To Teach, Delight, and Inspire. Experiences with Kim Sowol’s Jindallaekkot (Azaleas) as a Printed Facsimile, Printed Scholarly Edition, Web-based Reading Text, and Virtual Reality Experience

Here we document how college students responded to a canonical book of Korean poems, Kim Sowol’s 1925 Jindallaekkot (Azaleas), presented in a variety of formats: as part of a 2014 printed facsimile, a 2007 printed scholarly edition, a reading text articulated as a web page on a tablet, and a radical refiguration as a virtual reality forest. We asked students to describe if they enjoyed and felt inspired by their encounters with Kim Sowol’s poetry in these different formats. We also asked if they felt their experiences were educational and if they engendered a desire to share Kim Sowol’s poetry with international peers. Student responses suggest that encounters with novel forms of canonical texts are enjoyable, inspiring, and create a desire to share them with international peers, especially if novel presentations are complemented by more familiar textual idioms, which students found the most educational

Printshops, Pressmen, and the Poetic Page in Colonial Korea

By analyzing the way vernacular Korean poetry of the 1920s was produced, this article initiates a study of the sociology of Korean literary production. Based on a survey of forty-five vernacular Korean books of poetry produced between 1921 and 1929, bank records, Japanese colonial government records, and printed interviews, the study describes the people, organizations, and technologies involved in the production of vernacular Korean poetry in the early twentieth century. It suggests that a small number of men in a few printing facilities working within restrained typographic conditions were responsible for printing the extant corpus of Korean vernacular poetry from the 1920s. An overview of the creative ways in which poetry was expressed visually and a discussion of the poem “Pandal” (Half moon), which appears differently in the two originary alternate issues of Kim So-wŏl’s canonical 1925 work Chindallaekkot (Azaleas), make it clear that an understanding of these people and organizations, as well as of the technologies they employed, should inform how we approach texts from this period hermeneutically

Printshops, Pressmen, and the Poetic Page in Colonial Korea

By analyzing the way vernacular Korean poetry of the 1920s was produced, this article initiates a study of the sociology of Korean literary production. Based on a survey of forty-five vernacular Korean books of poetry produced between 1921 and 1929, bank records, Japanese colonial government records, and printed interviews, the study describes the people, organizations, and technologies involved in the production of vernacular Korean poetry in the early twentieth century. It suggests that a small number of men in a few printing facilities working within restrained typographic conditions were responsible for printing the extant corpus of Korean vernacular poetry from the 1920s. An overview of the creative ways in which poetry was expressed visually and a discussion of the poem “Pandal” (Half moon), which appears differently in the two originary alternate issues of Kim So-wŏl’s canonical 1925 work Chindallaekkot (Azaleas), make it clear that an understanding of these people and organizations, as well as of the technologies they employed, should inform how we approach texts from this period hermeneutically. Keywords: Korean poetry, sociology of texts, printing, typography, Kim So-wŏ

Emergence: Documents in Crisis

This essay suggests the etymologies of emergence, emergency, and crisis create a useful framework for theorizing documents. Indeed, the overlapping semantic associations of the words allow for the idea that documents emerge in crisis. The semantic overlap also allows a means for theorizing how documents descend into crisis. Theorizing documents in crisis, the essay argues, usefully complements documentalist theories of documentary representation suggested by thinkers like Paul Otlet and Suzanne Briet, as well newer conceptualizations of documentality as conceived by Michael Buckland and Maurizio Ferraris and documentarity as described by Ronald Day

Dance of Anguish: Poetic Texts from 1920s Korea

As bibliographer D. F. McKenzie has suggested, the book is an expressive form. This means that “the fine details of typography and layout, the material signs which constitute a text” (McKenzie 1999, 25) signify. Therefore, the “human motives and interactions that texts involve at every stage of their production, transmission, and consumption” (McKenzie 1999, 15) are also implicitly part of what a text means. The objectives and relations McKenzie describes are those of authors, of course, but also those of the whole spectrum of people involved in a text’s creation and dissemination—what McKenzie has termed the sociology of a text. How the fine details of Korean literary artifacts may impact our appreciation of what they may mean has been all but ignored by scholars of modern Korean literature. Bibliographic descriptions of the artifacts of early twentieth-century literature and research detailing the people and technologies most directly involved in their physical production are almost entirely absent from discourses about twentieth-century Korean literature. Our understanding of this literature is acutely circumscribed by our ignorance of how its texts were made

Amounts of Tennessee Extension staff time planned and expended and clientele contacts with selected audiences and teaching methods, fiscal years 1972 and 1975, and possible implications for 1970 statewide extention swine production practice checklist survey and educational program

Information from the 1970 and 1975 Tennessee Swine Production Practice Checklist Surveys was studied together with data from the Tennessee Extension Management Information System, TEMIS, (i.e., agent days planned and expended and clientele contacts made) for Fiscal Years 1972 and 1975 to determine whether there were possible implications for the survey and Extension\u27s educational program. The classification of swine survey practices and TEMIS primary subjects was assumed to be acceptable for this study. Data were con sidered for Extension districts and teaching methods. From the 1975 Tennessee Swine Production Survey, it was found that the producer reported state average weaning (8 weeks) weight, for 527 producers randomly interviewed regarding Tennessee swine, was 40 pounds per pig. Recommended practices under Primary TEMIS Subject One, Swine Records ; Subject Two, Swine Pests ; Subject Three, Swine Housing and Structures ; and Subject Four, Swine Management ; were all used by less than 60 percent of the producers interviewed, based on 1970 data. This suggested the need to emphasize them more in Extension\u27s swine educational program as priority or weaker areas. Recommended practices under Primary TEMIS Subject Five, Swine Feeding and Nutrition ; and Subject Six, Swine Breeding and Production , were used by more than 60 percent of the producers interviewed based on 1970 data. There were decreases in total agent days planned, total agent days expended and total clientele contacts made on swine subjects between FY 1972 and FY 1975. Of Extension methods studied, increases in numbers and percents of agent days expended for swine Extension work varied from district to district but were greatest for Individual Teaching Methods; while the largest decrease occurred for Mass Media. Trends in numbers and percents of clientele contacts made also varied from district to district, but the greatest increase occurred in Group Teaching Methods, with the greatest decrease occurring in All Other Teaching Methods. Indications were that the findings of the 1970 TSPCS were not reflected in the planning of future swine educational programs. Further study would be necessary, however, to determine if other factors, not identified in this study, influenced the manner in which agent time was planned and expended. Recommendations were included