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<p class="gmail-p1" style="margin:0px;font-style:normal;font-variant:normal;font-weight:normal;font-stretch:normal;line-height:normal">
</p><p class="MsoNormal" style="font-size:12pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1" style=""><span style="color:rgb(34,34,34)">Dear Colleagues: Please
circulate the following call-for-papers for Korea-specific panels proposed for
the </span></span><span style="color:rgb(34,34,34)">Modern Language Association Convention
to be held in Chicago, January 3-6, 2019. </span><span class="gmail-s1" style=""><span style="color:rgb(34,34,34)">For
this convention, the MLA will collaborate
</span></span><span style="font-size:9.5pt;color:rgb(34,34,34);background:white">with the American Historical Association (AHA), whose
convention is scheduled to be in Chicago at the same time as the MLA. “In an
effort to promote collaboration among the humanities,” it has been announced, “each
association will honor the other’s attendee badges.” </span><span style="font-size:10pt"><span></span></span></font></p>
<p class="gmail-p2" style="font-size:10pt;margin:0.1pt 0in"><span style="font-size:12pt;color:rgb(34,34,34)"><span><font face="garamond, serif"> </font></span></span></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><b><span style="font-size:12pt;color:rgb(34,34,34)">Panel 1: Placing
‘Literary Fame’ in Late Chos</span></b></span><span class="gmail-s1"><b><span style="font-size:12pt;color:rgb(34,34,34)">ŏ</span></b></span><span class="gmail-s1"><b><span style="font-size:12pt;color:rgb(34,34,34)">n Korea</span></b></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">A hitherto understudied topic, “literary fame”
of the writer or the text is pivotal to the understanding of the literary
landscapes of Chos</span></span><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">ŏ</span></span><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">n Korea from the eighteenth to early twentieth
century. How did the reputation of an author or a text or a corpus of texts
encourage or discourage reading in the late Chos</span></span><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">ŏ</span></span><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">n
period? What books—and what aspects of books—inspired people to pick up their
brushes and follow their creative impulses, generating various traces of
hypertextuality from marginalia through miscellaneous and anecdotal records to
translation and adaptation? What roles did book lenders, peddlers, and printers
play in the shaping of public recognition of an already-known piece of writing
or writer? For example, did their endeavors to increase transactions involve
manipulation of fame? How did readers personally create titles and entries in
commonplace books to collect and organize information about famous texts? How
was reputation steered and negotiated through the politics of class, gender,
genre and literary languages, and the dynamics within given socioliterary
communities? To what extent was literary fame, indeed, a motive and a
consequence for textual production and reproduction? In order to foster a
reader-oriented method that serves to enrich the study of the book culture and
literary practices of traditional Korea, the panel explores diverse
perspectives on famous texts, examining the ways in which reputed books
transformed the conceptualization of literature in late-Chos</span></span><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">ŏ</span></span><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">n
Korea. 250-word abstract and one-page c.v. by March 11, 2018, to Si Nae Park (<a href="mailto:sinaepark@fas.harvard.edu" style="color:blue;text-decoration:underline"><span class="gmail-s2"><span style="color:rgb(4,99,193)">sinaepark@fas.harvard.edu</span></span></a>).</span></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)"> </span></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><b><span style="font-size:12pt;color:rgb(34,34,34)">Panel 2: Giving the Lie
to History: Literary History and Literary Practice in Korea</span></b></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">In light of what Nichanian calls the
historiographic stranglehold, one that "forbids any consideration of the
event outside the coordinates of the fact," this panel aims to consider
definitions of literary practice both within and without a framework of evidentiary
truth and its reliance on often unexamined assumptions regarding the relation
between the historical real and the literary text. Asking in what ways
literary classification prefigures our understanding of the definition of
literature (or the understanding of individual texts) opens onto the larger
question of a politics of literary practice outside both the framework of the
nation (or national language) and a system of aesthetic judgment that relies on
positive correspondence with historical reality as the basis for its assignment
of literary value—that is, for its definition of literature. How do
(literary) histories determine what can or cannot be said in a work of
literature? How does literature work to validate, or to exceed, the
boundaries of the sayable? The panel seeks papers addressing definitions of
literary practice in Korea, and ways in which such practices have been
classified in literary history. 250-word abstract and one-page c.v.
