Na hyesŏk: The “korean nora”
- Authors
- Choi, Jung A; Kim, Han Sung
- Issue Date
- Dec-2019
- Publisher
- Kyujanggak Institute for Korean Studies
- Keywords
- First-generation Korean Feminist Artist; Kyŏnghŭi; Na Hyesŏk; Noraism; Sin yŏsŏng; “Inhyŏng ŭi ka” (A doll’s house)
- Citation
- Seoul Journal of Korean Studies, v.32, no.2, pp 239 - 261
- Pages
- 23
- Journal Title
- Seoul Journal of Korean Studies
- Volume
- 32
- Number
- 2
- Start Page
- 239
- End Page
- 261
- URI
- https://scholarworks.sookmyung.ac.kr/handle/2020.sw.sookmyung/1721
- DOI
- 10.1353/seo.2019.0015
- ISSN
- 1225-0201
2331-4826
- Abstract
- Na Hyesŏk (1896–1948), the so-called “Korean Nora” of colonial Korea, challenged existing patriarchal conventions and tried to dismantle androcentric myths. In her poem, “A Doll’s Song” (1921), an adaptation from Henrik Ibsen’s play, A Doll’s House, she exclaims, “I have a divine duty, setting out on my mission to become a person.” Her feminism was a common theme among Korean new-age women and her task was one shared with Japanese new women artists. Japan and Korea’s new-age women had ideological ties, despite their political differences as constituents of empire and colony, a fact closely linked to the reception of “Nora” in East Asia. Korean international students in Tokyo learned and experienced Western culture via Japanese intellectuals and celebrated Ibsen’s “Nora” as a role model of modern individuality. For Korean male students, being a “Nora” implied having a sense of enlightenment both as a modern person and a colonial intellectual with an awareness of nationalistic boundaries. However, Na Hyesŏk made it her priority to break with patriarchal ideology so that Korean female intellectuals could play a role equal to that of their male counterparts in modern Korean society. © 2019 Kyujanggak Institute for Korean Studies.
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