Jin Eun-young

1.1. Early Life and Education

Jin Eun-young was born in Daejeon, South Korea, in 1970. She pursued her higher education at Ewha Womans University, where she earned her bachelor's, master's, and doctoral degrees in philosophy. Her doctoral dissertation focused on Nichewa chaiui cheorak (니체와 차이의 철학_{Nichewa chaiui cheorak}^Korean, Nietzsche and the Philosophy of Difference), showcasing her early intellectual foundation in continental philosophy.

1.2. Literary Debut and Early Activities

Her literary career officially began in 2000 when her poems, including "Keodaran changoga itneun jip" (커다란 창고가 있는 집_{Keodaran changoga itneun jip}^Korean, The House with the Large Shed), were published in the Spring issue of Literature and Society. This debut marked her entry into the South Korean literary scene, quickly gaining recognition for her distinct voice. Beyond her individual writing, Jin Eun-young was also an active member of Suyu Neomeo, a notable research community for humanities scholars in South Korea, demonstrating her early engagement with broader intellectual discourse.

1.3. Academic and Educational Activities

As a philosopher, Jin Eun-young has significantly contributed to academic discourse through her scholarly publications and teaching. She has authored several philosophy books, including Sunsuiseongbipan, iseongeul beopjeonge seuda (순수이성비판, 이성을 법정에 세우다_{Sunsuiseongbipan, iseongeul beopjeonge seuda}^Korean, Critique of Pure Reason: Taking Reason to Court) published in 2004, and Niche, yeongweonhwegiwa chaieui cheolhak (니체, 영원회귀와 차이의 철학_{Niche, yeongweonhwegiwa chaieui cheolhak}^Korean, Nietzsche, Eternal Return and the Philosophy of Difference) in 2007, which further developed her doctoral research. She also co-authored Deullezueu wa munhak-gigye (들뢰즈와 문학-기계_{Deullezueu wa munhak-gigye}^Korean, Deleuze and Literature-Machine) in 2002 and Kommyunjeui seoneon (코뮨주의 선언_{Kommyunjeui seoneon}^Korean, Communist Manifesto) in 2007, showcasing her engagement with critical theory and social philosophy.

In 2008, her article "Gamgakjeogin geosui bunbae: 2000 nyeondae sie daehayeo" (감각적인 것의 분배: 2000년대 시에 대하여_{Gamgakjeogin geosui bunbae: 2000 nyeondae sie daehayeo}^Korean, Distribution of the Sensible: On the Poetry of the 2000s) was published in Changbi. This article, which discussed the intricate relationship between poetry and politics by referencing Jacques Rancière's theories, generated considerable discussion within the South Korean literary and intellectual community. She later incorporated this article into her 2014 book, Munhagui atopos (문학의 아토포스_{Munhagui atopos}^Korean, The Atopos of Literature). Currently, Jin Eun-young shares her expertise and knowledge as an educator at the Korea Counseling Graduate University.

2.1. Poetic Tendencies and Major Themes

Jin Eun-young is celebrated for her skill in portraying familiar and mundane subjects with an entirely fresh sensibility. Her poetry often utilizes short, impactful lines, demonstrating a preference for simple and sparing language to create a powerful sensory experience, rather than explicitly conveying a specific message. Literary critic Lee Gwang-ho noted that her poetry "defies the sentimental conformity of poems written in the 1990s, and is delivered in the hushed whisper and cracking voice of poetic expression that has not yet been institutionalized," indicating her departure from contemporary trends.

A hallmark of her style is the creation of innovative synesthetic metaphors that transcend the conventional boundaries of the five senses. These metaphors do not aim to instruct readers on the essence of things, but rather invite them into a curious, fleeting sensation, fostering a sense of playful innocence, boundless imagination, and uninhibited thought within her works.

While these distinctive characteristics are present across her oeuvre, her third poetry collection, Humcheoganeun norae (훔쳐가는 노래_{Humcheoganeun norae}^Korean, Stealing Away Song), notably integrates sociological imagination with political poetry. Even before this collection, Jin Eun-young sought ways to address social issues without resorting to overt political agitation or blunt criticisms of society. This commitment to nuanced social commentary is evident in Stealing Away Song, where she employs unconventional metaphors to depict the scars and contradictions inherent in the world.

2.2. Philosophical Thought and Social Engagement

As an artist-cum-philosopher, Jin Eun-young skillfully bridges the romantic and realistic dimensions of both professions. Her philosophical work often examines complex ideas, such as those from Nietzsche and Rancière, to inform her understanding of society and human experience. Her engagement with social and political issues is not merely academic but deeply woven into the fabric of her creative output. Through her writing, she challenges readers to perceive the world critically, highlighting societal inequities and advocating for a more just and humane existence. Her article "Distribution of the Sensible: On the Poetry of the 2000s" exemplifies her philosophical approach to literature, where she analyzes how poetry can illuminate and challenge existing power structures and the distribution of sensory experiences within society. Her work consistently reflects a commitment to exploring the human condition and encouraging critical reflection on social realities.

