Dafna Zur
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781503601680
- eISBN:
- 9781503603110
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9781503601680.001.0001
- Subject:
- Literature, World Literature
This book is the story of the emergence and development of writing for children in modern Korea. In the 1920s, a narrator-adult voice began to speak for the first time directly to a child-reader ...
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This book is the story of the emergence and development of writing for children in modern Korea. In the 1920s, a narrator-adult voice began to speak for the first time directly to a child-reader whose mind was deemed knowable and moldable. Writers and educators saw the qualities of this unique child audience manifest in a new concept called the child-heart, or tongsim. This book examines children’s literature at the moment the child emerged as a powerful metaphor of Korea’s future, through the colonization of Korea, and up until the ideological entrenchment that intensified in the post-liberation period. By reading children’s periodicals against the political, educational, and psychological discourses of their time, this book argues that the child-heart concept was particularly productive for the project of modernity and nation-building, as well as for the colonial and postcolonial projects of socialization and nationalization, because it posited the child in a symbiotic relationship with the natural world that allowed for explorations of the meaning of culture and nature at a time when culture and nature were deeply contested. This book reveals a trajectory of Korean children’s prose and poetry that begins with depictions of the child as an organic part of nature and ends with the child as the agent of the control of nature. Ultimately, the book reveals the complex ways the figure of the child became a driving force of nostalgia that stood in for future aspirations for the individual, family, class, and nation.Less
This book is the story of the emergence and development of writing for children in modern Korea. In the 1920s, a narrator-adult voice began to speak for the first time directly to a child-reader whose mind was deemed knowable and moldable. Writers and educators saw the qualities of this unique child audience manifest in a new concept called the child-heart, or tongsim. This book examines children’s literature at the moment the child emerged as a powerful metaphor of Korea’s future, through the colonization of Korea, and up until the ideological entrenchment that intensified in the post-liberation period. By reading children’s periodicals against the political, educational, and psychological discourses of their time, this book argues that the child-heart concept was particularly productive for the project of modernity and nation-building, as well as for the colonial and postcolonial projects of socialization and nationalization, because it posited the child in a symbiotic relationship with the natural world that allowed for explorations of the meaning of culture and nature at a time when culture and nature were deeply contested. This book reveals a trajectory of Korean children’s prose and poetry that begins with depictions of the child as an organic part of nature and ends with the child as the agent of the control of nature. Ultimately, the book reveals the complex ways the figure of the child became a driving force of nostalgia that stood in for future aspirations for the individual, family, class, and nation.
William H. Galperin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781503600195
- eISBN:
- 9781503603103
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9781503600195.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
This study is about the emergence of the everyday as both a concept and a material event and about the practices of retrospection in which it came to awareness in the romantic period in “histories” ...
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This study is about the emergence of the everyday as both a concept and a material event and about the practices of retrospection in which it came to awareness in the romantic period in “histories” of the missed, the unappreciated, the overlooked. Prior to this moment everyday life was both unchanging and paradoxically unpredictable. By the late eighteenth century, however, as life became more predictable and change on a technological and political scale more rapid, the present came into unprecedented focus, yielding a world answerable to neither precedent nor futurity. This alternative world soon appears in literature of the period: in the double takes by which the poet William Wordsworth disencumbers history of memory in demonstrating what subjective or “poetic” experience typically overlooks; in Jane Austen, whose practice of revision returns her to a milieu that time and progress have erased and that reemerges, by previous documentation, as something different. It is observable in Lord Byron, thanks to the “history” to which marriage and domesticity are consigned not only in the wake of his separation from Lady Byron but during their earlier epistolary courtship, where the conjugal present came to consciousness (and prestige) as foredoomed but an opportunity nonetheless. The everyday world that history focalizes in the romantic period and the conceptual void it exposes in so doing remains a recovery on multiple levels: the present is both “a retrospect of what might have been” (Austen) and a “sense,” as Wordsworth put it, “of something ever more about to be.”Less
This study is about the emergence of the everyday as both a concept and a material event and about the practices of retrospection in which it came to awareness in the romantic period in “histories” of the missed, the unappreciated, the overlooked. Prior to this moment everyday life was both unchanging and paradoxically unpredictable. By the late eighteenth century, however, as life became more predictable and change on a technological and political scale more rapid, the present came into unprecedented focus, yielding a world answerable to neither precedent nor futurity. This alternative world soon appears in literature of the period: in the double takes by which the poet William Wordsworth disencumbers history of memory in demonstrating what subjective or “poetic” experience typically overlooks; in Jane Austen, whose practice of revision returns her to a milieu that time and progress have erased and that reemerges, by previous documentation, as something different. It is observable in Lord Byron, thanks to the “history” to which marriage and domesticity are consigned not only in the wake of his separation from Lady Byron but during their earlier epistolary courtship, where the conjugal present came to consciousness (and prestige) as foredoomed but an opportunity nonetheless. The everyday world that history focalizes in the romantic period and the conceptual void it exposes in so doing remains a recovery on multiple levels: the present is both “a retrospect of what might have been” (Austen) and a “sense,” as Wordsworth put it, “of something ever more about to be.”
