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berealit · 7 months ago

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April 9, 2024.

got a secret. can you keep it?

Eloise encontrava-se na biblioteca vazia, pela primeira vez no ano, estava matando aula, sua mente estava inquieta e não fazia ideia do porquê. Talvez isso se desse ao fato de não ter conseguido gravar nada nos últimos dias, por mais que fosse uma das atividades mais prazerosas para a garota, sempre que ligava o gravador, as palavras pareciam fugir de sua cabeça e, consequentemente, de sua boca. Com os cotovelos escorados na mesa, levou as mãos até a cabeça, arrastando os dedos compridos pelos cabelos pretos, enquanto seus olhos se mantinham fixos no gravador portátil. Ou apenas estava cansada demais. Colocou os fones de ouvido e ali, ligou o pequeno aparelho mais uma vez naquela semana.

— Gravação do dia nove de abril de dois mil e vinte e quatro. Fazem alguns dias desde que não consigo gravar nada, acho que esgotei todas as minhas energias vagabundando por aí.

Liberou um riso fraco, colocando o eletrônico em seu bolso ao se levantar para explorar a grande biblioteca da Ewha. Passou alguns minutos em silêncio, enquanto caminhava pelos corredores vazios, escorregando a ponta de seu indicador pelos incontáveis livros, alguns gastos, outros intocados.

— Acordei mais cedo do que o habitual hoje, estava de pé antes das seis. Fiz minha rotina, como sempre e quase perdi a hora por ter ficado em deitada em silêncio ouvindo música a manhã inteira. Esse humor mórbido não é muito comum na minha rotina, então vou culpar o fim do período menstrual!

Puxou um dos livros, encarando a capa por alguns segundos, apesar de saber que sua universidade apoiava diversas causas abertamente, nunca pensou que encontraria um romance lésbico nas prateleiras, principalmente estrangeiro, o que a fez sorrir, iria pegar o exemplar emprestado. Vitoriosa, segurou o livro em mãos e caminhou até a mesa em que estava sentada, pegando sua mochila e caminhando até o balcão para computar o aluguel do livro. Colocou o livro na mochila e se retirou da biblioteca, caminhando agora pelos corredores vazios da universidade. Todas estavam em aula, o que a fez se sentir um tanto imprudente por quebrar o próprio código de ser uma aluna exemplar.

— Eloise, Eloise... Quebrar regras não é muito sua cara.

Murmurou para si mesma, caminhando para fora do campus. Planejava ir até a loja de conveniência mais próxima a pé, talvez caminhar a fizesse bem, o trajeto seria longo, a universidade era imensa. Por mais que houvessem pontos positivos e se sentisse lisonjeada por tamanho reconhecimento por parte das colegas, deveria admitir que a deixava um tanto assustada a ideia de um fansite, não sabia quem era, quais intenções tinha, menos ainda em quais momentos poderia ser flagrada por aí; Eloise sempre prezou por sua privacidade, mesmo que tenha tido muita gente ao redor de si durante toda sua vida, sempre foi uma pessoa privada. Talvez, esse fosse um fator e tanto para se fechar até mesmo para os míseros microSD's que carregava em sua rotina desde pequena. Nunca sabia o que esperar.

Os arredores da Ewha contavam com shopping, restaurantes, cafeterias e pequenas lojas de conveniência; a universidade era também quase como um ponto turístico, o que fazia com que estivesse quase sempre lotada. Dadas as circunstâncias, foi para o ponto de ônibus, iria até o karaokê que costumava frequentar, desta vez para ficar um pouco sozinha. Não demorou muito para chegar no destino escolhido depois que entrou no transporte público, caminhou poucos metros e então, entrou no estabelecimento. Pediu por uma sala, sendo recepcionada com uma risada divertida seguida da pergunta "Sozinha? O que há? Está triste?" que a fez revirar os olhos e soltar um suspiro.

— Ei, qual foi?! Não se pode mais querer passar um tempo sozinha? Vai, quero uma sala, uma garrafa de soju e... Dois cigarros. Mentolados.

As últimas palavras saíram quase como um sussurro, não era algo que se orgulhava de pedir em estabelecimentos, o que a deixava quase sempre com as bochechas vermelhas. Ao ter a liberação da sala em questão, caminhou para dentro e sua primeira atitude ao entrar ali, foi deixar sua mochila sobre o espaçoso sofá, sentando-se ali em silêncio. Tirou o gravador do bolso e ajeitou os fones em seus ouvidos novamente. O aparelho esteve gravando durante todo aquele tempo continuamente, com pouquíssimo conteúdo de voz, já que se manteve em silêncio por boa parte do tempo. Por mais que suas gravações fossem inteiramente privadas, nunca conseguia colocar para fora tudo o que sentia, prezava sempre por levar o mais superficial em suas falas, talvez porque sempre tinha alguém por perto de alguma forma, mesmo que escolhesse os momentos mais tranquilos e isolados para seu fiel diário falado.

— Okay... Agora que estou sozinha e, distante de tudo, talvez eu consiga expelir tudo que está na minha garganta.

Escutou duas batidas na porta, era seu pedido, assim que a bebida, copo e cigarros foram postos a mesa, a morena apenas agradeceu e ofereceu um sorriso gentil antes de o atendente sair pela porta. Serviu-se de um bom copo de soju, cujo bebeu sem pestanejar, sentindo a bebida descer queimando por sua garganta.

— Honestamente, apesar de saber que esse diário não é acessível a ninguém, não é sempre que me sinto apta a soltar sequer meus próprios segredos. Então hoje vou fazer um monólogo!

Seus dígitos alcançaram um dos cigarros sobre a mesa, segurou o item na cor preta e o encarou por alguns segundos, pensando se deveria sacrificar o quão cheirosa estava para acabar com o cheiro da fumaça mentolada em suas vestes. Admitindo para si mesma que a vida era uma só, apenas deu de ombros, acendendo-o. Fechou seus olhos por alguns instantes, tragando profundamente, segurando a fumaça por alguns segundos antes de solta-la vagarosamente. Fumar não era um hábito recorrente, mas lhe ocorria em momentos de alto estresse e aquele dia, era um dos dias em que havia acordado com o pé esquerdo, sequer sabia de onde tinha surgido tamanho desconforto consigo mesma quando teve tantos momentos divertidos naquele fim de semana. Talvez fosse o cansaço batendo, sobrecarga da quantidade de atividades que vinha pegando, fim do período menstrual ou até mesmo efeito do eclipse solar e mercúrio retrógrado em áries.

— Me mudar para Seoul foi uma decisão bem pensada, tinha grandes planos, algumas coisas deram certo, outras deram errado. Devo admitir que a adaptação foi muito mais fácil e receptiva do que eu esperava que fosse, fiz bons laços, tenho colegas de dormitório incríveis, ótimas notas, tenho socializado bastante e até mesmo tenho... Fãs?! De modo geral, tenho tido motivos o bastante para sorrir, então acordar de mau humor, por mais normal que seja, me deixa puta pra caralho comigo mesma.

Houve uma pequena pausa ao falar "fãs", ainda lhe era confuso tudo aquilo. Nunca gostou de grandes exposições, o que explicava também o fato de nunca comentar sobre a situação financeira de sua família que, por mais simples que fosse, poderia facilmente se dizer rica, ao menos era o que ouvia quando raramente mencionava que a família Ko era proprietária da vinícola GODORI. A ideia de ser tratada de maneira diferente por nada que não fossem suas próprias conquistas deixavam-na irritada. Eloise era orgulhosa o bastante para tal comportamento.

— Acho que não admito mau humor partindo de mim mesma sem que tenha um bom motivo. Então, para acalmar meus ânimos, o cigarro ajuda. Eu deveria odiar cigarros, tenho motivações para isso e talvez eu odeie! Mas eventualmente que mal faz?! Sei que faz muito mal, mas é isso aí, fica subentendido.. Odeio acordar mal-humorada, odeio não conseguir gravar, não conseguir colocar pra fora o que quero falar, odeio me atrasar para meus compromissos e odeio me sentir ingrata... Acho que foi o combo do meu estresse de hoje. Mas me sinto mais leve. Ser imprudente nem sempre é ruim. Mas não matarei aulas novamente, eu espero, pelo menos. Ficarei por aqui, vou terminar de beber essa garrafa, cantar algumas músicas e voltar para Ewha. Preciso estudar hoje. See u!

E com isso, a garota levou o cigarro de cor preta até a boca, usando as duas mãos livres para desligar o gravador e retirar os fones. Irei aproveitar aqueles minutos de fim de tarde sozinha.

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#ewha womans university #pharmacy

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namgungeun · 4 months ago

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Ewha Woman University NamGung Eun

#Ewha Woman University NamGung Eun

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cosmosbeelover · 23 days ago

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The History of Korean Female Soloists from the 20th Century: Episode 3/?

The third episode of 'The History of Korean Female Soloists from the 20th Century' highlights prominent Korean musicians who achieved fame in the early 20th century, during the period of Japanese occupation.

The historical documentation related to these artists is frequently unreliable, largely due to the fact that their contributions occurred almost a century ago, before the Korean War, leading to the loss or unavailability of essential records.

Yun Sim Deok (윤심덕; 尹心悳)

This episode is intended for a mature audience, so I want to issue a warning before proceeding, as it will discuss the topic of self-exit. This episode revisits the life of the renowned soprano Yun Sim-deok. In my initial discussion, the information presented was somewhat limited, as I had only recently begun my exploration of Korean artists. This revised episode will provide a more comprehensive and detailed account of her life and her romantic relationship.

"You poor soul, passionate about life, you are a dancer on the sword" - From Yun Sim-deok’s ‘In Praise of Death'

The inaugural official female vocalist and soprano on the Korean Peninsula, she is renowned for her signature piece, "Ode to Death." Her relationship with playwright Kim Woo-jin has garnered significant attention, particularly due to its tragic nature, as it reflects the cultural phenomenon in the Korea Strait where couples, disillusioned by their inability to fulfil their love, choose to end their lives together. This narrative, akin to Japan's concept of Shinju (心中), sparked widespread speculation and controversy during that period.

Life and Career

Yun Sim-deok (윤심덕; 尹心悳), also known by her nickname Su-seon (水仙), was born on July 25, 1897, in Pyongyang and passed away on August 4, 1926. She was the second of four children in a family of musicians, with her parents serving as pastors at the Namsanjae Church. Her family included her older sister Yun Sim-seong (윤심성), a soprano, her younger brother Yun Gi-seong (윤기성), a baritone, and her younger sister Yun Seong-deok (윤성덕), who specialized in piano, highlighting the musical environment in which she was raised.

