The Japanese military “comfort women” have been a subject of transnational feminism that criticizes the patriarchy of war and talks about peace and a symbol connected to the unfinished issue, sexual violence against women.
Kim Eun-ha
Written by Paek Sun-haeng, Team Manager, The Museum of Military Sexual Slavery by Japan, an affiliate organization of the Daegu Citizen Forum for Halmuni
Paek Sun-haeng
Film researcher Hwang Miyojo sheds light on the documentary film “The Silence” produced by female director Park Su-nam, a second-generation Korean-Japanese. Director Park documented the struggle of Lee Ok-sun, who demanded that the Japanese government apologize and provide compensation, together with 14 colleagues.
Hwang Miyojo
Bae Ha-eun
This achievement of historical research will serve as a basis for listening to testimonies in depth beyond the narrow standard of “fact verification.”
Lee Jieun
She deals with the issues of how the victimization of women in the post-colonial Korean society is represented, what type of gaze operates here, and what the gaze ultimately strives to see.
Kim Han-Sang
The author – an ethnomusicologist – invites us to listen to “Comfort Women” survivors’ songs as a way to understand their lives and to remember them.
Joshua D. Pilzer
Kim Soon-ak was referred to by countless names throughout her life: As we can guess from her multiple names, her life was full of twists and turns we didn’t know or didn’t want to know about.
Purplay Kang Purm
In some way or another, testimony literature must provide its own answer to the question of what to represent and how. So what was the answer found by Kim Soom's novel "One Left" (Hyundae Munhak, 2016)?
Kwon-Kim Hyun-young
What can art accomplish beyond aesthetics? Randy Jayne Rosenberg examines how it can preserve marginalized histories, support survivor testimony, and move audiences from observation toward ethical responsibility.
Randy Jayne Rosenberg
