legacy: The 50th Anniversary of the Cultural Revolution文革五十年：毛泽东遗产和当代中国. -
The Korean Internet Freak Community and Its Cultural Politics, 2002–2011
The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 by Sunyoung Yang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Anthropology University of Toronto © Copyright by Sunyoung Yang Year of 2015 The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 Sunyoung Yang Doctor of Philosophy Department of Anthropology University of Toronto 2015 Abstract In this dissertation I will shed light on the interwoven process between Internet development and neoliberalization in South Korea, and I will also examine the formation of new subjectivities of Internet users who are also becoming neoliberal subjects. In particular, I examine the culture of the South Korean Internet freak community of DCinside.com and the phenomenon I have dubbed “loser aesthetics.” Throughout the dissertation, I elaborate on the meaning-making process of self-reflexive mockery including the labels “Internet freak” and “surplus (human)” and gender politics based on sexuality focusing on gender ambiguous characters, called Nunhwa, as a means of collective identity-making, and I explore the exploitation of unpaid immaterial labor through a collective project making a review book of a TV drama Painter of the Wind. The youth of South Korea emerge as the backbone of these creative endeavors as they try to find their place in a precarious labor market that has changed so rapidly since the 1990s that only the very best succeed, leaving a large group of disenfranchised and disillusioned youth. I go on to explore the impact of late industrialization and the Asian financial crisis, and the nationalistic desire not be left behind in the age of informatization, but to be ahead of the curve. -
Japanese Colonial Archaeology in the Korean Peninsula (1905-1945) Hyungiipai
East Asian History NUMBER 7 . JUNE 1994 THE CONTINUATION OF Papers on Far Eastern History Institute of Advanced Studies Australian National University Editor Geremie Barme Assistant Editor Helen Lo Editorial Board John Clark Mark Elvin (Convenor) Helen Hardacre John Fincher Andrew Fraser Colin Jeffcott W.J .F. Jenner Lo Hui-min Gavan McCormack David Marr Tessa Morris-Suzuki Michael Underdown Business Manager Marion Weeks Production Helen Lo Design Maureen MacKenzie, Em Squared Typographic Design Printed by Goanna Print, Fyshwick, ACT This is the seventh issue of East Asian Historyin the series previously entitled Papers on Far EasternHistory. The journal is published twice a year. Contributions to The Editor, East Asian History Division of Pacific & Asian History, Research School of Pacific & Asian Studies Australian National University, Canberra ACT 0200, Australia Phone +61 6 249 3140 Fax +61 6 249 5525 Subscription Enquiries Subscription Manager, East Asian History, at the above address Annual Subscription Australia A$45 Overseas US$45 (for two issues) iii CONTENTS 1 Creating the Frontier: Border, Identity and History in Japan's Far North TessaMorris-Suzuki 25 The Search for Korea's Past: Japanese Colonial Archaeology in the Korean Peninsula (1905-1945) HyungIIPai 49 Korean Echoes in the No Play Fum Royall Tyler 67 Emperors and Musume: China and Japan 'on the Boards' in Australia, 1850s-1920s Darryl Collins 93 Lu Xun, Leon Trotsky, and the Chinese Trotskyists GregorBenton 105 Unwitting Partners: Relations between Taiwan and Britain, -
Film Censorship As a Good Business in Colonial Korea: Profiteering Rf Om Hollywood's First Golden Age, 1926-36
University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities June 2006 Film Censorship as a Good Business in Colonial Korea: Profiteering rF om Hollywood's First Golden Age, 1926-36 Brian M. Yecies University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Yecies, Brian M., Film Censorship as a Good Business in Colonial Korea: Profiteering rF om Hollywood's First Golden Age, 1926-36 2006. https://ro.uow.edu.au/artspapers/103 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Film Censorship as a Good Business in Colonial Korea: Profiteering From Hollywood's First Golden Age, 1926–1936” Brian Yecies, University of Wollongong, Australia Abstract Between 1926 and 1936, cinema in colonial Korea was a vibrant business, involving the production of domestic films and the distribution and exhibition of American, British, Chinese, French, German, Italian, and Russian films. During this decade, the first golden age of American cinema in Korea, Hollywood films overwhelmingly dominated the Korean market. Korea was an important territory that Hollywood used in its overall global expansion campaign. Amid this globalization operation, the Government-General of Chōsen’s film censorship apparatus was a financially self-sustaining operation. It paid for its operation by profiteering from the application of more than 6,700 American and 630 other countries’ feature and non-feature films, a vast majority of which were approved with minor, if any, censorship changes. -
