Çeviri: ucrowned queen

Kaynak / Source

Pak Kyongni / 박경리 (Novelist)



Doğum / Ölüm
1926 ~ 2008

Meslek
Roman Yazarı

Adı
Kyongni

Soyadı
Pak

Korece
박경리

Pak Kyongni çıkış yaptığında, ''Eğer mutlu olsaydım yazmaya başlamamış olurdum.'' sözlerini söylemişti. Pak daha sonra, ''Annem ve kızımla yaşıyorum ve maddi olarak tek başıma onları desteklemek zorundaydım. Sıkıntıdan kurtulmak için umut vardı ve yazmaya başladım.'' demiştir. Kederli kişisel hayatı ile birlikte, insanın onurlu yaşamını ele alarak altını çizmiş ve iş hayatında etkili olmuştur.
Pak kariyerine bir roman yazarı olarak başladı. Hesaplama (계산, Gyesan) eseri, onun erken atıldığı iş hayatında yaşadığı talihsiz olaylara ve zorluklara rehberlik etmiştir. Güvensizlik Zamanı (불신시대, Bulsin Sidae) ve Karanlık Zamanı (암흑시대, Amheuk Sidae) romanlarının anlatımı genellikle doğrudan kendi hayatı ile ilgili olarak kocasını, oğlunu kaybetmiş, annesi ve kızı ile birlikte yaşayan anlatımlar vardır. Daha sonraki çalışmalarında, Eczacı Kim'in Kızları (김약국의 딸들, Kimyakgukui Ttaldeul), yine zorluklarla hayatını geçindiren ve yaşayan bir karakteri ele almıştır. Ancak, Kore Savaşı ile birlikte kurgusal yazılarını gündelik hayata yansıtmış ve daha çeşitli yazma teknikleri kullanarak objektif bakış açısına çalışarak daha farklı noktalara değinmiştir.
Pak tüm eserlerinde insan onurunun önemini vurgulamıştır. Kendine göre en asil olan şeyin insan onurunu korumak olarak tanımlamıştır. Ayrıca insan haysiyeti için, geleneklerini, hükmünü ve düzenini koruyamayan insanları da eleştirmiştir çünkü insan onurunu koruyamayan insan arzularına yenik düşer ve hor görülür. Ayrıca onun eserleri, insan izolasyonu, sevgi ve mutlak güven ile ilgilidir.

|| English ||

Birth / Died
1926 ~ 2008

Occupation
Novelist

First Name
Kyongni

Family Name
Pak

Korean Name
박경리

When Pak Kyongni debuted, she said "If I had been happy, I would have not begun writing." Park also said later, "I live with my mother and daughter and had to support them financially by myself. I began writing since I had hope to get away from my adversity." Her sorrowful personal life surely influenced her works, where she emphasized human dignity.
Pak started her career as a writer with the novel, Calculations (계산, Gyesan) and her early work was heavily guided by her unfortunate life. Each narrator in her novels like Time of distrust (불신시대, Bulsin Sidae) and Time of Darkness (암흑시대, Amheuk Sidae) are often a daughter living with her mother who lost her husband and son, which was true with her own life. In her later work, The Daughters of Pharmacist Kim (김약국의 딸들, Kimyakgukui Ttaldeul), she still deals with characters who get over with their difficulties. However, she got more objective point of view in that her fictional setting moved from the Korean war to everyday life and employed more various writing techniques and topics.
Pak showed the importance of human dignity in all her works. She defined human dignity as protecting the noblest thing for oneself. She criticized a tradition, a system, and authority which cause people not to protect their dignity, and also disdained people who lost their dignity because of their desires. Additionally, her works are concerned with human isolation, absolute trust in love.

Kaynak / Source

Baek Min-seok / 백민석 (Novelist/Roman Yazarı)