In 1907, Yun Sim-deok commenced her education at Jinnampo Private Girls' School, subsequently attending Pyongyang Soongui Girls' School and Pyongyang Girls' High School. She completed her studies at the Gyeongseong Girls' High School (京城女高普) Teachers' Training Institute in 1918. After graduation, she served as a music teacher in Wonju, Gangwon Province, for about a year before being chosen, alongside Han Ki-ju (한기주; 韓琦柱), for a government-funded program to study at the Tokyo Music School in Japan in 1919. With the assistance of Sekiya, the director of academic affairs, she enrolled in the vocal music department, supported by funds from the Japanese Government-General of Korea. While studying in Tokyo, she resided in Mokpo (木浦), and although initially classified as a special exchange student, her enrolment in the Class A Teacher’s Course (甲種師範科) indicates a shift in her aspirations towards becoming a music educator rather than solely focusing on vocal music.

Notably, Yun Sim-deok's younger sister, Yun Seong-deok (윤성덕)(1903-1968), mirrored her sister's trajectory by also entering the field of music education, eventually becoming a professor in the music department at Ewha Woman’s University. This familial connection underscores the significant impact of their upbringing on their professional paths, contributing to the broader landscape of music education in Korea during that era.

On December 19, 1920, she took part in a concert commemorating Beethoven's 150th anniversary. In 1921, while collaborating with traveling theatre groups like Dongwoohoe, which consisted of students from Tokyo, she performed solo pieces such as "Rose" and "Twilight Stream" prior to the play <Kim Yeong-il's Sa>. During this time, she developed a friendship with Kim Woo-jin (김우진) , the son of affluent Kim Seong-gyu, who was pursuing English Literature at Waseda University. This relationship reportedly evolved into a romantic one, and their subsequent mysterious disappearance sparked speculation, although their friends insisted it remained platonic.

After completing her education, she returned to Korea, having fallen in love with him. Following her music studies in 1922 and a year as an assistant teacher, she debuted as a soprano with a solo concert at the Jongno Central Youth Centre. Upon her return to Korea in June 1923, she held a vocal recital at the Janggokcheonjeong Public Hall on July 7. Although she achieved recognition through national tours and performances, she encountered financial hardships while working as a private instructor to support her family. While living as the concubine of a wealthy man named Lee, she received financial assistance that enabled her to send her younger sibling, Yun Seong-deok, to study in the United States. Eventually, she relocated to Harbin, where she embraced an independent lifestyle. Despite her acclaim for a powerful vocal ability, sustaining a career in Western classical music proved to be difficult, prompting her to shift towards pop music and acting. This transition ultimately led Yun Sim-deok (윤심덕) to become a prominent figure in Seoul's concert scene, leveraging the growing fascination with Western music.

After returning from her studies in Japan and settling in Mokpo to care for her two siblings, Kim Woo-jin (김우진) harboured ambitions of studying abroad again, motivated by the New Theatre Movement. However, he faced disappointment upon receiving a letter from her after her return from Harbin, marking their reunion during a time of heightened public interest in her shift from a musical troupe to the theatre group Towolhoe. Despite her parents' objections to her theatrical ambitions, she performed in the play Dongdo (東道) and maintained correspondence with Kim Woo-jin, who offered her financial support. Subsequently, she left Towolhoe to form a new theatre group, Baekjohoe (白鳥會), with her colleagues. When the theatre movement faced difficulties, she secretly met with Kim Woo-jin in Mokpo before traveling to Seoul, where they found comfort in each other's company until his departure for Tokyo. Later, she journeyed to Osaka (大阪) with Yun Seong-deok, who was heading to the United States for piano studies, to record for Ildong Gramophone Company, where she reunited with Kim Woo-jin once more. Among the songs she recorded for Ilchuk (日蓄) Records, accompanied by her younger brother on piano, was "死の讚美" (Death Praise Beauty).

She performed at the Yeonjeon Concert on July 20, 1923, and participated in the Gyeongseong Music Band’s Autumn Concert on October 13. Her appearances continued with the Myodong Praise Team's music competition on October 18, followed by Gyejeongsik's farewell concert on October 19, and the Yeonhui Professional Music Concert on May 11, 1924. Additionally, she took part in the Gyeongseong Medical College Music Department's concert on June 14 and the Joseon Women's Education Association's famine sympathy concert on October 18, showcasing her versatility and commitment to her craft.

During her tenure as a music instructor at Gyeongseong Normal School, she established herself as a prominent vocalist through her concert performances. In 1925, she made a significant career shift by joining the theatre company Towolhoe, where she gained further acclaim as a singer, making impactful television appearances and recording music. Her performance of "Hymn of Death" particularly struck a chord with audiences, enhancing her reputation in the entertainment industry.

After an extensive period with Towolhoe, she redirected her career towards the music sector, achieving notable success through her recordings and broadcasts. Her fame escalated with the release of "Ode to Death" by Ildong Gramophone Company, which received considerable attention with 100,000 copies containing the song were sold, especially after her premature death. Upon her return to Korea, she was celebrated as the queen of the Joseon Orchestra, although she later transitioned back to acting in 1926. Her contributions were recognized at the New Year's Music Concert by Our Boys' Association in February 1926, and her performances were highlighted in various publications, reflecting both her talent and the controversies surrounding her artistic choices.

Her journey into the world of singing commenced in Japan, where she was motivated by Lee Se-gi (이세기), the manager of the Gyeongseong branch of Osaka Ildong Records (Jevipyo), leading to the recording of eleven songs. Following the departure of her younger brother to the United States, she and Kim Woo-jin (김우진) were on their way back to Korea on August 4, 1926, aboard the ferry Tokuju Maru from Shimonoseki when they both leaped into the Genkai Sea. The Ilchukgwa Jebiyo Joseon Record features approximately 20 songs, including Western compositions such as “Net Dream” (Old Dream), “Ttanup River” (Danube River), “Maggie’s Memories,” “Smiling Laurel Flower,” and “The Boat Leaves,” all accompanied by Yun Seong-deok on piano. Unfortunately, her life took a tragic turn when she and her partner, Kim Woo-jin, ended their lives by jumping into the Genkai Sea, marking a sorrowful conclusion to her complex artistic journey.

Kim Woo-jin (김우진; 金祐鎭)

The name Kim Woo-jin may also be rendered as Kim U-jin in English translations; however, I will refer to him as Kim Woo-jin for the duration of this episode. I will not discuss his interaction with Yun Sim-deok in detail, as this topic has been covered in both the previous and subsequent sections.

Kim Woo-jin (김우진) was a significant figure in Korean literature, recognized as a playwright and theatre theorist during the Japanese colonial era, with notable works including "Shipwreck" and "Wild Boar/Pig." He was also a poet, essayist, and dramatist, distinguished as the first professional literary critic in Korea. His contributions to literature, particularly the poem "Theory of Life and Death" (1926) and the play "Wild Pig" (1926), have garnered attention.

Despite his literary accomplishments, Kim's work remained largely unacknowledged until the late 1970s, with a posthumous publication in 1983. His deep understanding of Western literature and insightful engagement with Western philosophy have since been recognized as pivotal to his legacy.

Life and Career

Cho-seong (焦星), also known as Susan (水山), was born on September 19, 1897, in Jangseong-gun. He was the son of Seong-gyu (星圭), the governor of Jangseong County, and his lineage included a grandfather who served as a ceremonial official and landowner. After completing his elementary education in Mokpo, he relocated to Japan, where he attended Kumamoto Agricultural School and later enrolled in the preparatory course at Waseda University (早稲田大学), ultimately graduating from the English Literature Department in 1924.

From an early age, he aspired to be a poet and began composing poetry during his time at Kumamoto Agricultural School. His passion for the performing arts led him to establish the Theatre Research Group, Geukye Art Association, alongside peers such as Jo Myeong-hee (조명희) and Hong Hae-seong (홍해성) in 1920. In 1921, he founded the Dongwoohoe Touring Theatre Troupe, managing performance costs and directing productions, including a translation of Dunsany's one-act play, “The Splendid Gate.” After returning to Mokpo post-graduation, he served as president of Sangseong Hapmyeong Company while producing a significant body of work, including 48 poems, five plays, and approximately 20 critiques. However, personal and societal challenges culminated in his tragic suicide on August 4, 1926, when he jumped into the Genkai Sea with soprano singer Yun Sim-deok (윤심덕).

Waseda University students in 1916

He was raised in a conservative Confucian household, yet he became deeply engaged with Western modern philosophy. Influenced by thinkers such as Nietzsche and Marx, he developed a distinct ideological framework that embraced socialism in the wake of the Russian Revolution. This intellectual journey led him to resonate with the expressionism of Strindberg and the reformist theatrical ideas of Shaw, ultimately fostering a rejection of traditional artistic conventions.

The ideological underpinnings of his works and the circumstances surrounding his suicide warrant examination. His poetry, particularly in pieces like "Death," "Theory of Life and Death," and "Theory of Death," reflects a profound denial of reality and a call for reform. Similarly, his plays reveal an autobiographical narrative intertwined with contemporary societal struggles. Notably, "The Disillusionment of Poet Du-deok" illustrates the clash between traditional and modern ethics, while "Lee Yeong-nyeo" employs naturalistic techniques to portray the harsh realities faced by the impoverished in Mokpo. His notable works, "Shipwreck" and "Wild Boar," stand as pioneering examples of expressionism in Korean literature, showcasing avant-garde experimentation during a time dominated by melodrama.

This work is notably distinguished by its profound exploration of social reform ideas and its ethereal stylistic approach. The author described this piece as his 'march of life,' imbuing it with the qualities of a clinical analysis conducted by a progressive thinker.

Bust of Kim Woo-jin at Mokpo Literature Hall.