Self-Portraiture in Colonial Korea, 1915-1932
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Summer 2011 Visual Articulation of Modernism: Self-portraiture in Colonial Korea, 1915-1932 Julie Chun San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Chun, Julie, "Visual Articulation of Modernism: Self-portraiture in Colonial Korea, 1915-1932" (2011). Master's Theses. 4041. DOI: https://doi.org/10.31979/etd.zspm-t4ya https://scholarworks.sjsu.edu/etd_theses/4041 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. VISUAL ARTICULATION OF MODERNISM: SELF-PORTRAITURE IN COLONIAL KOREA, 1915-1932 A Thesis Presented to The Faculty of the Department of Art History San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Julie Chun August 2011 © 2011 Julie Chun ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled VISUAL ARTICULATION OF MODERNISM: SELF-PORTRAITURE IN COLONIAL KOREA, 1915-1932 by Julie Chun APPROVED FOR THE DEPARTMENT OF ART HISTORY SAN JOSÉ STATE UNIVERSITY August 2011 Dr. Beverly Grindstaff Department of Art History Dr. Anne Simonson Department of Art History Dr. Kristy Phillips Department of Art History ABSTRACT VISUAL ARTICULATION OF MODERNISM: SELF-PORTRAITURE IN COLONIAL KOREA, 1915-1932 by Julie Chun From about 1914, Korean artists began painting on canvas using the Western medium of oil. -
Rules of the House : Family Law and Domestic Disputes in Colonial Korea / Sungyun Lim
LIM | RULES OF THE HOUSE RULES OF THE HOUSE Family Law and Domestic Disputes in Colonial Korea SUNGYUN LIM Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Rules of the House GLOBAL KOREA Series Editor: John Lie, University of California, Berkeley Editorial Board: Eun-Su Cho, Seoul National University Hyaeweol Choi, Australian National University Theodore Hughes, Columbia University Eun-jeung Lee, Free University of Berlin Laura Nelson, University of California, Berkeley Andre Schmid, University of Toronto Jun Yoo, Yonsei University 1. Jinsoo An, Parameters of Disavowal: Colonial Representation in South Korean Cinema 2. Sungyun Lim, Rules of the House: Family Law and Domestic Disputes in Colonial Korea Rules of the House Family Law and Domestic Disputes in Colonial Korea Sungyun Lim UNIVERSITY OF CALIFORNIA PRESS The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Philip E. Lilienthal Imprint in Asian Studies, established by a major gift from Sally Lilienthal. The publisher and the University of California Press Foundation also gratefully acknowledge the generous support of the Association for Asian Studies in making this book possible. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. -
Formation of Korean Artistic Identity During the Early Years of Japanese Colonialism1
Formation of Korean Artistic Identity during the Early Years of Japanese Colonialism1 Julie CHUN Abstract The process of Western-style oil painting in Korea, although introduced by the Europeans in the late nineteenth century, was accelerated by Japanese colonialism (1910 - 1945). To be inculcated in the modern techniques of representation, young Korean artists sought training in Japan at Tokyo Bijutsu Gakkô (Tokyo School of Fine Arts). In spite of politicized tensions, the first group of Korean graduates, namely Ko Hui-dong, Kim Gwan-ho and Kim Chan-young, were able to successfully mediate and negotiate Western artistic concepts from Japan to Korea thereby signifying the forma• tion of Korean Modern painting. This paper seeks to substantiate that Korean adap• tion of European oil painting was not a mere mimetic process from Japan but rather a complex appropriation involving the construction of Korean artistic identity within the pluralistic framework of colonialism, nationalism and modernity2. Constraints of Aesthetic Tradition Modern art began in Korea after 1910 when indigenous artists began executing paintings in the Western medium of oil. This change marked a deliberate departure from seven hundred years of traditional ink painting on paper and silk5. Although European and American artists had introduced the long-favored medium and with it the Western techniques of representation to Korea at the end of nineteenth cen• tury, formal transfer of formats had failed to take place4. Excepting for the dominant heritage of ink painting, the obvious reasons for this "failure" were lack of materials, language barrier and limited duration of stay by foreign artists which constrained artistic transformations. -