Doğum
1971~

Meslek
Roman Yazarı

Ad
Min-seok

Soyad
Baek

Baek Minseok, ' 내가 사랑한 캔디'(I Loved Candy) ile 1995 yılında çıkışını gerçekleştirdi. Eserleri, 1990'ların ortalarındaki Kore kurgusalının hakimi, estetik temsilcisidir- "Tuhaf kurgu".
Tuhaf kurgu, toplumsal normlara ve kabul edilen sistemlere karşıdır, genellikle mizahi bir ışıkta, tuhaf ve acımasızca tasvirler yapar. Kan dondurucu ve grafiksel görüntülerle dolu, yüksek hayal gücü ile karakterize edilen Baek'in eserleri genellikle , onun temsilcisi olan Cotton Field Bizarre Story (Pamuk Tarlasının Tuhaf Hikayesi) romanı gibi, tuhafa doğrudan atıf yapar. Bu nedenlerden dolayı, Baek'in çalışması tuhaf kurgu olarak sınıflandırılmıştır. Baek'in eserlerinde ana karakterler, "The Errand Boy at the Manor" ve "The Poor Hans"(Zavallı Çocuk Hans) öykülerinde olduğu gibi, genellikle erkeklerdir. Yetişkin karakterlerinin psikolojileri bile çocuklarınkine yakındır. Örneğin, "Farm For Dead Owls"(Ölü Baykuşlar Çiftliği)'un ana karakteri, yalnızca oyuncak bebeklerle konuşan 30 yaşında bir erkek çocuktur. Bu eserlerde karakterler büyümeyi ve olgunlaşmayı isterler fakat nihai sonuç, sağlıklı erişkinlik olarak kabul edilenden uzaktır. Akıntıya karşı giden bu karakterler sayesinde Baek, norm olarak düşündüğümüz soruları ve etkilerinin gücünü eleştiriyor.
The Errand Boy at the Manor koleksiyonunda hayaletler de düzenli olarak görülürler fakat fantezi ve peri masallarında görünen türden değillerdir; onlar aslında gündelik gerçekliğimizi ve buradaki gerçeğin altında yatan yalanları temsil etmektedir- bir yetişkin olmak ahlaksız bir toplumun üyesi olmak anlamına gelmektedir; bu nedenle yetişkinlerin gündelik gerçekliğe hakimiyeti kendi içerisinde korkunçtur. Cotton Field Bizarre Story'de bu gündelik terör; adam kaçırmada, cinayetlerde, şiddette, cinsel sapıklık eylemlerinde ve sadomazoşist uygulamalarda kendini gösterir. Rusher'da aynı terör, distopyacı(*herşeyin çok kötü olduğu durum) bir toplum hakkındaki gerçeküstü açıklamalarda ifade edilmektedir. Bu eserlerle Baek, hayatın ahlâkı, sağduyuyu, etikleri hiçe sayan, abartıdan başka birşey olmayan bir boşluk olduğunu göstermektedir.

|| English ||

Birth
1971 ~

Occupation
Novelist

First Name
Min-seok

Family Name
Baek

Baek Minseok made his debut with in 1995 with '내가 사랑한 캔디' (I Loved Candy.) His work is representative of the prevailing aesthetic of Korean fiction in the mid-1990s—“Bizarre fiction.” Bizarre fiction is opposed to societal norms and accepted systems, often portraying the weird and cruel in a humorous light. Characterized by a heightened imagination that is filled with gory and graphic images, Baek’s work often makes direct reference to the bizarre, such as in the case of his representative novel Cotton Field Bizarre Story. For these reasons, Baek’s work has been classified as bizarre fiction.
Boys are often the main characters in Baek’s work, such as in the stories “The Errand Boy at the Manor” and “Poor Boy Hans.” Even the psychologies of his adult characters are closer to that of children. For example, the main character of “Farm for Dead Owls” is a 30-year-old man-child who only talks to dolls. In these works, characters seek growth and development but the final outcome is far from what is regarded as healthy maturity. Through these characters who go against the tide, Baek criticizes the power of influence and questions what we consider to be the “norm.”
Ghosts also make regular appearances in the collection The Errand Boy at the Manor, but they are not the kind that appear in fairy tales and fantasy; they, in fact, represent our everyday reality and here lies the true terror—to become an adult means to become a member of a depraved society; therefore, the everyday reality that adults dominate is in itself terrifying. In Cotton Field Bizarre Story, this quotidian terror manifests itself in kidnappings, murders, violence, perverse sexual acts, and sadomasochistic practices. In Rusher, the same terror is expressed in surreal descriptions about a dystopian society. Through these works, Baek seems to be suggesting that the real world is nothing more than perhaps a somewhat exaggerated fictional space that disregards ethics, morals, and common sense.

Kaynak / Source

Baek Sin-ae / 백신애
(Novelist/Roman Yazarı)



Doğum
1908 ~ 1939

Meslek
Roman Yazarı

İsim
Sin-ae

Soyad
Baek

Bae Sin-ae (1908 - 1939), Park Hwa-seong ve Gang Gyeong-ae gibi yazarlar ile birlikte, 1930'lu yılların önde gelen kadın yazarlarından birisidir. Chosun Illbo'da ilk kısa öyküsü "My Mother" yayınlandığında, Park Gae-hwa takma adıyla 1929'da edebi sahnedeki yerini almış oldu. Yaşamı boyunca, eserlerinin küçük bir kısmı yayınlanmasına rağmen, "Baekson" "Poverty," "The Wickel Wealthy," "Needy" -toplamda 20- gibi eserlerinin, kadının aktivizmini bastıran toplumun eleştirisi, insanların yoksul yaşamlarının her açıdan tasviri gibi konu aralıkları geniş bir yelpazeyi kapsamaktadır. Kadınlar Gençlik Birliği'nin yanı sıra, Chosun Kadınlar Derneği gibi gruplarda yer aldı ve 1928'de Sibirya'ya seyahat etti. Bu dönemde onun trajik hikayesini deneyimleyen, Rusya sınırları içerisinde bulunmuş bir Koreli olan "Caray" tasviri yapılmıştır. Öyküde ana karakter Suni, şefkat ile doğuya bakar ve merhamet ile kucaklayışına göçmen "Coolie' bile dahil olur. Baek'in işi hakkında özellikle çarpıcı olan şudur: yoksulluk sorununa belirli bir mesafeden değil de, ulusal bir problem olarak yaklaşması fakat alt sınıftan birinin bakış açısından; diğer bir deyişle, acıları ve sorunları olan, dayanışma içerisindeki fakir ve muhtaç olanların yanında durur.

