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<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">Dear Colleagues, </span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">Please find below THREE CFPs for the sessions that Korean
Forum organizes for the upcoming 2018 MLA (Modern Language Association) Convention
to be held in New York City, January 4-7, 2018. <span> </span>The deadline for the submission is March 15,
2017. </span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">Thank you, </span></p>
<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">Heekyoung Cho<br>
Assistant Professor<br>
Department of Asian Languages & Literature<br>
University of Washington<br>
<br>
</span></p>
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<p class="MsoNormal"><b><span style="font-size:11pt;font-family:"calibri",sans-serif">Community in the Wake of the Social: Literary Insecurities in
Modern and Contemporary Korea</span></b><span style="font-size:11pt;font-family:"calibri",sans-serif"></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">“The gravest and most painful testimony of the modern world,”
wrote Jean-Luc Nancy, "is the testimony of the dissolution, the
dislocation, or the conflagration of community." At the same time,
Nancy warns against a nostalgia for lost community that masks the fact of its
“belated invention.” Community, according to Nancy, lies not at the
origins of the social, but is rather what happens “<i>in the wake of </i>society."</span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">The ontological significance of a literature that relies on the
category of “nation” is challenged in an era of globalization and migration;
literature as a particular and well-defined aesthetic practice or form is
disrupted as boundaries with other cultural products, particularly in the
digital era, are perforated or redrawn. New technology and media and
concomitant forms of sociality have resulted in a “generic”
insecurity that calls into question the status of literature as a repository of
communal memory while at the same time expanding its potential as an expression
or performance of community. <br></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">This session seeks papers that critically address literary
representations of community and/or the idea, practice, and status of the
literary community itself in the Korean context. We are particularly
interested in papers that deal with both the literary representation of
community <i>and</i> the performance of literary community in various
forms of media. Please send a <span style="color:rgb(20,20,20)">250-word
abstract and 1-p CV by </span><span class="gmail-m-6731089782175425972gmail-aqj">March
15, 2017</span> to Heekyoung Cho (<a href="mailto:hchohcho@uw.edu" target="_blank">hchohcho@uw.edu</a>) or
Chris Hanscom (<a href="mailto:chanscom@ucla.edu" target="_blank">chanscom@ucla.edu</a>).</span></p>
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<p class="MsoNormal"><b><span style="font-size:11pt;font-family:"calibri",sans-serif">Auditory Text in Premodern and
Modern Korean Literature</span></b></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">Not
only is literary text inscribed and read but is also voiced for the readerly
ears. Does this renewed attention to sound and listening alter the way we read and
understand literature in any significant manner? How might we seek a new
understanding of the text’s voicing as integral to our literary reading? Does
Korean literature offer any interesting instances where the meaningful readerly
listening takes place with little or no visual access to the object of
comprehension? Is there any meaningful boundary between what is oral and what
is written in Korean literary contexts? How might we methodologically embed
sound into Korean literary and cultural studies?</span></p>
<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif">Marking
a sharp turn from vision-centered literary and media analysis, this panel
re-centers voice, hearing, and listening as ways to explore the cultural and
political complexities of soundscape in premodern and modern Korean literature
and culture. As part of the Korean Language, Literature, and Culture Forum
session for the 2018 MLA Convention (New York), the panel seeks papers that
examine the ways in which polyphonics, multiculturalism, technology, gender,
and politics, among others, in the Korean context form, generate, and qualify
the experiences of sound in the text. We especially welcome papers that discuss
voice, hearing, and listening as <i>embodied or disembodied</i> textual
experiences and also those work that explores auditory textual experimentation
in various genres of premodern and modern Korean literature including new ways
of understanding poetry, in which sound image traditionally has been treated as
important. Deadline for submission of 250 word abstract and <span style="color:rgb(20,20,20)">1-p</span> CV is <span tabindex="0"><span class="gmail-aqj">15 March 2017</span></span> to Jina Kim (<a href="mailto:kimji@dickinson.edu%29" target="_blank"><span style="color:rgb(56,110,255)">kimji@dickinson.edu)</span></a></span></p>
<p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif"> </span></p><p class="MsoNormal"><span style="font-size:11pt;font-family:"calibri",sans-serif"><br></span></p>
<p class="MsoNormal" style="margin-bottom:12pt"><b><span style="font-size:11pt;font-family:"calibri",sans-serif;color:rgb(20,20,20)">Thinking Korean Literature through Censorship
and “Blacklisting” in the Age of Global Literature</span></b><span style="font-size:11pt;font-family:"calibri",sans-serif"></span></p>
<p class="MsoNormal" style="margin-bottom:12pt"><span style="font-size:11pt;font-family:"calibri",sans-serif;color:rgb(20,20,20)">Cens</span><span style="font-size:11pt;font-family:"calibri",sans-serif;color:rgb(20,20,20)">orship and “blacklisting” are two of the most widely practiced
methods of publication control by the state. From its inception, Modern Korean
literature has undergone systematic censorship by agents of the Japanese
colonial government. Although such prepublication censorship laws and
operations have formally ceased in post-liberation Korea, publication control
persists.</span><span style="font-size:11pt;font-family:"calibri",sans-serif"> Explicit or implicit self-censorship by authors, editors, and
publishing houses also besets modern Korean literature. Most recently, the revelation
that South Korean Park Geun Hye’s regime sponsored “blacklisting” operations
and secretly controlled the disbursal of financial subsidies for publication
stunned Korean civil society, whose formal democratization presumably ended the
era of publication control. </span></p>
<p class="MsoNormal" style="margin-bottom:12pt"><span style="font-size:11pt;font-family:"calibri",sans-serif">The unending story of Korean literary publications and figures
being subjected to state control impels us to rethink fundamental and
theoretical notions of literature, authorship, and art. What modes of reading
should literary critics and historians bear on censored literature and
“blacklisted” writers? <span style="color:rgb(20,20,20)">How do censorship and
“blacklisting” complicate paradigms like Roland Barthes’s “death of the author”
and Michel Foucault’s “author function”? How has publication control by
the state weakened or strengthened the so-called literariness of literature?
The panel invites papers that address questions of literary history and
interpretive methods about the instability of literature as an institution
under state control. We especially seek approaches that substantially or
implicitly intervene in the idea of world literature through concrete cases of
censored works and “blacklisting” or other forms of state intervention into the
writing and publication of literature. 250-word abstract and 1-p CV by March
15, 2016; </span>Kyeong-Hee Choi (<a href="mailto:kchoi@uchicago.edu" target="_blank"><span style="color:rgb(0,0,233)">kchoi@uchicago.edu</span></a>).<span style="color:rgb(20,20,20)"></span></span></p>
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