Museums and Cultural Heritage
City Research Online City, University of London Institutional Repository Citation: Kim, J (2018). Museums and cultural heritage: to examine the loss of cultural heritage during colonial and military occupations with special reference to the Japanese occupation of Korea, and the possibilities for return and restitution. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/20813/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Museums and Cultural Heritage: To Examine the Loss of Cultural Heritage During Colonial and Military Occupations with Special Reference to the Japanese Occupation of Korea, and the Possibilities for Return and Restitution Jongsok Kim This thesis is submitted to City, University of London as part of the requirements for the award of Ph.D. in Culture, Policy and Management School of Arts and Social Sciences September 2018 1 2 Table of Contents Acknowledgements……………………………………………………………..…….7 Declaration…………………………………………………………………………....8 Abstract…………………………………………………………………………….....9 Abbreviations…………………………………………..……………………………10 Introduction……………………………………….……………………………..….11 Chapter 1. -
Negotiating Colonial Korean Cinema in the Japanese Empire: from the Silent Era to the Talkies, 1923–1939
Negotiating Colonial Korean Cinema in the Japanese Empire: From the Silent Era to the Talkies, 1923–1939 Chonghwa Chung, Korean Film Institute of the Korean Film Archive (KOFA) Translated by Sue Kim Abstract This article examines what I call a “system of cooperation” (K. hyŏp’ŏp, J. kyōgyō, 協業) in the colonial Korean film industry from 1923, when silent films appeared, to the late 1930s, when colonial cinema was restructured within an imperial wartime system. In other words, this article examines the interworking of colonial Korean and imperial Japanese cinema from Yun Hae-dong’s “colonial modern” perspective in order to go beyond the long established lens on colonial Korean film and film historiography that merely focused on the contributions of colonial Korean filmmakers. Here the author rather focuses on the cooperation or collaboration between Japan and Korea: Japanese directors and cinematographers working in Korea, Korean filmmakers with experience in the Japanese apprenticeship system, and filmmakers working together and independently during the silent film era. During the transition from the silent to the early talkie eras, second-generation filmmakers, especially those who trained in film studios in Japan, were significant. They dreamed of the corporatization of the colonial Korean film industry and took the lead in coproductions between Japanese film companies and their colonial Korean counterparts. Korean filmmakers were not unilaterally suppressed by imperial Japan, nor did they independently operate within the Korean film industry during the colonial period. The Japanese in colonial Korea did not take the lead in forming the colonial Korean film scene, either. The core formation of colonial Korean / Korean film was a process of Korean and Japanese filmmakers in competition and negotiation with one another within a complex film sphere launched with Japanese capital and technology. -
Yi Seong-Gye and the Fate of the Goryeo Buddhist System
