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The Journal of Japanese Language Literature Studies > Volume 1(1); 2014 > Article
Border Crossings: The Journal of Japanese-Language Literature Studies 2014;1(1): 23-33.
doi: https://doi.org/10.22628/bcjjl.2014.1.1.23
Takayuki NAKANE
Correspondence  Takayuki NAKANE ,Email: nakkun99@hotmail.com
Published online: 30 June 2014.
Copyright ©2014 The Global Institute for Japanese Studies, Korea University
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.
During the Japanese colonial period (1910-45), Japanese inhabitants of Chosen enjoyed composing Haiku, collectively referred to as ‘Chosen Haiku’. From the 1920s to 1930s, the literary world of Chosen Haiku started to question the essence of Chosen Haiku. The key theme debated in contemporary literary circles was ‘local color’. Specifically what this local color was became a popular keyword in literature and arts. Especially, in the world of arts, the word is well known to describe the art-work of Chosen artists such as Insung Lee in the late 1920s. However, in the world of Haiku, the term started to be used when Matsu no Mi was published by the Haiku writers such as Tokoshi Kusume in the 1920s. This local color now refers to Chosen Haiku. This article will identify what ‘the local color’ meant to Chosen Haiku and discuss how the quest for an identity of Chosen Haiku was related to the identity of Japanese residents in Chosen.
Keywords: Chosen Haiku, Local Color, Mizu-Kinuta, Tokoshi Kusume, Ryokudou Adachi

キ―ワ―ド: 朝鮮俳句, 郷土色, 水砧, 楠目橙黄子, 安達緑童
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