Among his numerous insightful critiques are notable essays such as “On the So-Called Modern Theatre,” “The Story of the Free Theatre,” “The Life of Saong,” and “On Western and American Playwrights.” His critique “Seeing Artificial Humans at the Tsukiji Small Theatre” exemplifies his theatrical analysis. Furthermore, in “I Encourage Creation,” he methodically presented expressionism as the most fitting creative approach for Korean writers seeking to transcend traditional norms. His candid perspective on literature is evident in essays like “Bury the Literature of Lee Gwang-su” and “Ego-Viewed Class Literature and Critics,” where he rigorously challenged enlightenment nationalism and humanitarian ideals. In “A Word to the Korean Literature World Without the Korean Language,” he advocated for the revitalization of the pure Korean language, drawing on Western examples, and called for the establishment of a new literary framework, the creation of dictionaries, and the preservation of oral traditions, folk songs, and children’s songs. He also emphasized the need for a distinct poetic rhythm, the translation of foreign literature into Korean, and the increased accessibility of newspapers and magazines.

He was an innovative playwright who transcended the conventional literary landscape of his era, which was mired in enlightened nationalism, humanitarianism, and sentimentalism. By effectively channelling the struggles of his time into his plays, he distinguished himself as the sole playwright to directly engage with expressionism in his artistic endeavours.

Furthermore, he is recognized as a critic who contributed significant theoretical insights to the contemporary theatre and literary scene, drawing from his vast knowledge and ground-breaking critical viewpoint. Additionally, he played a crucial role as a theatre activist, being the first to spearhead the new theatre movement.

The complete works of Woojin Kim, published in 3 volumes in 2000.

A bust commemorating Kim Woo-jin is situated in the Kim Woo-jin Hall, part of the Mokpo Literature Hall established by Mokpo City.

Following their deaths, little information has emerged about Kim Woo-jin and Yun Sim-deok. Unlike Yun, who remained unmarried, Kim had a family, with his son Bang Han (방한) becoming a professor at Seoul National University. Kim Woo-jin's grave, reportedly unmarked by a body, is believed to be on Molmoe Mountain in Muan-gun, Jeollanam-do. Mokpo City later inaugurated the Mokpo Literature Hall and the Kim Woo-jin Hall to celebrate his literary contributions, alongside local figures such as Park Hwa-seong (박화성), Cha Beom-seok (차범석), and Kim Hyeon (김현). In 2000, a three-volume collection of his works was published. The legacy of Yun Sim-deok, Kim's beloved, is preserved through a faded photograph and her haunting rendition of "Praise of Death," (사의찬미) which evokes a sense of nostalgia and blurs the lines between traditional ballads and contemporary music.

Love Life

What is love? - Love is a connection between a man and a woman who share mutual feelings and enjoy each other's company.

A scene from the 1991 film [Ode to Death] starring the late actor Lim Sung-min (left) and Jang Mi-hee. 배우 고(故) 임성민(왼쪽)과 장미희 주연의 영화 [사의 찬미]의 한 장면, 1991년 작품이다.

Modern Art Pioneers Sacrificed to Convention

Artistic sympathy that emerged from trials, a relationship that goes beyond a simple affair, a catalyst for free love and popular art, leading Koreans to modernity.

The term gained popularity in Korea during the 1910s, particularly after its mention in Cho Joong-hwan's (조중환) adapted novel, "Ssangokru," (쌍옥루) which was serialized in "Maeil Shinbo" (매일신보) in 1912. Prior to this, romantic relationships were typically arranged by parents during the Joseon Dynasty. The story of Gapdol and Gap-soon, who secretly met at a watermill, illustrates how such love was often frowned upon, causing embarrassment to families and communities.

Ssangokru: Cho Jung-hwan's translated novel book cover

The emergence of modern love challenged these traditional norms, allowing individuals to take centre stage in their romantic narratives. The 1920s marked a significant shift towards free love in Joseon, fuelled by the exchange of heartfelt letters. Young lovers, caught in the throes of passion, eagerly penned love letters day and night, eagerly awaiting responses. The popularity of guides on writing love letters soared, with many considering love an essential part of life.

This surge in correspondence also played a crucial role in developing the postal system, which saw a dramatic increase in letter exchanges from just 137 in its early days to an astonishing 70 million by 1925. However, the era also witnessed tragic consequences, as the number of suicides linked to unrequited love rose sharply, capturing public attention and making headlines, especially when involving well-known figures like Yun Sim-deok and Kim Woo-jin.

Why did stars and rich people throw themselves into the sea?

The protagonists of an impossible love story, Woojin Kim and Sim-deok Yoon (right). The two ended their lives by throwing themselves into the Genkai Sea together.

At 4 a.m. on August 4, 1926, the Tokuju Maru, a ferry departing from Shimonoseki, Japan, was en route to Busan, navigating past Tsushima Island. A porter on duty noticed that the door to first-class cabin number 3 was ajar, raising his suspicions about a potential passenger wandering on deck at such an early hour. Upon entering the cabin to investigate, he discovered a letter resting atop a bag, addressed to "Po-i," which prompted him to open it.

The contents of the letter expressed an apology and a request for the will to be mailed to a registered address. Accompanying the note was a 5-won bill, seemingly a gift, alongside a suicide note indicating a desire to return home. Alarmed by the implications, the porter rushed to inform the captain, declaring an emergency. The ferry was halted, and a search ensued both inside and outside the vessel, yet no sign of the passenger from cabin number 3 could be found. It appeared she had likely taken her own life, though the exact time and location of the act remained unknown.

The cabin was left with a woman's wallet, a man's gold watch, 160 won in cash, and various personal items. To ascertain the identity of the missing passenger, the captain referred to the passenger list. The records indicated two individuals: Kim Su-san, a 30-year-old male from Bukgyo-dong, Mokpo, and Yoon Su-seon, a 30-year-old female residing at 73 Iljeong-mok, Seodaemun-jeong, Gyeongseong.

Upon the Tokuju Maru's arrival in Busan, the captain promptly notified the authorities regarding the incident. The identities of the two individuals involved were quickly uncovered. The male was identified as Kim Woo-jin (김우진;金祐鎭, 1897-1926), the eldest son of the affluent Kim Seong-gyu from Mokpo, recognized for his contributions as a playwright and theatre critic. He completed his studies in the English Department at Waseda University in Japan in 1924 and subsequently took on the role of president at Sangseong Partnership Company, which oversaw the family's assets. In line with societal norms of the era, he married at a young age and had a son and a daughter.

The female involved was none other than Yun Sim-deok (윤심덕; 尹心悳, 1897-1926), celebrated as the premier soprano of Joseon. Hailing from Pyongyang, she graduated from the education department of Gyeongseong Girls’ High School and was chosen as a government-sponsored student to study at the Tokyo Music School, returning in 1923. Her exceptional talent as a vocalist garnered significant attention, leading to television appearances and album recordings that solidified her status as a prominent singer. Her life and career were closely followed by the public, making her a notable figure of her time.

The incident in the Genkai Sea quickly captured global attention, as the media eagerly reported on the scandal involving prominent figures. The intersection of celebrity and wealth consistently draws public fascination, particularly given that the man was married. This event marked a historical moment as it was the first recorded instance of a Korean committing suicide on a ferry due to romantic despair. By August 5, major newspapers, including [Maeil Shinbo], extensively covered the story, sustaining public interest. The release of Yun Sim-deok’s album by the Nitto Gramophone Company of Japan on August 29 further amplified the media frenzy surrounding the affair.

The intrigue surrounding the affair between Yun Sim-deok and Kim Woo-jin captivated public interest. Media narratives suggested a romantic connection between the two, yet the complexities of their situation were underscored by Kim's status as a married man with familial responsibilities. Their tragic decision to end their lives together reflected a profound sense of despair, complicating the notion of their relationship, which, while classified as an affair, was deeply influenced by the societal norms of their time.

The term "new women" referred to those who had received modern education, both locally and abroad, and who often found themselves in social circles with married men like Kim Woo-jin. During this period, early marriage was prevalent, with many young men marrying before pursuing further education abroad. Reports indicated that a significant portion of male high school students were already wed, leaving their families behind to continue their studies. As these men matured, their perspectives often shifted, leading them to question the marriages arranged by their parents and seek relationships with new women.

The case of Chang-sun illustrates the societal pressures of the time. At just fifteen, he was compelled to marry under traditional customs, a decision he accepted without question due to his youth. However, as he progressed through his education, his understanding of love and relationships evolved, prompting him to reject the notion of his marriage, which he perceived as devoid of affection or mutual understanding. This transformation highlights the broader cultural shifts occurring in the 1920s, as individuals began to challenge established norms regarding marriage and personal agency.

A young married man with a wife and children meets a new woman, an 'educated woman'

Yun Sim-deok's posthumous album [Ode to Death].

Park Jun-pyo, a prominent novelist of the 1920s and 1930s, explores the psychological turmoil of a young married man enamoured with another woman in his 1924 novel, *Fate*. The protagonist, Chang-soon, departs from his hometown to pursue a degree in Literature at Gyeongseong University, where he cultivates modern ideals. He rejects the arranged marriage to Jeong-hee, as dictated by his parents, and instead aspires to a romantic relationship with Yeong-sook, an English literature student. Upon his return home after graduation, Chang-soon grapples with the desire to leave behind the constraints of traditional marriage for a progressive family life with Yeong-sook, yet the prospect of divorce looms as a source of profound distress.

The internal conflict Chang-soon faces is exacerbated by societal expectations and familial opposition. He anticipates fierce resistance from both his family and in-laws, particularly given that his wife has borne him a child. The thought of the ensuing chaos fills him with dread, as he foresees the scorn and judgment from a society steeped in ignorance. This emotional burden weighs heavily on him, leading to feelings of guilt and sorrow for both his wife, who remains unaware of his true sentiments, and the innocent child who is oblivious to the turmoil surrounding their family.

The original novels typically mirrored the prevailing values and preferences of society. In Park Jun-pyo's work, [Fate], the protagonist ultimately envisions a life of liberated love but grapples with the weight of divorce, ultimately returning to the family awaiting him. This conclusion resonates with the sentiments of the public. Conversely, those who sought to dissolve early marriages in favour of a new romantic partner faced significant societal backlash, as such choices were met with considerable disapproval.

The concerns of Kim Woo-jin and Yun Sim-deok may have stemmed from this societal context. The name 'Su-san' (水山) found on the passenger list of the Tokuju-maru was a pseudonym for Kim Woo-jin, while 'Su-seon' (水仙) was a term he affectionately used for Yun Sim-deok, indicating her closeness to him. Their relationship began in 1921 during their studies in Tokyo, where they became acquainted through a theatre company formed by the Japanese students' association, with Kim Woo-jin directing and Yun Sim-deok performing vocal solos.

