The Incorporation of Local Color into Korean Haiku in the Japanese Colonial Period, and Since

KIM, Bohyun

doi:2019.9.1.113

The Journal of Japanese Language Literature Studies > Volume 9(1); 2019 > Article

Special Issue

Border Crossings: The Journal of Japanese-Language Literature Studies 2019;9(1): 113-126.
doi: https://doi.org/10.22628/bcjjl.2019.9.1.113

The Incorporation of Local Color into Korean Haiku in the Japanese Colonial Period, and Since

Bohyun KIM

Research Professor, Global Institute for Japanese Studies Korea University

植民地期｢朝鮮俳壇｣の｢ローカル·カラー(朝鮮色)｣とその現在

金寶賢

高麗大学校グローバル日本研究院研究教授

Correspondence Bohyun KIM ,Email: mint1130@nate.com

Published online: 30 June 2020.

This is an open access article distributed under the terms of the Creative Commons Attribution Non-Commercial License ( http://creativecommons.org/licenses/by-nc/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

ABSTRACT

Together with the tanka, the haiku, which is a Japanese fixed poetic form with 17 syllables, is composed across the globe in various languages. The globalization of the haiku means that it has a unique history. In Korea, the haiku dates back to the Japanese occupation. Despite the poetic difficulties imposed by the rules of Kigo(季語) and Kire(切れ), Japanese residents in Korea established haiku poetry clubs in order to enjoy haiku as a hobby. In the 1920s and 1930s when haiku clubs enjoyed a renaissance, a variety of haiku journals and collections of haiku poems were published through the activities of Hototogisu Haijin(Haiku poets) on various Japanese islands. What the haiku works published in this era had in common was that their main component was ‘local color’, which reflected the specific identities and social and natural environments of various haiku clubs. With Japan’s defeat in the Second World War and Korea’s liberation from Japan in 1945, these haiku clubs were terminated, and discussions of the use of local color in this form came to an end. This study focuses on the new developments in the rendering of local color that Korean and Japanese haiku clubs have promoted since 1945. Korean haijins have continued to lead the effort to create haiku which incorporate local color. And in Japan, haiku clubs led by Japanese haijins who live in Korea reproduce the local color of the Joseon era.

Keywords: Chōsen Haiku, Local color, Kigo, Murakami Kyōshi, K-haiku

キ―ワ―ド: 朝鮮俳句, ローカル·カラー, 季語, 村上杏史, ハングル俳句