From 1910 to 1945, Japan occupied Korea and controlled every aspect of the Korean life. This book presents three plays by two prominent Korean writers who ventured to voice anti-Japanese sentiments in their plays despite the harsh censorship of the time.

A heartwarming tale of courage, resilience and hope from master storyteller and winner of the prestigious Newbery Medal, Linda Sue Park. When her name was Keoko, Japan owned Korea, and Japanese soldiers ordered people around, telling them what they could do or say, even what sort of flowers they could grow. When her name was Keoko, World War II came to Korea, and her friends and relatives had to work and fight for Japan. When her name was Keoko, she never forgot her name was actually Kim Sun-hee. And no matter what she was called, she was Korean. Not Japanese. Inspired by true-life events, this amazing story reveals what happens when your culture, country and identity are threatened.

One of the New York Times 100 Best Books of the 21st Century In this New York Times bestseller, four generations of a poor Korean immigrant family fight to control their destiny in 20th-century Japan–the inspiration for the television series on Apple TV+. In the early 1900s, teenaged Sunja, the adored daughter of a crippled fisherman, falls for a wealthy stranger. When she discovers she is pregnant–and that her lover is married–she accepts an offer of marriage from a gentle, sickly minister passing through on his way to Japan. But her decision to abandon her home, and to reject her son's powerful father, sets off a dramatic saga that will echo down through the generations. Profoundly moving, Pachinko is a story of love, sacrifice, ambition, and loyalty. *Includes reading group guide* NEW YORK TIMES NOTABLE BOOK OF 2017 * A USA TODAY TOP TEN OF 2017 * JULY PICK FOR THE PBS NEWSHOUR-NEW YORK TIMES BOOK CLUB NOW READ THIS * FINALIST FOR THE 2018DAYTON LITERARY PEACE PRIZE* WINNER OF THE MEDICI BOOK CLUB PRIZE Roxane Gay's Favorite Book of 2017, Washington Post NEW YORK TIMES BESTSELLER * #1 BOSTON GLOBE BESTSELLER * USA TODAY BESTSELLER * WALL STREET JOURNAL BESTSELLER * WASHINGTON POST BESTSELLER

Modern Korean nationalism has been shaped by the turbulent historical forces that shook and transformed the peninsula during the twentieth century, including foreign occupation, civil war, and division. This book examines the emergence of the nation as the hegemonic form of collective identity after the March First Movement of 1919, widely seen as one of the major turning points of modern Korean history. The analysis focuses on Yi Gwangsu (1892–1950), a pioneering novelist, newspaper editor, and leader of the nationalist movement, who was directly involved in many aspects of its emergence during the Japanese occupation period. Yi Gwangsu was one of the few intellectuals who not only wrote for almost the entirety of the colonial period but who also was centrally involved in many institutions related to the production of identity. By focusing on Yi Gwangsu the book provides a different kind of historical narrative linking the various fragments of the nation, puts forward a new understanding of the March First Movement and its role in the emergence of the nation, and demonstrates how central to the emergence of the nation were the development of the print industry, the rise of a modern readership, and the emergence of a capitalist market for print. This book shows how the March First Movement catalyzed the confluence of these factors, enabling the nation to emerge as the dominant form of collective identity.

In the rich and varied life stories in Under the Black Umbrella, elderly Koreans recall incidents that illustrate the complexities of Korea during the colonial period. Hildi Kang here reinvigorates a period of Korean history long shrouded in the silence of those who endured under the "black umbrella" of Japanese colonial rule. Existing descriptions of the colonial period tend to focus on extremes: imperial repression and national resistance, Japanese subjugation and Korean suffering, Korean backwardness and Japanese progress. "Most people," Kang says, "have read or heard only the horror stories which, although true, tell only a small segment of colonial life."The varied accounts in Under the Black Umbrella reveal a truth that is both more ambiguous and more human—the small-scale, mundane realities of life in colonial Korea. Accessible and attractive narratives, linked by brief historical overviews, provide a large and fully textured view of Korea under Japanese rule. Looking past racial hatred and repression, Kang reveals small acts of resistance carried out by Koreans, as well as gestures of fairness by Japanese colonizers. Impressive for the history it recovers and preserves, Under the Black Umbrella is a candid, human account of a complicated time in a contested place.

Carefully selected and represented, the plays in this collection showcase both the fantastic and the realistic innovations of Korean dramatists during a time of rapid social and historical change. Stretching from 1962 to 2004, these seven works tackle major subjects, such as the close of the Choson dynasty and the aftermath of the Korean War, while delving into trenchant cultural issues, such as the marginalization of students who rebel against mainstream education and the role of traditional values in a materialistic society. Longtime scholar of Korea and its vibrant, politically acute theater, Richard Nichols opens with a general overview of modern Korean drama since 1910 and concludes with an appendix describing theater production and audience attendance in Seoul. He chooses works that aren't just for Korean audiences. These texts confront universal themes and situations, tackling the problem of ambition, the trouble with fidelity, and the complexity of sexual and interpersonal relationships. Nichols situates each work critically, historically, and culturally, including brief biographies of playwrights and extensive notes. A bibliography also provides alternative readings and the titles of additional plays currently available in English. Primed for production, these skillful translations provide Western directors with exciting new material for the stage. At the same time, they offer students and scholars a sophisticated survey of the modern Korean dramatic tradition.

This book investigates transcultural consumption of three iconic figures ù the middle-aged Japanese female fandom of actor Bae Yong-Joon, the Western online cult fandom of the thriller film Oldboy, and the Singaporean fandom of the pop-star Rain. Through these three specific but hybrid context, the author develops the concepts of soft masculinity, as well as global and postmodern variants of masculine cultural impacts. In the concluding chapter, the author also discusses recently emerging versatile masculinity within the transcultural pop production paradigm represented by K-pop idol boy bands.