The tour conducted by the Dongwoohoe throughout Joseon proved to be highly successful, spanning 14 regions over a period of 20 days. The troupe received enthusiastic receptions at each location, with their performances of plays and lectures garnering positive feedback. Notably, Yun Sim-deok's solo performance stood out, capturing significant attention. Anticipation for her return to Korea as a trained female vocalist increased, reflecting a growing global interest in her artistry.

Kim Woo-jin developed feelings for a female peer of his age, characterized by his composed and gentle demeanour. In contrast, Yoon Sim-deok's vivacious and generous nature earned her the affectionate nickname 'Wal-nyeo.' She frequently visited Kim Woo-jin's boarding house in Tokyo, engaging in discussions about music and literature while sharing profound personal narratives. This exchange fostered a deep bond of trust and affection between them, transcending the conventional boundaries of a mere romantic affair.

In the summer of 1922, Yun Sim-deok completed her studies at the Tokyo Music School and began to earnestly pursue a career as a vocalist. The journey of pioneers is often fraught with challenges, particularly in the realm of vocal music, which was not yet widely recognized in Joseon. The prospects of sustaining a livelihood as a soprano were bleak. To support her in this formidable endeavour, Kim Woo-jin (김우진) extended an invitation to Yun Sim-deok (윤심덕) while she was in her hometown of Pyongyang. He was vacationing in Mokpo and proposed that she come to perform at a family concert.

The invitation from Kim Woo-jin included train tickets for Yun Sim-deok and her two younger siblings. Her sister, Yun Seong-deok, was studying piano at Ewha Haktang, while her brother, Yun Gi-seong, was pursuing vocal music at Yonhui College. Although the prospect of performing might have felt overwhelming, the familial context of the concert alleviated some of her anxiety. Accepting the invitation, Yun Sim-deok travelled to the residence of Mokpo's wealthiest individual, where she showcased both Western and vocal music. During this visit, she also had the opportunity to meet Kim Woo-jin's family, including his parents, siblings, wife, and children.

A perverse interest in new and unfamiliar stars

Photo 1 - Yun Sim-deok (front row, right, wearing white) during her time at Ueno Music School in Tokyo. Photo 2 – What Ueno Music School looks like now.

Yun Sim-deok returned to her studies in vocal music for an additional year before making her way back to Korea in May 1923, marking the beginning of her journey as a soprano. At that time, the landscape of female vocalists in Joseon was sparse, particularly following the departure of Im Bae-se to the United States. The concept of a soprano was largely unfamiliar to the public, resulting in limited recognition and audiences for her performances. Initially, she took on a part-time lecturing role at Gyeongseong Girls’ High School, biding her time for the opportunity to perform on a concert stage.

An opportunity soon presented itself, leading to Yun Sim-deok's debut on June 26 at the third anniversary concert of the Dong-A Women's Association, thus launching her career as a soprano. While Im Bae-se was noted for her "voice like a cuckoo," Yun Sim-deok (윤심덕) captivated audiences with her unique sound, described as "the sound of beads rolling on a jade tray." Her popularity surged, and she became a frequent performer in the Gyeongseong area, gracing the stage three to four times a month. She received accolades such as "a first-class vocalist who intoxicates audiences" and was celebrated as "Joseon's best vocal group."

Despite the nature of the event being a concert, the compensation she received was minimal. Yun Sim-deok's financial circumstances were deteriorating, particularly after her parents relocated from Pyongyang to Gyeongseong in early 1924, merging their household with hers. This shift placed the burden of supporting her family, including her younger siblings, squarely on her shoulders. Her earnings from performances were insufficient for this responsibility, prompting her to seek additional income through private tutoring, yet the demands proved overwhelming.

Compounding her struggles was the negative scrutiny she faced from the public. Critics targeted her vibrant demeanour and physical appearance, expressing discomfort with her tall and slender figure. As a figure of novelty, Yun Sim-deok encountered resistance from a society that often recoils from the unfamiliar. With her rising fame came an increase in gossip and personal attacks, illustrating the paradox of public admiration intertwined with harsh judgment.

Yun Sim-deok's narrative of romantic freedom soon faced significant scrutiny. Her involvement with composer Hong Nan-pa, the rejection of musician Chae Dong-seon's affections, and the tragic demise of writer Park Jeong-sik due to unrequited love fuelled a torrent of gossip. In an era when even unfounded rumours were readily disseminated by the press, the escalating scandal tarnished the public perception of female vocalists, marking the onset of a societal witch hunt against them.

Amidst the turmoil, Kim Woo-jin emerged as a source of solace for Yun Sim-deok. A graduate of Waseda University’s English Literature Department in the summer of 1924, he returned to his hometown of Mokpo with aspirations to transcend traditional literature and establish Western modern drama in Joseon. However, his ambitions were met with resistance from his father, Kim Seong-gyu (김성규) , a prominent figure who had held various magistrate positions and amassed considerable wealth, expecting his son to inherit the family legacy.

Conforming to his parents' expectations, Kim Woo-jin assumed the presidency of Sangseong Partnership Company, which managed the family's assets. While others may have envied his position, he found it stifling. His wife, the daughter of a Confucian scholar, struggled to comprehend his desire to abandon the family business for a career in theatre, leaving him increasingly isolated. This emotional distance intensified his yearning for Yun Sim-deok, as their relationship flourished amidst the challenges they faced, rooted in a shared artistic vision and a mutual rejection of societal constraints.

Art and love served as a revitalizing force in their otherwise desolate lives, yet they remained powerless against the rigid traditions of Joseon, a society deeply entrenched in its customs, particularly regarding foreigners. The more they endeavoured to resist external influences, the more they found themselves ensnared by the harsh realities that plagued the early proponents of modern art, who faced relentless challenges from all directions.

In early 1925, it was rumoured that Yun Sim-deok had become the mistress of the affluent Lee Yong-mun (이용문) from Gyeongseong. Her visits to his residence, ostensibly for financial assistance to support her brother Yun Gi-seong's (윤기성) education in the United States, led to scandalous gossip. The rumours proliferated rapidly, with the elite mocking her, claiming she masqueraded as an artist while compromising her integrity for monetary gain. They suggested that wealth blurred the lines between a wife and a concubine, reducing her to a mere servant who performed for the entertainment of wealthy patrons.

Critics condemned Yun's recent behaviour, asserting that regardless of one's profession—be it artist, entrepreneur, or homemaker—one should uphold a respectable image. They urged her to embrace a virtuous life, especially with whispers of her potential departure abroad. The sentiment expressed in the publication 'On the Yun Sim-deok Incident' in March 1925 reflected a broader societal expectation that her artistic pursuits should not come at the cost of her dignity and reputation.

The rain shower is currently best avoided. Yun Sim-deok, wrongfully accused of witchcraft, embarked on a solitary journey to Harbin, where Pastor Bae Hyeong-sik, a figure she had admired since childhood, was engaged in missionary work and the independence movement. For six months, she severed all ties and lived in seclusion at Pastor Bae’s residence. It was only upon receiving a telegram informing her of her older sister Yun Sim-seong’s husband’s death that she decided to return to Gyeongseong.

Resuming her activities as a vocalist proved challenging. Yun Sim-deok participated in a radio broadcast being trailed by the Post Office of the Government-General, where she sang, recited poetry, and hosted segments, despite the fact that Korea's first Gyeongseong Broadcasting Station had yet to officially launch. Additionally, she received an invitation to record a gramophone record featuring popular songs. Setting aside her pride as a vocalist trained abroad with government support, Yun Sim-deok embraced the role of a popular singer, a position that had previously been regarded with disdain.

Hurt by the scandal, he tried to become a stage actor

The Genkai Sea as seen from Nagoya Castle, Japan.

During the early 20th century, gisaeng were prominent figures in the entertainment industry, engaging in television appearances and album recordings. The establishment of the Gyeongseong Broadcasting Station in February 1927 marked a significant development, as it initially employed around 100 gisaengs, thereby laying a crucial foundation for the broadcasting landscape. The Japan Gramophone Company released the first album featuring popular songs in 1925, with gisaengs like Kim San-wol (김산월) and Do Wol-saek (도월색) traveling to Japan to record notable tracks such as “This Windy World,” “Sided Bangcho,” and “Jang Han-mong-ga.” However, some gisaengs resisted the allure of fame, expressing their reluctance to participate in what they perceived as a demeaning spectacle.

The cultural landscape underwent a radical shift in 1926 when Yun Sim-deok joined the Towolhoe Theatre Company as an actress, following a suggestion from Kim Woo-jin. His critique, influenced by Strindberg, posited that expressionism aptly captured the dire social realities of Joseon, advocating for a new theatrical movement focused on smaller venues. By aligning herself with the Towolhoe Theatre Company, which championed modern theatre, Yun Sim-deok aimed to contribute to the evolution of Joseon’s artistic expression through innovative performances that resonated with contemporary societal issues.

Despite facing vehement opposition from her family, who viewed acting as a disreputable profession, Yun Sim-deok remained resolute in her aspirations. She left her home and took refuge in a Japanese inn located in Samjeong-mok, Hwanggeumjeong (Euljiro), where she dedicated herself to honing her acting skills. In a statement to the press, she described her journey as "a bold step to become something in a corner of the newly built Joseon Art Hall with all her might," reflecting her commitment to pursuing her artistic ambitions despite societal constraints.

The actress faced significant challenges throughout her career. The adaptation of the American film "East Road," titled "Dongdo," failed to resonate with audiences, primarily due to Yun Sim-deok's insufficient acting abilities. Although her vocal talent was evident in the opera "Carmen," the production struggled to gain popularity, as it overly depended on her performance. Additionally, the Towolhoe, which sought commercial success, encountered internal conflicts that ultimately led to its disbandment shortly after its release.

The disappointment of her ambitious endeavours, which included sacrificing her familial ties, plunged her into a state of despair. After achieving fame as a singer, she faced renewed criticism stemming from her unsuccessful theatrical pursuits. Yoon Sim-deok shared her anguish with Kim Woo-jin, who felt a profound sense of helplessness and guilt for her suffering, stemming from his conventional advice. This overwhelming burden of responsibility and self-reproach culminated in a tragic decision, as reflected in Kim Woo-jin’s poignant final poem.

Life running through the vast wilderness… 'Praise of Death' syndrome

The paradox of human sentiment is evident in the way individuals often express disdain for the living, only to venerate them posthumously, as if anticipating a resurrection. This phenomenon was notably illustrated in the Genkai-tan Jeongsa incident, where public criticism of Yun Sim-deok ultimately contributed to her demise, yet the same public later mourned her loss and celebrated her legacy through music.