124 KOREA JOURNAL / SUMMER 2013 Yi Seong-gye and the Fate of the Goryeo Buddhist System Sem VERMEERSCH Abstract The story of how Neo-Confucian ideologues swept away Buddhism from the corri- dors of power after the establishment of the Joseon dynasty in 1392 is well known. Yet this dominant framework of interpretation has such an air of inevitability that it obscures many of the continuities that can be seen in the new dynasty’s attitudes to Buddhism. In his pronouncements on Buddhism and his deployment of Buddhist rit- ual, Yi Seong-gye, founder of the Joseon dynasty, displays some remarkable similari- ties with the founder of Goryeo, Wang Geon. Therefore, this article aims to reconsid- er Yi’s personal and official relation to Buddhism in order to explain the persistence of Buddhism in Joseon public life. Assuming that Yi’s attitudes were shaped by the Goryeo Buddhist worldview, his deployment of Buddhist rituals and monks, and his reference to Buddhist norms, can be seen essentially as a continuation of the Goryeo system. But Yi’s adherence to the Goryeo system was not only because of the sheer force of habit; when he realized that the Goryeo tradition of state-sponsored Bud- dhism could not be maintained, he tried to salvage as much as possible by identifying the body of the founding ruler with the religion. Although this intention was not fully recognized by later generations, it made it impossible to completely eradicate Bud- dhism in Joseon. Keywords: Yi Seong-gye, state and religion, early Joseon, Goryeo, Buddhism Sem VERMEERSCH is an associate professor at the Department of Religious Studies, Seoul National University. -
Transmission of Bai Juyi's Poems in China
Bai Juyi’s Poetry as a Common Culture in Pre-modern East Asia by Lin, Che-Wen, Cindy A thesis submitted in confirmation with the requirement for the degree of Master of Arts Graduate Department of East Asian Studies University of Toronto @ Copyright by Lin, Che-Wen, Cindy, 2012 Bai Juyi’s Poetry as a Common Culture in Pre-modern East Asia Lin, Che-Wen, Cindy Master of Arts Graduate Department of East Asian Studies University of Toronto 2012 Abstract This paper applies a hermeneutic approach to analyze, and a comparative approach to examine, Bai Juyi’s poems referenced in Tale of Genji by Murasaki Shikibu, Pillow Book by Sei Shōnagon, Tongguk Yi Sang-guk Chip by Yi Kyu-bo and Kyewŏn Pilgyŏngjip by Ch’oe Ch’i- wŏn. Through exploring Bai’s poetry in these texts, the author discovers how Murasaki, Sei, Ch’oe, and Yi contributed to transculturuation in Korea and Japan. Furthermore, the transculturation demonstrated by these literati shows a diversity of patterns: cultural mobilization from west to east; the emergence of overlapping histories in different eras and locations; a disappeared culture, recovered through being transmitted to other regions; cultural transplantation or transformation resulting from cultural contacts; and cultural products helped to stimulate economic growth. Subsequently, Bai Juyi’s works stand as a testament to the power of great poetry to improve and enhance cultures across a broad span of time and space. ii Table of Contents Abstract ................................................................................................................................................. -
The City and Geographies of Identity in Cheju Island, South Korea A
UNIVERSITY OF CALIFORNIA Los Angeles Axis Mundi: The City and Geographies of Identity in Cheju Island, South Korea A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Tommy Tran 2017 © Copyright by Tommy Tran 2017 ABSTRACT OF THE DISSERTATION Axis Mundi: The City and Geographies of Identity in Cheju Island, South Korea by Tommy Tran PhD Candidate in Asian Languages and Cultures University of California, Los Angeles, 2017 Professor Timothy R. Tangherlini, Chair This dissertation explores an emerging tourist destination’s transition from a former rural periphery into one of Korea’s fastest growing urban centers. In less than half a century, Cheju City, the capital of Cheju Island, grew from a sleepy provincial seat into a bustling tourist city with metropolitan ambitions. A central concern is how do residents of an emerging city become “urban”? Cheju Island has long been a curiosity in Korea due to its real and exoticized cultural differences from the mainland, but its present urban reality is often under-addressed. The findings in this dissertation examine how the “Free International City” project begun since 2002 fundamentally altered ways of life and thinking and provoked complete reinventions of tradition and a rural Cheju imaginary. The new spaces of the city offered unprecedented means to organize resources and ideas. Cheju islanders developed their own urbanisms with local idioms that synthesize imported ideas to a Cheju-specific situation that also differs – and, at times, ii rejects – mainland Korean urbanisms. A further paradox of unprecedented contact with and interdependency on mainland Korea is that mainland-island divides have persisted rather than diminished.