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Song Chanho

From Wikipedia, the free encyclopedia
In this Korean name, the family name is Song.
Song Chanho
Born1959
Boeun County, North Chungcheong Province
OccupationWriter, poet
LanguageKorean
NationalitySouth Korean
Alma materKyungpook National University
Korean name
Hangul
송찬호
Hanja
Revised RomanizationSong Chanho
McCune–ReischauerSong Ch'an-ho

Song Chanho (Korean: 송찬호, born 1959) is a South Korean poet.[1]

Life

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Song Chanho was born in Boeun County, North Chungcheong Province, South Korea in 1959. He studied German language and literature at Kyungpook National University. His writing career began in 1987 when several of his poems, including "Geumho River" (금호강), were published in the literary journal Literature of Our Age.[2][3] Song published his first poetry collection, The Soil Has the Memory of a Square (흙은 사각형의 기억을 갖고 있다, 1989) two years later.[4][5]

Song won the thirteenth Dongsuh Literary Award and nineteenth Kim Su-yeong Literary Award, both in 2000. He has also received the Daesan Literary Award (2009) and the Yi Sang Literary Award (2010).[6]

Writing

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Song Chanho's style of writing is experimental lyric poetry.[7] His first poetry collection, The Soil Has the Memory of a Square (흙은 사각형의 기억을 갖고 있다, 1989) centred around the image of a square with no exit as a metaphor for life and death.[2] His second poetry collection, The Chair That Remained Empty for Ten Years (10년 동안의 빈 의자, 1994), similarly focused on contrasting opposites, with more emphasis on the use of language.[8] Song Chanho also frequently uses nature imagery to convey meaning, such as in Red Eyes, Camellia (붉은 눈, 동백, 2000).[9] More recent works, such as The Night of the Cat's Return (고양이가 돌아오는 저녁, 2009),[10] have more explicitly criticized society and civilization in general.[11]

Of Song's fifth poetry collection, Pink Wooden Shoes (분홍 나막신, 2016),[12] literary critic Yi Jae-bok wrote that Song's poetry had "a classical elegance as the result of his deep reflection on language and existence."[13] Several of Song's poems and one of his poetry collections have been translated into English.[14]

Works

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Works in Korean (partial)

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  • The Soil Has the Memory of a Square (흙은 사각형의 기억을 갖고 있다, 1989)
  • The Chair That Remained Empty for Ten Years (10년 동안의 빈 의자, 1994)
  • Red Eyes, Camellia (붉은 눈, 동백, 2000)
  • The Night of the Cat's Return (고양이가 돌아오는 저녁, 2009)
  • Pink Wooden Shoes (분홍 나막신, 2016)
  • Like a Goose Going To Play in the Aster Fields (쑥부쟁이밭에 놀러 가는 거위 같이, 2016)

Works in translation

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Awards

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References

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  1. ^ "송찬호 | Digital Library of Korean Literature (LTI Korea)". library.klti.or.kr. Retrieved 2017-09-11.
  2. ^ a b "송찬호" (in Korean). Retrieved 2017-09-11.
  3. ^ Ha Jaeyun. "The Creation and Transformation of Mythical Imagination in Contemporary Poetry." Korean Literary Theory and Criticism: Summer 2014. 하재연, ｢현대시에 나타난 신화적 상상력의 창조와 변용｣, 『한국문학이론과 비평』 여름호, 2014.
  4. ^ Park Hyegyeong. "Poetry, Words Floating in the Air." Literature and Society: Spring 2000. 박혜경, ｢시, 허공 중에 떠 있는 말｣, 『문학과사회』 봄호, 2000.
  5. ^ Ki Changhwan. "The Spirit and Evanescence of Humanized Nature." Literature and Society: Summer 2009. 김창환, ｢인간화된 자연의 예기와 덧없음｣, 『문학과사회』 여름호, 2009.
  6. ^ "송찬호 시인, 3회 디카시 작품상 수상 - 머니투데이 뉴스". Retrieved 2017-09-11.
  7. ^ "소금 창고" (in Korean). Retrieved 2017-09-11.
  8. ^ Yi Gyeongho. "Scarce 'Rice' at the End of the Century." Literature and Society: Spring 1995. 이경호, ｢궁핍한 세기말의 ‘밥’｣, 『문학과사회』 봄호, 1995.
  9. ^ Gwon Gyeongah. "The Elephant Is Going." Poetry and World: Spring 2010. 권경아, ｢코끼리가 간다｣, 『시와세계』 봄호, 2010.
  10. ^ Sin Beomsun. "A Cat's Philosophical Fairy Tale." In The Night of the Cat's Return: Moonji, 2009. 신범순, ｢고양이의 철학 동화｣, 『고양이가 돌아오는 저녁』, 문학과지성사, 2009.
  11. ^ Sin, Beomsun (2009). "고양이의 철학 동화". 고양이가 돌아오는 저녁. Moonji.
  12. ^ Yi Jaebok. "The Discovery of Symbols and Restoration of Beauty." In Pink Wooden Shoes: Moonji, 2016. 이재복, ｢상징의 발견과 미의 복원｣, 『분홍 나막신』, 문학과지성사, 2016.
  13. ^ Yi, Jae-bok (2016). "상징의 발견과 미의 복원". 분홍 나막신. Moonji.
  14. ^ "송찬호 | Digital Library of Korean Literature (LTI Korea)". library.klti.or.kr. Retrieved 2017-12-09.
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