On July 17, 1926, Yun Sim-deok departed from Gyeongseong en route to Osaka, where she intended to record an album with the Nitto Gramophone Company. Accompanied by her younger sister, Yun Seong-deok, who was preparing for studies in the United States, they swiftly progressed through the recording sessions. Upon completion, Yun Sim-deok reached out to Kim Woo-jin in Tokyo via telegram, inviting him to join her in Osaka, marking a moment where both individuals appeared to be reconciling their lives.

Kim Woo-jincompleted his play 'Wild Pig,' inspired by Donghak, after finishing 'The Disillusionment of Poet Du-deok' and 'The Shipwreck.' He had previously composed a will intended for his wife. Meanwhile, Yun Sim-deok crafted the lyrics for 'Hymn of Death,' set to Ivanovich's instrumental music. Despite the president of Nitto Records expressing concerns about the song's sentimental nature, additional recording took place at her persistent request. It is likely that Yun Sim-deok intended 'Hymn of Death' as a form of farewell.

The lyrics reflect a profound existential inquiry: "Life running through the vast wilderness / What are you looking for? / No matter this world or that, this whole life / I hate money, fame, and love." This introspective sentiment underscores the emotional weight of her work, suggesting a deeper commentary on the human condition and societal values.

On August 4, 1926, the Genkai Sea incident captured significant media attention, leading to the release of Yun Sim-deok's posthumous album on August 29. The timing was remarkable, as the album, titled [Ode to Death], resonated with the dramatic events surrounding it, resulting in sales of 100,000 copies—an unprecedented figure at the time. This phenomenon contributed to the establishment of a domestic record market, with phonographs selling rapidly despite their high cost, prompting the opening of stores by Viktor Records and Columbia in Seoul the following year.

The enduring legacy of Yun Sim-deok and Kim Woo-jin remains significant, even as time progresses. Years later, reports surfaced of a sighting of the pair in Rome, prompting Kim Woo-jin’s family to seek validation from the Governor-General regarding the credibility of these claims. In contrast, Yun Sim-deok’s family exhibited a somewhat different response, as articulated by her younger sister, Yun Seong-deok, who was abroad in the United States via Japan during the events in question.

Yun Seong-deok asserted that her family had never declared her sister deceased, attributing such notions to societal gossip. She expressed confusion over the preoccupation with the living or the dead, emphasizing that the judgments of Joseon society often oscillated between praise and criticism of others. This perspective highlights the societal tendency to speculate on the fates of individuals, particularly those in the public eye.

The accounts of sightings in Rome may reflect a romanticized narrative rather than reality, suggesting that Yun Sim-deok (윤심덕) and Kim Woo-jin (김우진) may have perished in the Genkai Sea. While their love was genuine, it was their shared artistic vision that ultimately led to their tragic end. The cultural context of 1926, marked by Yun Sim-deok’s poignant song "Ode to Death" and the screening of Na Un-gyu’s film "Arirang," illustrates the intersection of modernity and popular art in Korea, underscoring the emotional turmoil experienced by these two figures in the realm of modern art.

The next episode will explore the continuation of Yun Sim-deok's narrative, focusing on the events following her death and the impact of her music. Stay tuned for its upcoming release.

#history #korean history #Music history #korean music history #korea #south korea #10s #20s #photography #Yun Sim-deok #Kim Woo-jin #the hymn of death #Praise of death

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anqelsweep · 3 months ago

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CAN I DREAM A FEW MONTHS MORE?

The members of the Song family have always held an air of sadness around them; not having a sense of belonging or being able to feel love towards others. All members carry the weight of the others.

warnings. death, death via shooting, neglect, bullying, isolation, alludes to poor mental health & divorce. if i missed anything please let me know!!

DANIEL SONG.

Given Name. Daniel Melnik-Song

Birth Name. Song Sungsoo 송성수

Date of Birth. April 21, 1959

Zodiac Signs. Taurus & Pig

Date of Death. September 8, 1992 ( 33 )

Place of Birth. Seoul, South Korea

Home Town. Flushing, Queens, New York, New York

Ethnicity. South Korean

Nationality. Korean-American

Height. 180cm ( 5’11” )

Face Claim. none

Birthed and abandoned in Seoul, South Korea, Daniel was born Song Sangsoo to an unknown couple on April 21, 1959. He was adopted in October 1961 and became the youngest and only boy to Aleksie Melnik and Diana Melnik-Martins. Daniel had three older sisters, Sonya, Aaliyah and Josie.

He grew up in Flushing, New York, and had a relatively good life. He graduated from Flushing High School in 1977 and immediately joined the US Marine Corps, and was stationed at Camp Henry, located in Daegu, South Korea in 1978. While at Camp Henry, he met and married Yoon Shinae, a newly graduated college student. The couple married in January 1980. The newly married couple moved from Seoul to California in June of 1980. After the birth of their second daughter, Daniel and Shinae moved them back to South Korea; taking up residence in Dobong-gu.

In 1992, Daniel was fatally shot outside a bar in Seoul, South Korea. The suspect fled and was later arrested for the shooting.

YOON SHINAE.

Given Name. Yoon Shinae 윤신애

Date of Birth. October 3, 1960

Zodiac Signs. Libra & Rat

Place of Birth. Daegu, South Korea

Home Town. Daegu, South Korea

Ethnicity. South Korean

Nationality. South Korean

Height. 168 cm ( 5’6” )

Face Claim. bae doona

Yoon Shinae was born and raised to Farmers in Daegu, South Korea, as their second child and only daughter. Shinae has one older brother named Si-hyuk. Growing up, and into early adulthood, Shinae was put aside in favor of her brother; Si-hyuk being labeled a chess and janggi prodigy. While Shinae in her own right had prodigy-like talents in the art of painting, her talent was not as impressive to her parents.

Despite the lack of support from her parents and older brother, Shinae went on to thrive academically, graduating at the top of her class and being accepted into one of Korea’s top universities, Korea University; however, she would attend Ewha Women’s University. She graduated from said college with a Bachelor's in Literature. In 1979, she met US Marine Daniel Melnik-Song. They only dated for about a year when they married.

In 1992, Daniel was fatally shot outside a bar in Seoul, South Korea. After his death, Shinae was left alone to take care of an eleven-year-old girl and a barely one-year-old baby. The woman would be forced to take up several jobs to keep them afloat; having both her education job and working part-time at a restaurant. In the Winter of ‘94, Shinae married again, this time to a therapist named Lee Gi-ung. The couple welcomed a baby boy in March of 1995, naming him Lee Namil. Sadly, they would file for divorce before the child’s baegil.

Two decades after receiving her degree, Shinae finally began working as a full-time teacher at a high school in Suwon, thirty minutes outside Seoul.

SONG EUNJOO.

Given Name. Natalia Song

Korean Name. Song Eunjoo 송은주

Date of Birth. August 28, 1981

Zodiac Signs. Virgo & Rooster

Place of Birth. Sacramento, California

Home Town. Seoul, South Korea

Ethnicity. South Korean

Nationality. Korean-American

Height. 161cm ( 5’3” )

Face Claim. Song Hye Kyo

Song Eunjoo, born Natalia Eunjoo Song, came into the world on August 29, 1981, becoming the oldest child of Shinae and Daniel. She was born in Sacramento, California in Mercy General Hospital.

Eunjoo spent much of her childhood either playing in the streets of her hometown or at after-school clubs and cram schools, taking a special interest in science in her elementary school years.

Along with her family - which now included her baby sister Judith, Eunjoo moved from Sacramento to Seoul, South Korea when she was 10. The move was hard on Eunjoo, moving so far away from her friends took a toll on her. In addition, she barely knew Korean and had trouble assimilating into her new school. She’d barely talk to anyone in school — out of school too, she focused on her science research.

According to Eunjoo, she was bullied up until high school;

“I had things spilled on me, I would buy kids snacks so they wouldn’t hit me. Sometimes, I’d spend my day in the nurse's office. I wasn't good at Korean and my family problems were well-known around our neighborhood. I don’t know what changed but in high school, it all stopped.”

Her struggles with adjusting to her new environment were made even more difficult after the sudden death of her father in 1992. She isolated herself even more from her teachers and classmates; which she admitted made the bullying worse. After her dad’s death, Eunjoo was forced to take a parental role to her sister, she spent her time taking care of Judy or studying.

Eunjoo graduated early from high school in her Sophomore year. Despite having scholarships from several universities she rejected them all in favor of helping her mother support the family; which now had one more member (her half-brother Namil). However, she didn’t have to worry about her little brother, his father having primary custody of him.

At 25, Eunjoo began her college career. She attended the University of Kragujevac in Serbia, graduating in 2011, at the age of 30. Eunjoo worked at an undisclosed law firm in Serbia from 2012 to 2016 before moving back to Seoul in 2017 and becoming a professor at Dongguk University.

LEE NAMIL.

Given Name. Lee Namil 이남일

Date of Birth. March 28, 1995

Zodiac Signs. Aries & Pig

Place of Birth. Seoul, South Korea

Home Town. Busan, South Korea

Ethnicity. South Korean

Nationality. South Korean

Height. 182 cm ( 6’0″ )

Face Claim. yang sejong

Lee Namil was born the only son and youngest child to Yoon Shinae and the third son to Lee Gi-ung. Outside of his sister, Namil has three older siblings; two brothers one sister, and two younger siblings; a set of twin girls. In contrast to Eunjoo and Namjoo, he had a fairly peaceful life. He grew up in Busan. From a young age, he had a keen interest in sports, influenced by his oldest brother’s passion for track and field. His interest was in Tennis.

Much of Namil’s early years were spent playing tennis or working part-time at his step-mother’s restaurant. Academically, Namil did the bare minimum; only doing so much so he could stay a part of his high school’s tennis team. At graduation, he nearly flunked.

After high school, Namil spent a year working for his stepmother before enlisting and completing his mandatory military service.

After his military service ended, Namil began to focus on his professional tennis career; competing in any tournament he could. He made his official debut at the French Open in 2019, losing in the 3rd round. He later competed in the Wimbledon Championships, making it to the quarterfinals before withdrawing out. Namil has had an extremely successful tennis career. He nearly qualified to represent South Korea in the 2024 Olympics.

