Korean Sinitic Poetry from Ancient Times to 1945: Si in the East offers a ground-breaking introduction to the oral performative aspect of Korean Sinitic poetry (hansi 漢詩). The anthology introduces 51 representative works of Korean Sinitic poetry from the 9th to early 20th century including 9 by women poets. Each poem is discussed with ample notes on allusions and expressions, sounds and verbal glossing (hyŏnt’o), and commentaries that look beyond the geographical boundary of Korea. Overview essays offer cultural and literary history in a broader East Asian context, and detailed linguistic guides emphasize the musicality and orality of this treasured literary tradition.

P’ansori is the quintessential traditional Korean musical drama, in which epic tales are sung and narrated by a solo singer accompanied by a drummer. Drawing on her extensive research in Korea and its diasporas, Haekyung Um describes and analyses the creative processes of p’ansori, weaving into her discussion musical, social and cultural aspects that include the evolution of p’ansori performance, origins and historical development, textual and musical materials, stylistic features of different p’ansori schools, transmission of knowledge, aesthetics, and changing interpretations of tradition. Also explored is the complexity of historical and contemporary influences that give shape to p’ansori as a ’living tradition’ across the ages and into the present, and as a cultural icon with an enduring narrative and emotional impact. Social, economic and political dynamics are created in the nexus of traditional feudal values, colonial modernity and nationalism. The impact of aspects of late modernity such as technology, mass media, migration and globalization, has transported p’ansori into digital and transnational domains. By bringing all these creative and contextual processes together, Haekyung Um explains how a tradition is created, maintained and redefined by the dynamic interactions of agents, values, meanings, strategies, identities and artistic hybridity.

This study examines the development and characteristics of various historical and contemporary genres of Korean literature. It presents explanations on the development of Korean literacy and offers a history of literary criticism, traditional and modern, giving the discussion an historical context.

Kohls shares a feast of Korean culture: a ricebowl of history and tradition complimented by an array of spicy tidbits that capture the reader’s attention like a mouthful of kimchi. Based on personal experience, he provides critical incidents that explore the more puzzling aspects of Korean culture. Kohls explores Korean values—traditional values, value changes over the past forty years and projected values for the early decades of the twenty-first century. He is equally insightful when it comes to discussing the cultural patterns and practices of the workplace. He takes on management style, personal issues, networking and “pull,” negotiating style, persistence, key Korean business relations and more. To a greater extent than most other Asisan countries, Korea adheres to the traditional collectivist and Confucian traits of harmony, hierarchy, ingroups/outgroups, status, and proper behavior. According to Kohls, these traits plus the more Westernized values of the younger generations and the veneer of modern urban savvy surface in surprising combinations in personal and workplace relationships—often where they are least expected.

This book explores art song as an emblem of musical modernity in early twentieth-century East Asia and Australia. It appraises the lyrical power of art song – a solo song set to a poem in the local language in Western art music style accompanied by piano – as a vehicle for creating a localized musical identity, while embracing cosmopolitan visions. The study of art song reveals both the tension and the intimacy between cosmopolitanism and local politics and culture. In 20 essays, the book includes overviews of art song development written by scholars from each of the five locales of Japan, Korea, China, Taiwan, and Australia, reflecting perspectives of both established narratives and uncharted historiography. The Art Song in East Asia and Australia, 1900 to 1950 proposes listening to the songs of our neighbours across cultural and linguistic boundaries. Recognizing the colonial constraints experienced by art song composers, it hears trans-colonial expressions addressing musical modernity, both in earlier times and now. Readers of this volume will include musicologists, ethnomusicologists, singers, musicians, and researchers concerned with modernity in the fields of poetry and history, working within local, regional, and transnational contexts.