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• W4366607612 abstract "Kinship Novels of Early Modern Korea is the first English-language study of Korean lineage novels, lengthy fictional narratives written in vernacular Korean, that flourished from the late seventeenth century through the early twentieth century. The lineage novel is not easily accessible for general readers in Korea today, primarily because of the sheer number of volumes, sometimes exceeding one hundred per work. Ksenia Chizhova, however, succeeds in demonstrating the historical and cultural significance of the lineage novel in the broad context of the kinship culture of early modern Korea. She suggests Korean patrilineal kinship was not only a social structure but also a process that was constantly in the making through aesthetic and textual reiterations. The lineage novel for its part represents textual practices that give expressions to the affective dimension of kinship. Chizhova strategically explores six representative examples of the lineage novel: The Pledge at the Banquet of Moon-Gazing Pavilion (Wanwŏl hoemaeng yŏn 玩月會盟宴), The Remarkable Reunion of Jade Mandarin Ducks (Ogwŏn chaehap kiyŏn 玉鴛再合奇緣) and its sequel, and The Record of Two Heroes: The Brothers Hyŏn (Hyŏn ssi yangung ssangnin ki 玄氏兩雄雙麟記) and its two sequels. She argues that lineage novels typically show a long and convoluted trajectory in which unruly feelings dissonant with the prescriptive kinship are brought into alignment with kinship norms, ultimately confirming the legitimacy and perpetuity of lineage.The book consists of three parts. In part 1, Chizhova historicizes the lineage novel by placing it within the web of kinship texts of various kinds and within the reading and writing culture of elite women. In the first chapter, Chizhova contends that kinship is not just social relations but also textual practices, and suggests that the lineage novel belongs to the universe of texts that includes the family genealogy, literary collections by Confucian scholars, funerary writings, and family tales, which create, reproduce, and transpose the imagination and ideology of kinship. In the second chapter, Chizhova examines the materiality of the kinship texts by focusing on vernacular Korean calligraphy practiced by elite women. For example, in the case with the family of Madame Chŏng of Onyang, the family-transmitted lineage novel manuscripts testify to an intergenerational readership and the aesthetic cultivation of calligraphy among elite women. While the gender identity of the authors of lineage novels is contested in most cases, Chizhova illuminates the involvement of elite women in the creation and transmission of lineage novels by bringing the material aspects of the texts into consideration.In part 2, which comprises the third and fourth chapters, Chizhova engages in a textual analysis that focuses on how affective coordinates chart the self, the kinship structure, and the world in lineage novels. In conversation with the literature on the history of emotion in other fields such as the history of early medieval Europe, Chizhova suggests that the historical exploration of feelings offers a window into a cultural knowledge system that directs social relations and social actions. She identifies, more specifically, “human feelings,” “feelings of flesh and blood,” and “unruly feelings” as constituting the multilayered system of affective coordinates in the lineage novel. “Human feelings” (injŏng 人情) refer to the major Confucian concept of ethically ordered sentiments intrinsic to human nature and essential to social cohesion. “Feelings of flesh and blood” are created through blood bonds such as affinal connections in the maternal line, which are not always aligned with the objective ideal of feelings prescribed in patrilineal kinship. “Unruly feelings” erupt when the two kinds of feelings—namely, the feelings associated with patrilineal ritual kinship and blood kinship—are in dissonance. Chizhova argues that the narratives in lineage novels are centered on the process in which “unruly feelings” are eventually brought into alignment with the social norms of patrilineal kinship.In explaining “human feelings” and “feelings of flesh and blood,” Chizhova emphasizes that feelings in lineage novels are always spatialized and exteriorized—they are represented as visible in association with the characters’ physical movements and audible through the characters’ verbalization in the novels. The civilized and uncivilized feelings are distributed across the line separating the inner space of the ordered household and the outer space of foreign lands in geographical configurations. Also, feelings in the lineage novel are always performed in the context of the social relations of kinship. Feelings are, in that sense, public, or constitute “public interiority.” Chizhova sophisticates the concepts of interiority even further by explaining that when feelings remain unexpressed in lineage novels, they constitute a troubled interior, which she names “negative interiority.” In the fourth chapter in particular, Chizhova explores how lineage novels ultimately pursue the integration of the troubled negative interiority into the affective ideals and moral prescriptions of kinship. “Unruly feelings” in lineage novels arise from the contradictions embedded in patrilineal kinship, such as women’s conflicted positions between matrilineal and patrilineal relations, women’s uncontained desire and lust, and the conflicts between ritual kinship and blood kinship, as, for example, in the complex relationships between an adopted son as an heir apparent, his stepmother, and her own son. Chizhova argues that in lineage novels these “unruly feelings” are ultimately brought in harmony with the prescriptions of patrilineal kinship through moral efforts, which draw a trajectory of personal socialization. The display of “unruly feelings,” in that sense, is ironically integral to the demonstration of the power of moral cultivation and of the unwavering perpetuity of patrilineal kinship.Kinship Novels of Early Modern Korea inherits from and expands on Martina Deuchler’s monumental works on Korean kinship, The Confucian Transformation of Korea: A Study of Society and Ideology (1992) and Under the Ancestors’ Eyes: Kinship, Status, and Locality in Premodern Korea (2015). Chizhova adds the literary and affective dimension to the social history of kinship and revises our understanding of how the social structure of kinship was imagined and performed in the textual dynamics of feelings and in everyday relations. According to Chizhova’s explanation, the kinship system is properly understood not as a rigid structure but as a dynamic process in which unruly feelings constantly erupt and are eventually reinscribed in the prescriptions of patrilineal kinship through moral performances. The performative aspects of kinship that Chizhova explores as such offer an original and insightful understanding of not only Korean kinship but also social structures across cultures. Kinship Novels of Early Modern Korea, in sum, will be an indispensable reference in relation to the topics of the Korean histories of the lineage novels, kinship, feelings and interiority, and women’s literature and culture." @default.
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• W4366607612 date "2023-03-01" @default.
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• W4366607612 title "Kinship Novels of Early Modern Korea: Between Genealogical Time and the Domestic Everyday" @default.
• W4366607612 doi "https://doi.org/10.1215/07311613-10213247" @default.
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