#⠀⸺ 𝜗𝜚 the anatomy of melancholy … ❛ extras ❜#⠀⸺ 𝜗𝜚 the anatomy of melancholy … ❛ judith song ❜#ficnetfairy #fictional idol soloist #fictional idol community #fictional kpop community #fictional kpop idol #idol au #idol oc #idolverse #kpop au #kpop idol oc

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ariasmontage · 6 months ago

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Ewha Womans' University

(yes, that's how they write it.)

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friendswithclay · 2 years ago

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“Black-brown glazed stoneware bottles” Goryeo 12th-13thc., Ewha Womans University Museum

Instagram/friendswithclay

#friendswithclay #pottery #Korea

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atzjieun · 3 months ago

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Can I learn more about campus crush in the iceberg pls?

of course!

campus crush: in 2022, an anonymous netizen posted to an online forum describing their experience with a girl in ewha university. they described the girl as a quiet but smart student in the business department who many students had a crush on. she would often receive notes and phone numbers, but always declined any confessions or offers to study together. apparently, she was so popular that some students from other universities would come to visit just to see her.

more students came forward with their own experiences, and netizens were able to identify “ewha’s campus crush” as jieun after some people posted photos of her in class. this was how the public found out that jieun was even in university, and jieun confirmed that she had been taking business classes at ewha a few days later.

iceberg ask game

#jieun.trivia #jieun.iceberg #kpop oc idol #fictional kpop idol #fake kpop oc #kpop oc addition #fictional kpop oc #fake kpop idol #ateez addition #9th member of ateez #ateez 9th member #ateez imagines #kpop addition #asks #anon

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nct-kiss · 5 months ago

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KIM HANUEL

( face claim: ningning of aespa ) ( voice claim: iu )

Stage Name: Hanuel

Birth Name: Kim Hanuel

Nationality: Korean

Position: Main Vocalist

Birthday: February 24th, 2000

Zodiac Sign: Pisces

Height: 160 cm (5'2'')

Weight: 49 kg (108 lbs)

Blood Type: O

Representative Emoji: 🐮

Instagram: k.hansky

HANUEL FACTS

She was born in Busan, South Korea.

She was raised by her grandparents in Hadong-gun.

She has two older sisters.

Her English name is Skylar.

Education: Hadong Elementary School and School Of Performing Arts.

Nicknamed: Skies, Skis, Hanhan, Nuellie, Sky, Cowski.

Motto: Be the change you wish to see in the world.

She's currently pursing an undergraduate degree in Cyber Security at Ewha Woman's University.

She said in an interview that her grandparents were very against her being an idol.

She has an obesseion with Mike Wazowski from Monsters Inc.

Her grandparents filed a missing person's report when she went to audition in Seoul without telling anyone.

She used to work at a chicken shop while auditioning for companies.

She said the hardest time of her life was when her grandmother refused to speak to her for months when she went to Seoul, though she says they are on good terms now.

She has two pet cows called Dim and Sum, who she's raised since they were born.

The KISS members say that Hanuel is the hardest worker amongst them.

She's voted the most likely to get up earliest in the morning.

Haechan once bribed Hanuel with pizza into being friends with him again after he made her mad as trainees.

Jaemin claims that Haechan and Hanuel used to fight by singing and trying to make each other go deaf by singing high notes during SM ROOKIES.

Her favorite colour is sage green and sky blue.

She bought her grandparents a karaoke machine with her first pay check.

The KISS members said Hanuel's childhood room is very pink and cute.

She can speak Korean and English.

Her Favorite artist is Ailee and Little Mix.

She said she learned English through the cartoon show 'Winx'.

She has a birth mark under her ear that looks like a star.

She said that she likes resting and watching Studio Ghilbi movies in her free time.

She has a cow tattoo on her wrist that her grandfather had drawn for her.

She made her solo debut on April 1st 2020, with the single 'Like Water'.

She was gifted her dream car ( Mazda MX-5 Miata) by the KISS members when she finally got her license in 2020.

Hanuel and Jaemin got into a dating scandal in 2018 and SM Ent. denied the allegations until late 2021 when they got into a second scandal and they finally issued a statement confirming the relationship.

Jaemin and Hanuel moved out of the dorms together and started living together along with their pet cats, Luna, Luke and Lucy.

She loves fruit juices, especially mango and pineapple.

taglist: @mosviqu @colourlikechampagne

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dosoguan · 9 months ago

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Esercizi a tutto spiano 🛣️ ▶ per il Coreano 🇰🇷 di livello A1 - A2 ! 🎯*Assimila ⚙️ e Verifica quanto Appreso✍️ ↪ Nello studio della Grammatica del Livello Beginner ✅ ! Esercitati con una Moltitudine di Test 📈 .. ●

🔴 Graduated Exercises for the Elementary Level of the Korean Language ▷ View and Use Naturally the Korean Sentence Patterns 📌in Context! 🌟 A Lot Of Study Material 📖 ✍️ for Beginners ✎💬 …

#study korean #corea del sud #lingue straniere #libri #lingua coreana #korean language #korean books #ewha university #ttmik

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everythingateez · 1 year ago

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ATEEZ as your boyfriend: Wooyoung

How you met (cw: drinking, drunk, disguise, unsafe desicions, mentions of kidnapping, jokbal)

It was your first day as an exchange student in Seoul, South Korea at Ewha Womens University. It was your parents idea for you to study here, not yours, and so they shipped you off.

You had just finished packing out all your stuff in your dorm room, and you were heading out for a late lunch. After a long travel, all you wanted was a warm meal and to go home and take a nap. You sat down at a small, but cozy restaurant, and order some jokbal and rice. The only other people at the restaurant was a group of 8 boys. You didn't mind them, and instead just played games on your phone untill your food arrived. The meal looked delicious, and you started digging in.

Suddenly, you felt a tap on your shoulder. You looked over your right should, but no one was there. Confused, you looked the other way, and there stood a charismatic boy. He said something, but you couldn't hear him because of your headphones.

"Excuse me?" you said.

With a cheeky smile, he leaned down on your table, towering over you sitting down.

"Are you here alone?" he said, spinning a lollipop in his mouth.

"Yes?" you said again, just as confused as before.

The mysterious man looked back and gave the now group of 7 boys a little nod, before looking back on you.

"Is the seat free?" he said, gesturing with his head to the seat opposite you.

You nodded, and only a second after he was sat down. He grabbed a piece of your jokbal and popped it in his mouth, before talking again.

"Me and my bros noticed you sitting here all alone, and thought you needed some company. I drew the short straw, unfortunately."

His smirk told you he was teasing you, and you surprisingly liked it a little, even though he is a completed stranger.

"And what if I wanted to be alone?" you challenge him.

"Well, then you should have told me the seat was occupied. Besides, you are stuck with me now. What's your name?" he said, leaning back with his hands behind his head.

"It's y/n. Am I allowed to know yours aswell, seeing as I am stuck with you and everything?" you said, raising an eyebrow.

"No, but you can get my number, and learn next time we see each other." he said, before reaching into his pocket and pulling out a note with his number scribbled on. You grab it, before he stands back up and pops the lollipop back into his mouth.

"See ya y/n." he said, before walking off. It's only then you realise the other 7 boys had also left the restaurant, and it's only you alone.

After the restaurant, you had taken a fat nap, and when you woke up the next day, the incident with the mysterious and confident man had left your mind.

For the next days you kept shopping all the items you needed, and signed up for all your classes. It was only the next friday, when you found the note he gave you in the bottom of your purse, you remember him. You were gonna throw ut away, but you thought fuck it, I don't have any plans this weekend anyways, and you called him instead. You decided to meet at a nearby soju bar hidden away in a alleyway. 'Oh well' you thought to yourself, 'let's do it for the plot.'

You stood outside the soju bar, nervous. It was in such a weird and obscure alleyway, you were 50% convinced you were gonna get kidnapped. Then you saw the mystery man walking towards you, wearing a beanie, face mask and big hoodie. You gave him a wave, and he pulled his mask down to his chin.

"Y/n! I thought you'd forgotten about me." He was about to enter the bar, but you put your hand on his chest to stop him.

"Nu-uh! I'm not stepping foot into this establishment before you tell me your name." A chuckled left the man, before he put his arm around your shoulder.

"I'm Wooyoung." he said cheekly, before walking into the bar together.

You two got really drunk that night. Wooyoung kept ordering everything you were looking at after learning this was your first time in Korea. He was a lightweight, and you easily drank double what he did, which really impressed him. He payed for it all, and promised to call you up.

Dating (cw: fighting, screaming, mentions if kidnapping, kiss, secret relationship, secrets, womens only university, sneaking in)

Your second date was a picnic, which Wooyoung insisted you had far, far into the forest where no one else ever went. The third date was a midnight drive in the country side where no other cars were driving. You found it strange he went out of his way for you two not to be seen together, and you initally thought he was ashamed of you.

After dropping you off at your dorm after your forth date, he grabbed your upper arm after you had said your initial goodbyes.

"Huh? What's up? Is anything wr-" you started saying turning around, before he put his hand over your mouth and dragged you closed with a hand on your back, muffling the end of the sentance. 'This is it,' you thought 'this is when I get kidnapped.' You didn't have time to react, before he removed his hand from your mouth and kissed you. Happy you weren't getting kidnapped, you kissed him back, sharing your first kiss.

After two months of dating, Wooyoung was hanging out in your dorm. He had snuck into the building, since it was a women's only university. He was just using the shower when notifications started blowing up his phone. You are not typically that person, but you were worried, so you started reading the messages. They were all from the other 7 boys from the inital restaurant day, as you have learned of Wooyoung's buddies since then. The group chat was called "ATEEZ", whatever that means, and the messages was confusing. They were freaking out over a music video shoot delay due to injuries, and the promotions would have to be postponed. Music video? Promotions? This made no sense to you.

When Wooyoung exited the shower, you were stood there with his phone in your hand. You had done alot of snooping since.

"Explain." you said plainly.

"y/n.." Wooyoung started.

"Don't y/n me! Explain to me how a double ganger of you are in a super famous boy group called ATEEZ and you never told me!" you screamed.

That was your first fight. Wooyoung had wanted you to fall for him, and not his fame, and that's why he kept the secret. After that, he promised you to always tell you the truth.

The Relationship

- The ATEEZ boys became like brothers for you, when you started hanging out with them and Wooyoung together.