|| English ||

Birth
1908 ~ 1939

Occupation
Novelist

First Name
Sin-ae

Family Name
Baek

Along with such writers as Park Hwa-seong and Gang Gyeong-ae, Baek Sin-ae (1908-1939) is one of the leading female writers of the 1930s. She appeared on the literary scene in 1929 with the pen name Park Gae-hwa when her short story “My Mother” was published in the Chosun Ilbo. Although she published a small volume of works in her lifetime, such as “Bokseon,” “Poverty,” “The Wicked Wealthy,” and “Needy”—20 in all—they cover a wide range of subjects, from the portrayal of the impoverished lives of people all the way to a critique of society that suppresses women’s activism. She was involved in groups like Chosun Women’s Association, as well as Women’s Youth Union, and she even traveled to Siberia in 1928. Her experience from this period is depicted in her tragic story “Caray,” which deals with a Korean who goes back and forth across the borders of Russia. The main character in this story, Suni, looks upon the east with affection and is inclusive of even the immigrant “Coolie,” whom she embraces with compassion. What is particularly striking about Baek’s work is that she approaches the problem of poverty, not from a distance as a national problem, but from the point of view of a member of the lower class; in other words, she comes alongside those who are poor and destitute in solidarity and portrays their suffering and issues.

Kaynak / Source

Kaynak *** Source

English

Born: 617

Died: 686

Wonhyo (617–686 CE) was one of the leading thinkers, writers and commentators of the Korean Buddhist tradition. Essence-Function (體用), a key concept in East Asian Buddhism and particularly that of Korean Buddhism, was refined in the syncretic philosophy and worldview of Wonhyo.
As one of the most eminent scholar-monks in Korean history, he was an influential figure in the development of the East Asian Buddhist intellectual and commentarial tradition. His extensive literary output runs to over 80 works in 240 fascicles. Chinese masters who were heavily influenced by Wonhyo include Fazang, Li Tongxuan, and Chengguan.
With his life spanning the end of the Three Kingdoms period and the beginning of the Unified Silla. However, in his extensive scholarly works, composed as commentaries and essays, he embraced the whole spectrum of the Buddhist teachings which were received in Korea, including such schools as Pure Land, Nirvana, Sanlun and Tiantai (Lotus Sūtra school).

Biography

Wonhyo was born in Apnyang (押梁), nowadays the city of Gyeongsan, North Gyeongsang province, South Korea. He had a son, Seol Chong, who is considered to be one of the great Confucian scholars of Silla.
Wonhyo was famous for singing and dancing in the streets. While the Buddha discouraged such behaviors, his songs and dances were seen as upaya, or skillful means, meant to help save all sentient beings.

While Wonhyo was in Bunhwangsa temple located in Guhwang-dong, Gyeongju, he wrote a number of books. For such strong association with Wonhyo, a research center and a shrine named Bogwangjeon hall dedicated to Wonhyo's legacy are located in Bunhwangsa.


Contribution to commentarial tradition

He wrote commentaries on virtually all of the most influential Mahāyāna scriptures, altogether including over eighty works in over two hundred fascicles. Among his most influential works were the commentaries he wrote on the Awakening of Faith, Nirvana Sutra and Vajrasamādhi Sutra, along with his exposition on the meaning of the two hindrances, the ijangui. These were treated with utmost respect by leading Buddhist scholars in China and Japan, and served to help in placing the Awakening of Faith as the most influential text in the Korean tradition.


Teaching story

Wonhyo spent the earlier part of his career as a monk. In 661 he and a close friend - Uisang (625–702, founder of the Korean Hwaom school) - were traveling to China where they hoped to study Buddhism further. Somewhere in the region of Baekje the pair were caught in a heavy downpour and forced to take shelter in what they believed to be an earthen sanctuary. Upon waking the next morning, however, the companions discovered much to their amazement that their shelter was in fact an ancient tomb littered with human skulls, and the vessel from which Wonhyo had drunk was a human skull full of brackish water. Upon seeing this, Wonhyo vomited. Startled by the experience of believing that a gruesome liquid was a refreshing treat, Wonhyo was astonished at the power of the human mind to transform reality. After this "consciousness-only" enlightenment experience, he abandoned his plan to go to China. He left the priesthood and turned to the spreading of the Buddhadharma as a layman. Because of this aspect of his character, Wonhyo ended up becoming a popular folk hero in Korea.