Jasper Bernes
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780804796415
- eISBN:
- 9781503602601
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804796415.001.0001
- Subject:
- Literature, American, 20th Century Literature
The Work of Art in the Age of Deindustrialization provides an original account of the relationship between postindustrial capitalism and postmodern culture. Examining American conceptual art and ...
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The Work of Art in the Age of Deindustrialization provides an original account of the relationship between postindustrial capitalism and postmodern culture. Examining American conceptual art and experimental poetry alongside sociological and historical accounts of postwar labor, this book describes the cultural production of the period as a “counter-laboratory,” a space of speculation and experiment from which new modes of interaction emerged, premised on collaboration, mutability and free association, and utilizing the literary resources of lyric address, free indirect discourse, and the poetic line. As Bernes argues, these artistic models and challenges were eventually absorbed by industry in the long process of capitalist restructuring that followed the crisis of the 1970s, providing the conceptual germ for the eventual corporate grammar of participation, teamwork, flexibility, and creativity. The Work of Art in the Age of Deindustrialization therefore provides a prehistory of the labor-intensive present, examining how the art and writing of the 1960s and 1970s served as a vanishing mediator, a set of challenges to work and the workplace that, unwittingly, assisted in the renewal of work and helped to reverse the trendline of rising wages and falling work hours that had held in most of the industrialized world for the better part of the 20th century. Bringing together an extensive understanding of postwar capitalism and postwar literary and artistic developments, Bernes demonstrates, conclusively, that the work of art and work in general share a common fate.Less
The Work of Art in the Age of Deindustrialization provides an original account of the relationship between postindustrial capitalism and postmodern culture. Examining American conceptual art and experimental poetry alongside sociological and historical accounts of postwar labor, this book describes the cultural production of the period as a “counter-laboratory,” a space of speculation and experiment from which new modes of interaction emerged, premised on collaboration, mutability and free association, and utilizing the literary resources of lyric address, free indirect discourse, and the poetic line. As Bernes argues, these artistic models and challenges were eventually absorbed by industry in the long process of capitalist restructuring that followed the crisis of the 1970s, providing the conceptual germ for the eventual corporate grammar of participation, teamwork, flexibility, and creativity. The Work of Art in the Age of Deindustrialization therefore provides a prehistory of the labor-intensive present, examining how the art and writing of the 1960s and 1970s served as a vanishing mediator, a set of challenges to work and the workplace that, unwittingly, assisted in the renewal of work and helped to reverse the trendline of rising wages and falling work hours that had held in most of the industrialized world for the better part of the 20th century. Bringing together an extensive understanding of postwar capitalism and postwar literary and artistic developments, Bernes demonstrates, conclusively, that the work of art and work in general share a common fate.
Accident Society
Across Meridians
An Age of Melodrama
Alchemical Mercury
Ambiguous Bodies
American Terror
Anonymous Life
Barbarism and Its Discontents
Barcelona's Vocation of Modernity