- Wooyoung is a cheeky and naughty boy, and he would play pranks on you all the time.

- He would always take you to remote and quiet places for dates, to avoid the publics eye. You liked it anywas, because it gave you more privacy.

- He likes spending money on you, and would take you on expensive shopping trips, just cause he can.

- He insist on rubbing sunscreen on you every day, even if you don't really need it.

- Whenever you stay at each other's dorms, he insists on making you his "specialty woowoo coffee". It tastes disgusting, but you don't have the heart to tell him that, so you drink it really fast, making him believe you love it.

- He loves collecting stones he sees while touring, so he can give them to you

- Send you updates on snapchat when he's busy with promitions, and he always uses a silly filter

- Loves taking care of your feet, and will massage them, smoother them with shea butter, cut the nails and give you pedicures

- Calls you princess, sugar drop and woo's babygirl

- Insists on showering with you ever time

- Will not do any public PDA in fear of dating rumours, not because he cares about his own reputation, but because he don't want you to be cancelled and hated on

- Brings an umbrella to all dates, so you dont get wet from rain and dont get sun burned

- Will wash you clothes if you leave them at his dorm for the price that you are not allowed to bring them back home

- "these are woowoo priced posessions now y/n"

- Loves scaring you, and will place cameras recording every time he does

- Always keeps an Aloe Vera plant in his room, in case you get sunburnt

- Let's you come and sit in the dance room during comeback preperations, so you can spend more time together

- After 6 months of dating, you guys finally get down dirty

- The next time you meet him after, he has got you matching promise rings

- Makes spotify playlists and send you when he is abroad with ATEEZ

- When he goes out drinking with the boys, he always brings back a keychain he won at the arcade for you drunk.

- He tried to get you a job at KQ so you would stay together at all times, but you had to remind him you are here as a student

- He is clingy, cute, and will pull out his aegyo when it's only you two

- Very considerate of your feelings, and he never kept a secret again! He even told you things that were maybe a bit too honest, like the time he called your dolphin shirt ugly.

NSFW (cw: sex, roleplay, male!succubus, sub/dom, beast, involentary abstinence, licking, shower fucks, sex toys, dildo in pussy)

- It took 6 months for him to fuck you because right after you figured out he was an ATEEZ member, he left for tour abroad. He didn't wanna fuck you before, as he felt he wasn't giving you 100% the truth. When he came back, there was always something going wrong. When he finally got to claim you as his, it was paradise.

- He needs you to be submissive and take it as the good girl you are

- Male!succubus roleplay

- He loves licking all your crevices, there is no areas off limits.

- Banana flavoured condoms are a must!

- He lets out his inner beast if you try to take control, he wants you to stay as his pillow princess forever

- He growls uncontrollably when he cums, you guys get voice complaints from the other ATEEZ members regularly

- After he's fucked you good, he prefers that you don't take a shower for a day or two, so he can keep your sweet freshly- fucked aromas around him for as long as possible

- After meeting you, he's bought a collection of toys that he keeps in a shoe box under his bed. To make your sessions last longer, he will switch between toy action and his cock, teasing and edging you for as long as possible. He loves it when you begs and whimpers for him.

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berealit · 7 months ago

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April 2, 2024.

Descansou sobre a mesa de estudos uma xícara branca e grande, cheia até em cima com chá preparado com folhas de maracujá e hortelã. Seu final de semana havia sido agitado, sua segunda-feira havia sido como o mar que visitara no final de semana e quanto a sua terça-feira, exaustiva; havia se dado conta de que a semana realmente havia começado. Pegou seu celular e, como de praxe, deu play no que gostaria de ouvir. Estava presa no clássico R&B dos anos 90, então começaria o monólogo do dia ao som de Weak do grupo SWV. Colocou um novo microSD no gravador e deu início ao seu diário falado.

— Gravação do dia dois de abril de dois mil e vinte e quatro.

Respirou fundo, bebendo um farto gole do chá antes de prosseguir, apoiou as pernas sobre a mesa de estudos, se recostando na cadeira.

— Os últimos dias foram encantadores. Estar em Busan em dois mil e vinte e três não costumava ser a melhor coisa do mundo, apesar de amar viver com minha avó, me acostumei a morar longe e para mim, era como se aquele não fosse meu lar ainda... Entretanto, pisar lá esse final de semana foi como respirar ar puro e me trouxe paz, acho que precisava de um colo também e, estar com minha avó me trouxe essa privilegiada sensação.

Balançou seus pés pensativa, bebeu mais um gole do chá, que estava sem qualquer adição de açúcar.

— Minha vó amou as meninas e disse que ganhou mais cinco netas. Devo admitir que fiquei com um pouco de ciúmes. Cozinhamos juntas, passeamos, fomos a praia, vimos algumas fotos de quando eu era criança, enfim... Nossa programação foi bem enriquecida. Posso dizer que foi um presente de aniversário antecipado com uma bagagem emocional gigantesca.

Franziu o cenho por alguns segundos, olhando a tela do celular para se lembrar de qual música se tratava.

— Oh! Waterfalls, TLC. R&B dos anos 90 realmente está com tudo por aqui. Continuando! Não lembro onde parei.

Olhou para o teto, ajeitando os óculos em seu rosto. Semicerrou os olhos e fixou o olhar na parede.

— Enfim! Estou pensando em comprar um carro. Talvez eu esteja dando passos maiores do que minhas pernas, financiar um carro agora é arriscado, não seria caso eu não fosse tão orgulhosa e aceitasse um de meus tios como presente de vinte e dois anos. Mas eu queria, de verdade, conquistar cada pequenino passo da minha vida sozinha, sem nenhum empurrão. Orgulho demais da minha parte ou apenas um desejo interno natural? Fica o questionamento.

Desceu as pernas da mesa para se levantar da cadeira e alongar-se, estava sentada há alguns minutos e sequer havia conseguido revisar conteúdos necessários. Esticou os braços para cima e fechou os olhos, estalando a própria coluna.

— Woaaah! Amo isso. Acho que não tenho muito para contar no momento. Apenas me sinto feliz, revigorada e cheia de pensamentos pensantes. Meta semanal? Ir a um karaokê novamente, comemorar meu aniversário sem fugir dos parabéns, tomar coragem de terminar meu dorama favorito que está na reta final, colocar meus estudos em dia e... Sei lá. Dançar na chuva?! Eu gostaria de dançar na chuva. E tirar minha maquiagem, não posso dormir assim. Acho que é isso por hoje, meu caro gravador. Fico por aqui!

Fez um sinal de continência, como um soldado, seguido de uma piscadela que absolutamente ninguém iria ver. Desligou a gravação, finalizando-a ao som de Creep, também de TLC. Agora, faria sua rotina noturna de sempre, remoção de maquiagem, skincare e um bom banho quente antes de cair na cama para sentir os efeitos proporcionados pelo chá.

ᅟᅟ

#ewha womans university #pharmacy

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beardedmrbean · 24 days ago

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North Korea confirmed Thursday that its recently revised constitution defines South Korea as “a hostile state” for the first time, two days after it blew up front-line road and rail links that once connected the country with the South.

The back-to-back developments indicate North Korea is intent on escalating animosities against South Korea, increasing the danger of possible clashes at their tense border areas, though it’s highly unlikely for the North to launch full-scale attacks in the face of more superior US and South Korea forces.

The official Korean Central News Agency said Thursday that its recent demolition of parts of the northern sections of the inter-Korean road and rail links was “an inevitable and legitimate measure taken in keeping with the requirement of the DPRK constitution which clearly defines the ROK as a hostile state.”

DPRK stands for Democratic People’s Republic of Korea, the North’s official name, while ROK stands for Republic of Korea, the South’s formal name.

South Korea’s Unification Ministry condemned North Korea’s constitutional reference to South Korea as a hostile state, calling it “an anti-unification, anti-national act.”

It said the South Korean government will sternly respond to any provocations by North Korea and unwaveringly push for a peaceful Korean unification based on the basic principle of freedom and democracy.

North Korea’s rubber-stamp parliament met for two days last week to rewrite the constitution but state media hadn’t provided many details about the session.

Leader Kim Jong Un had earlier called for the constitutional change at that parliamentary meeting to designate South Korea as the country’s main enemy, remove the goal of a peaceful Korean unification and define North Korea’s sovereign, territorial sphere.

Thursday’s KCNA dispatch gave no further details of the new constitution, except the description of South Korea.

“There may still be an internal propaganda review underway about the appropriate way to disclose the constitutional revisions, but this confirmation was expected,” said Ankit Panda, an expert with the Carnegie Endowment for International Peace.

Kim’s order in January to rewrite the constitution caught many foreign experts by surprise because it was seen as eliminating the idea of shared statehood between the war-divided Koreas and breaking away with his predecessors’ long-cherished dreams of peacefully achieving a unified Korea on the North’s terms.

In the past months, North Korea has torn down monuments symbolizing rapprochement with South Korea and abolished state agencies handling inter-Korean relations.

Some experts say Kim likely aims to guard against South Korean cultural influence and bolster his family’s dynastic rule.

Others say Kim wants legal room to use his nuclear weapons against South Korea by making it as a foreign enemy state, not a partner for potential unification which shares a sense of national homogeneity.

They say Kim may also want to seek direct dealings with the US in future diplomacy on its nuclear program, not via South Korea.

“North Korea has fallen so far behind the South that any social exchange or financial integration might look like paths to unification by absorption,” said Leif-Eric Easley, professor of international studies at Ewha Womans University in Seoul.

“Pyongyang’s rejection of peaceful Korean unification is thus a strategy for regime survival and maintaining domestic control. This not only bodes ill for diplomacy but could also become an ideology motivating military aggression against Seoul,” Easley said.

KCNA, citing North Korea’s Defense Ministry, reported that North Korea on Tuesday blew up the 197 feet-long sections of two pairs of the roads and railway routes — one pair on the western portion of the inter-Korean border and the other on the eastern side of the border.

Largely built with South Korean money, the road and rail links were once a major symbol of now-dormant inter-Korean reconciliation movements.

In the 2000s, the two Koreas reconnected the road and rail routes for the first time since the end of the 1950-53 Korean War, but their operations were halted later as the rivals bickered over North Korea’s nuclear ambitions and other issues.

Last week, North Korea said it would permanently block its border with South Korea and build front-line defense structures.

South Korean officials said North Korea had been adding anti-tank barriers and laying mines along the border since earlier this year.