by March 11, 2018, to Chris Hanscom (<a href="mailto:chanscom@ucla.edu" style="color:blue;text-decoration:underline"><span class="gmail-s3"><span style="color:rgb(18,85,204)">chanscom@ucla.edu</span></span></a>).</span></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)"> </span></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p3" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><b><span style="font-size:12pt;color:rgb(35,35,35)">Panel 3: Censorship and
Reading as Textual Production in Modern Korea</span></b></span><span style="font-size:12pt;color:rgb(35,35,35)"><span></span></span></font></p>
<p class="gmail-p4" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(24,24,24)">The reader looms large in the role of
meaning-maker of the censored text, if not as large as the author. So too does
the colonial censor, external and internal. What innovative methodology should
be then designed to account for this line of literary modernity in which both
the censor, the official reader affiliated with the colonial state, and the
‘ordinary’ reader played a constitutive role from its very inception? To what
extent can a scholar probe into the formative transactions, explicit and
implicit, between the literary writer and the state censorship agent,
whose traces are often eclipsed in the publication? Of what new methods of
reading should a literary scholar conceive when his or her object of inquiry is
a product of the systematic prepublication censorship? How should we
examine these texts and the visible and invisible splicing of “original”
writing and its attendant edits? How should the scholar-reader incorporate
the texts produced and compiled by the Japanese publication police, along with
the censored texts? Over all, in what ways does the censored tradition of
Korean literature encourage us to reconsider the concept of literature, its
aesthetic autonomy, and the usual prerequisites for world literature?</span></span><span class="gmail-s4"><span style="font-size:12pt;color:black"> </span></span><span class="gmail-s1"><span style="font-size:12pt;color:rgb(24,24,24)">Those interested in utilizing or integrating textual criticism,
translation studies, transmedial studies, biographical studies, quantitative
and other Digital Humanities methods, and socio-scientific methods are
particularly encouraged to participate in the panel. Send a 250-word
abstract and one-page c.v. to Kyeong-Hee Choi (<a href="mailto:kchoi@uchicago.edu" style="color:blue;text-decoration:underline"><span class="gmail-s5"><span style="color:rgb(56,110,255)">kchoi@uchicago.edu</span></span></a>)
by March 11, 2018.</span></span><span style="font-size:12pt;color:rgb(24,24,24)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)"> </span></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><b><span style="font-size:12pt;color:rgb(34,34,34)">Panel 4: Writing and
Reading Sound: History, Methods, and Practice in Pre-modern and Modern Korea</span></b></span><span style="font-size:12pt;color:rgb(34,34,34)"><span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">This panel examines the various sonic
phenomena that have manifested in Korea from traditional to modern as they
interacted and transacted with the sensual, social, cultural, semiotic, and
narrative dimensions of literary, performative, and other media texts.
Addressing the importance of the question how the oral-aural ethos has been
discursively produced and practiced in the textual fields, it welcomes --but is
not limited to—those studies that integrate and intersect the following topics
with sound studies: pre-industrial or/and industrial labor; rural and urban
environments; multi- or trans-medial textual forms; industrial and mechanical
production; forms of resistance and protest; gender and feminism, among others.
Underscoring the material heterogeneity of sound production in the lived
environment, the panel also seek papers that explore the technological history
of sound: How do new sound technologies--such as phonograph, radio, film, television,
amplifier, microphone, MP3 player, smart phone, and so forth--set out to engage
in representational systems?; and how does sound become transformed in the
process of recording and reproduction? The panel is geared to inter- or
trans-medial studies that highlights how sound works to forge new ways of
studying texts, techniques, forms, events, and identities. 250-word abstract
and one-page c.v. by March 11, 2018 to Jina Kim (</span></span><span class="gmail-s3"><u><span style="font-size:12pt;color:rgb(18,85,204)"><a href="mailto:kimji@dickinson.edu)" style="color:blue;text-decoration:underline"><span style="color:rgb(17,85,204)">kimji@dickinson.edu)</span></a></span></u></span><span style="font-size:12pt;color:rgb(34,34,34)"><br>
<br>
<span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)"><font face="garamond, serif">Note: (1) Each proposed panel will undergo review</font></span></span></p><p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)"><font face="garamond, serif">(2) Finalized presenters should
be enrolled as MLA members.<span></span></font></span></span></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)"><font face="garamond, serif">(3) Panels proposals 3 & 4 above will
be submitted for review as MLA-AHA dual sessions when appropriate papers are collected.</font></span></span></p>
<p class="gmail-p1" style="margin:0in 0in 0.0001pt"><span style="font-size:16px"><font face="garamond, serif">-----</font></span></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><font face="garamond, serif"><span class="gmail-s1"><span style="font-size:12pt;color:rgb(34,34,34)">Kyeong-Hee Choi (</span></span><span style="font-size:12pt;color:rgb(34,34,34)">Chair, Korean LLC Executive Committee, MLA)<span></span></span></font></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><span style="font-size:12pt;color:rgb(34,34,34)"><font face="garamond, serif">Korea Foundation Associate Professor of Korean Studies<span></span></font></span></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><span style="font-size:12pt;color:rgb(34,34,34)"><font face="garamond, serif">Department of East Asian Languages & Civilizations<span></span></font></span></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><span style="font-size:12pt;color:rgb(34,34,34)"><font face="garamond, serif">The University of Chicago<span></span></font></span></p>
<p class="gmail-p1" style="font-size:10pt;margin:0in 0in 0.0001pt"><span style="font-size:12pt;color:rgb(34,34,34);background:white"><font face="garamond, serif">(<a href="mailto:kchoi@uchicago.edu" style="color:blue;text-decoration:underline">kchoi@uchicago.edu</a>)<span></span></font></span></p>
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