Scholarlink

In this chapter I explore how Kim Myŏng-sun (1896–ca. 1954), Na Hye-sŏk (1896–1946), and Kim Wŏn-ju (1896–1971), the three most representative women writers of 1920s Korea, engaged with modern ideas of new womanhood. Looking at several of their key texts, I will show the modernist gestures and new feminist ideas that have often been overlooked in their writings and translations. I begin by analysing Kim Wŏn-ju’s and Kim Myŏng-sun’s contributions to the special essay series titled “A Man Becoming a Woman, a Woman Becoming a Man” in the newspaper Tonga ilbo (East Asia Daily) in January 1922. I move on to the texts by Na Hye-sŏk and Kim Wŏn-ju that accompanied a Korean translation of Henrik Ibsen’s A Doll’s House (1879) around mid-1922, texts that reveal their enthusiasm for the play’s rebellious New Woman protagonist, Nora. Finally, I examine the feminist possibilities of modernism echoed in Kim Myŏng-sun’s translations of works by Western and modernist writers, which were published in October and November 1922. In the choices they made in their lives and their literary works, these three writers became Korean versions of Nora.

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Nora’s Sisters: Korean Women Writers of 1922

  • 章节

  • 发表日期：

    2025年

查看全文
  • Jung Ja Choi

摘要

In this chapter I explore how Kim Myŏng-sun (1896–ca. 1954), Na Hye-sŏk (1896–1946), and Kim Wŏn-ju (1896–1971), the three most representative women writers of 1920s Korea, engaged with modern ideas of new womanhood. Looking at several of their key texts, I will show the modernist gestures and new feminist ideas that have often been overlooked in their writings and translations. I begin by analysing Kim Wŏn-ju’s and Kim Myŏng-sun’s contributions to the special essay series titled “A Man Becoming a Woman, a Woman Becoming a Man” in the newspaper Tonga ilbo (East Asia Daily) in January 1922. I move on to the texts by Na Hye-sŏk and Kim Wŏn-ju that accompanied a Korean translation of Henrik Ibsen’s A Doll’s House (1879) around mid-1922, texts that reveal their enthusiasm for the play’s rebellious New Woman protagonist, Nora. Finally, I examine the feminist possibilities of modernism echoed in Kim Myŏng-sun’s translations of works by Western and modernist writers, which were published in October and November 1922. In the choices they made in their lives and their literary works, these three writers became Korean versions of Nora.