Animosities between the Koreas increased in recent days, with North Korea accusing South Korea of flying drones over its capital Pyongyang three times this month and vowing strong military responses if similar incidents happen again.

South Korea has refused to confirm whether it sent drones but warned that North Korea will face a regime demise if the safety of South Korean citizens is threatened.

Many observers say North Korea won’t likely launch a full-blown war because it knows its military is outgunned by the US and South Korean forces, and that North Korea ultimately aims to use its advancing nuclear program as leverage to wrest sanctions relief from the US.

But they say a miscalculation could still lead to border clashes.

Intense outside attention has been on whether the North Korean constitutional change includes new legal, territorial claims around the Koreas’ disputed western sea boundary, the site where several deadly skirmishes and bloodsheds happened in the past 25 years.

“South Korea and the United States need not overreact to North Korean moves. The recent drone incident raises the possibility of miscalculation and escalation,” Panda, the expert, said.

#nunyas news #wonder what prompted this

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cosmosbeelover · 1 month ago

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The History of Korean Male Soloists from the 20th Century: Episode 2/?

The second episode of 'The History of Korean Male Soloists from the 20th Century' focuses on notable Korean artists who gained recognition in the early 20th century, a time marked by Japanese occupation.

The documentation surrounding these artists is often inconsistent, primarily because their activities took place nearly a century ago, prior to the Korean War, which resulted in the loss or inaccessibility of historical records.

Lee Eun Sang (이은상; 李殷相)

Lee Eun-sang was initially referenced in Part 3 of 'The History of Korean Male Groups' for his contribution as a lyricist for the "Boat Song," which was performed by the Yonhui College Choir and composed by Hyun Je-myeong (현제명; 玄濟明). He also penned the lyrics for "Watermill" and "Jeolumbari," both of which were composed by Hyun Je-myeong as well.

Lee Eun Sang (이은상), born on October 22, 1903, and passing on September 18, 1982, hailed from Jeonju but spent much of his life in Masan, Gyeongnam. He was the second son of Lee Seung-gyu (이승규) and adopted several pen names, with Nosan (노산;鷺山) being the most prominent, alongside Namcheon (남천; 南川), Gangsan Yuin (강산유인; 江山遊人), and Duwooseong (두우성;斗牛星).

As a distinguished South Korean sijo poet, historian, and honorary doctor of literature, Lee Eun Sang produced significant works including the 'Nosan Sahwa Collection,' 'Nosan Sijo Collection,' 'Nosan Poetry Collection,' 'I Want to Go,' 'Night at Seongbulsa Temple,' and 'Climbing the Old Hill.' His contributions to the arts were recognized with several accolades, including the Arts Academy Merit Award, the 5/16 National Award, and honours from the Arts and Culture Division.

Life and Activities

He completed his secondary education at Masan Changshin School (昌信學校), an institution established by his father in 1918, and pursued studies in the liberal arts at Yonhui College (연세대학교; 延世大學校), although he is believed to have left the college in 1923. Between 1925 and 1927, he attended Waseda University (와세다 대학; 早稲田大学) in Japan, where he audited courses in the Department of History.

In 1931, Lee Eun Sang began his academic career as a professor at Ewha Womans College (이화여자대학교; 梨花女子大學校). He later took on leadership roles, including the presidency of Honam Shinmun in 1945, and continued to teach at various institutions such as Cheonggu University, Seoul National University (서울대학교), and Yeungnam University (영남대학교; 嶺南大學校) after 1950. Additionally, he held presidencies in several cultural organizations, including the Korean National Culture Association and the Korean Sijo Writers Association, as well as the Korean Mountaineering Club (한국산악회), which was founded in 1945.

Prior to Korea's liberation, he was an active participant in the National Literature Faction and was arrested during the Joseon Language Society Incident (조선어학회 사건; 朝鮮語學會事件), which involved the Japanese authorities detaining members of the Korean Language Society in 1942. His literary contributions began in the early days of the Joseon Literary World (조선문단) magazine, and despite being imprisoned at Hongwon Police Station and Hamheung Prison, he was released the following year. In 1945, he faced detention at Gwangyang Police Station under a preliminary arrest warrant for thought crimes but was freed following Korea's liberation.

Following his liberation, he produced a substantial body of work across journalism, academia, and historical writing. His explorations of the country resulted in numerous travelogues, and he gained recognition as a researcher of Admiral Yi Sun-sin (이순신; 李舜臣). In 1954, he was elected to the National Academy of Arts and subsequently became the president of the Chungmugong Admiral Yi Sun-sin Memorial Association in 1959. His leadership extended to the National Culture Association and the Ahn Jung-geun (안중근) Admiration Association in 1965, where he dedicated efforts to honour significant national figures. Notably, he contributed to the founding declaration of the Democratic Republican Party in 1963.

He earned both his master's and doctoral degrees in Korean language and literature from Kyunghee University (경희대학교; 慶熙大學校) in 1970, followed by an honorary doctorate in literature from Yonsei University in 1974. That same year, he assumed the role of chairman of the National Council for Total Security and became the lifetime chairman of the Sijo Writers Association. His accolades included being named a lifetime member of the National Academy of Arts in 1978 and serving on the National Advisory Committee on Government Administration in 1981. His contributions to the arts were recognized with several awards, including the National Academy of Arts' Merit Award and the May 16 National Award.

His literary legacy includes popular sijos such as “Gagopa” (가고파), “The Night of Seongbulsa Temple” (성불사의 밤), and “Going Up the Old Hill” (옛동산에 올라), alongside significant publications like “Nosan Sahwajip” (노산사화집), “Nosan Sijojip” (노산시조집), and “Yi Chungmu-gong Chronicles” (이충무공 일대기). Throughout his life, he was committed to the dual pursuits of sijo poetry and fostering national consciousness. In 1982, he was appointed as an advisory member of the State Affairs Advisory Council (Another link about this Council), but he passed away later that year, leaving behind a rich tapestry of cultural contributions.

He additionally composed the lyrics for the commemorative song dedicated to Mr. Kim Gu (김구) and President Park Chung-hee (박정희).

His Work

In 1921, the poem "Blood Tide" was published in the fourth issue of "Ahseong" (아성) under the pseudonym Du Woo-seong (두우성), marking the beginning of his literary career. However, it was not until the establishment of "Chosun Literature" in 1924 that he fully engaged in literary activities. Throughout this magazine, he contributed numerous critiques, essays, and poems, although he largely overlooked traditional national studies and sijo, favouring Western free verse instead. During this period, he produced approximately thirty free verse poems, in stark contrast to just one sijo.

His critical writings from this era include notable titles such as “A Study of Poet Whitman,” “Tennyson’s Four Poems,” and “Lectures on the History of British Poetry,” with significant contributions appearing in "Chosun Literature" and "Dong-A Ilbo." These works reflect the literary landscape of the time and his engagement with Western literary traditions. However, by the latter half of 1926, as discussions surrounding the revival of sijo gained momentum, there was a noticeable shift towards traditional literature and national studies.

Lee Eun Sang (이은상)– Nosanmunseon (노산문선)

Between 1929 and 1930, he published several poems that incorporated folk song rhythms, including “Sae Taryeong” (New Song), “Maehwadong” (Selling Flowers), and “Joseon’s Flower” (Flower of Joseon). In addition to his poetry, he also contributed to the field of criticism with works such as “A Brief Study of Cheongsang Folk Songs” and “The Life and Art of Hwang Jini.” This period marked a significant evolution in his literary focus, as he began to embrace traditional forms alongside his earlier Western influences.

The poet's sijo reflects a deep intertwining of admiration for his homeland, its natural landscapes, traditional Eastern sentiments, and the Buddhist notion of impermanence. His profound affection for his country and its people manifests with an intensity akin to religious fervour. The simplicity and authenticity of his language resonate with a broad audience, contributing significantly to the resurgence of the sijo form.

Initially, he regarded sijo as inferior to literature, only embracing it as a legitimate literary form following discussions surrounding its value. Despite this initial scepticism, he engaged in writing both free verse and sijo for a period, ultimately establishing himself as a prominent sijo poet by the late 1930s. His journey into this genre marked a significant evolution in his literary identity.

In addition to composing sijo, he also translated Tang poetry into this format, thereby enriching the genre and expanding its theoretical framework. His contributions not only enhanced the sijo tradition but also demonstrated the versatility and depth of this poetic form, bridging cultural and literary boundaries.

Lee Eun Sang (이은상) – Nosan Sijo Collection (노산시조집)

In his essays featured in the Dong-A Ilbo, including “The Problem of Sijo” (April 30–May 4, 1927), “A Brief Discussion of Sijo” (April 18–25, 1928), and “The Problem of Sijo Creation” (March 30–April 9, 1932), the author sought to clarify the standard structure of sijo through pitch rather than syllable count. His inaugural personal collection, “Nosan Sijo Collection,” released in 1932, embodies themes of nostalgia, appreciation, transience, and reverence for nature.

Notable pieces such as "Thinking of Hometown," "I Want to Go," and "Night at Seongbulsa Temple" have gained popularity as songs, reflecting the simple and melodious qualities of sijo. Following liberation, his focus shifted towards social themes, emphasizing national pride, the anguish of division, aspirations for reunification, and honouring patriots. This thematic evolution culminated in the 1958 collection, ‘Nosan Sijo Anjip’, particularly in works like 'The Meaning of the Blue Sky' (1970) and his final compilation, ‘Giwon’.

His approach to sijo included an attempt to simplify the form by experimenting with the two-chapter sijo (兩章時調), although later in his career, he tended to increase syllable counts. As a historian and essayist, he utilized his extensive historical knowledge to produce numerous travelogues and biographies aimed at fostering patriotism. Post-liberation, he prioritized social contributions over literary pursuits, leaving behind a substantial body of work, including poetry collections like ‘Nosanmunseon’ and ‘Nosansimunseon’, the essay collection ‘Musang’, and over 100 books, including his biographies such as ‘Journal of Tamna Traveling Hal’.

Awards and Remembrance

Lee Eun Sang's funeral took place as a public event, culminating in his interment at the national cemetery. A commemorative monument, known as 'Gagopa Songbi' (가고파 송비), was established in Masan to honour his ancestors. In recognition of his contributions, he was posthumously awarded the Order of Merit for National Foundation in 1990.

#history #korean history #korean music history #korea #10s #20s #30s #40s #50s #south korea #Lee Eun Sang

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