| 崔承喜とジョセフィン․ベイカ－をめぐる表象 |
| 東アジアにおける｢モダン｣の文化翻訳 1935~1936 |
| Tsuyoshi NAMIGATA |
| 九州大学大学院地球社会統合科学府 |
| 波潟剛 |
Correspondence
Tsuyoshi NAMIGATA ,Email: tnamigata@scs.kyushu-u.ac.jp
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Published online: 30 June 2014. |
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Copyright ©2014 The Global Institute for Japanese Studies, Korea University |
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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.
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| ABSTRACT |
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In November 1935, the newly established Korean magazine Cho-Gwang began to publish a serialized parody novel, Modun Sim-Chong Jun (Modern Sim-Chong’s Story). At the beginning of this classic-based novel, a famous ‘western’ jazz singer, Josephine Baker, appears half-naked as a holy spirit, wearing a pilot’s helmet and holding feminine medicine for women in her hand.
Interestingly, we can see her representation in the same magazine two months from the end of that novel. One Korean modernist novelist, Yi Hyo-Sok, wrote an essay, C Hang-gu oe Il-gu (Scenery of C Harbor)’ in August 1936 in which he described a night at the theater near ‘C’ harbor where Josephine Baker, dropping in the city by chance during her tour around Manchukuo, sang a nostalgic song.
To date, no document has been found either in Korea or in Japan about Josephine Baker visiting East Asian countries at that time. This paper analyzes the translation between cultures by referring to a Korean dancer, Choe Sung-Hui, as a route to approach the background of cultural representations about Josephine Baker and investigates the signifying practices over colonial modernity in East Asia. |
Keywords:
Choe Sung-Hui, Josephine Baker, representation, colonial modernity, translation between cultures
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| キ―ワ―ド:
崔承喜, ジョセフィン․ベイカー, 表象, コロニアル․モダニティ, 文化翻訳 |
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