3.1. Poetry Collections

• Ilgop gaeui daneoro dwen sajeon (일곱 개의 단어로 된 사전_{Ilgop gaeui daneoro dwen sajeon}^Korean, A Dictionary Made of Seven Words) (Moonji Publishing, 2003)
• Urineun maeilmaeil (우리는 매일매일_{Urineun maeilmaeil}^Korean, Everyday, We) (Moonji Publishing, 2008). In the preface, she dedicated this collection to the poet Choi Seung-ja.
• Humcheoganeun norae (훔쳐가는 노래_{Humcheoganeun norae}^Korean, Stealing Away Song) (Changbi Publishers, 2012)
• Naneun oraedoen georicheoreom neoreul saranghago (나는 오래된 거리처럼 너를 사랑하고_{Naneun oraedoen georicheoreom neoreul saranghago}^Korean, I Love You Like an Old Street) (Moonji Publishing, 2022)

3.2. Philosophy and Literary Theory

• Deullezueu wa munhak-gigye (들뢰즈와 문학-기계_{Deullezueu wa munhak-gigye}^Korean, Deleuze and Literature-Machine) (Somyeong Publishing, 2002) - Co-authored with Go Mi-suk and others.
• Sunsuiseongbipan, iseongeul beopjeonge seuda (순수이성비판, 이성을 법정에 세우다_{Sunsuiseongbipan, iseongeul beopjeonge seuda}^Korean, Critique of Pure Reason: Taking Reason to Court) (Greenbee, 2004)
• Niche, yeongweonhwegiwa chaieui cheolhak (니체, 영원회귀와 차이의 철학_{Niche, yeongweonhwegiwa chaieui cheolhak}^Korean, Nietzsche, Eternal Return and the Philosophy of Difference) (Greenbee, 2007)
• Kommyunjeui seoneon (코뮨주의 선언_{Kommyunjeui seoneon}^Korean, Communist Manifesto) (Gyoyang-in, 2007) - Co-authored with Lee Jin-kyung and others.
• Munhagui atopos (문학의 아토포스_{Munhagui atopos}^Korean, The Atopos of Literature) (Greenbee, 2014)

3.3. Works in Translation

Jin Eun-young's work has garnered international attention, leading to several translations:

• "Long Finger Poem" in Poetry (April 2007)
• "Five Poems" in Azalea: Journal of Korean Literature & Culture (Volume 5, Issue 1, 2012)
• "Long Fingers' Poem, A Dictionary Made of Seven Words, Gogh, Melancholia, Disorderly Stories" in Azalea: Journal of Korean Literature & Culture (Volume 7, Issue 1, 2014)
• "Extinction, and: I Am, and: Day after Day We, and: When You Were a Boy" in Manoa (Volume 27, Issue 2, 2015)
• Des flocons de neige rouge (붉은 눈송이_{Bulgeun nunsongi}^Korean, Red Snowflakes) (French)
• séoul/port-au-prince: revue bilingue (French)

3.4. Selected Excerpts

The following excerpts showcase Jin Eun-young's unique poetic voice and thematic depth.

From "Spring Has Come" (Translated by Jeon Seung-hee):
A guy spills a can of green paint.
I don't have red.
I'll have to chop off my wrist.

From "I Am" (Translated by Chung Eun-Gwi and Brother Anthony of Taizé):
Overcooked spinach, a wet lollipop thrown away, I am a house
rolled by a tapeworm, broken scissors, a gas station selling fake gas,
fish scales scattered across a chopping board, a compass that never
stops spinning, I am a thief who steals rotten fruits, sleep that is long
in coming, a wet hand thrust into a flour sack, the broken crutch of
a one-legged man, the mouth of a yellow balloon, a day when lips
touched, so swollen it split

5.1. Critical Reception

Literary and academic critics have widely praised Jin Eun-young for her innovative approach to poetry and philosophy. Her ability to infuse ordinary subjects with a fresh perspective, employing simple language to create powerful sensory experiences, is frequently highlighted. As Kim Jeong Hwan conveyed, the poet Choi Seung-ja herself declared, "I've finally found a poet whom I can call my true successor," a testament to Jin Eun-young's groundbreaking style and poetic lineage. Critics often note her departure from the sentimental trends prevalent in 1990s poetry, instead delivering a "hushed whisper and cracking voice" that resists institutionalization. Her use of synesthetic metaphors and playful, uninhibited thought is also frequently cited as a source of her unique appeal and imaginative power.

5.2. Impact on Korean Literature and Thought

Jin Eun-young's work has had a profound impact on the Korean literary scene and broader intellectual discourse. Her poetry has expanded the boundaries of contemporary Korean verse by challenging conventional sensibilities and exploring the relationship between art and societal realities. Her philosophical writings and critical essays, particularly those engaging with thinkers like Friedrich Nietzsche and Jacques Rancière, have enriched South Korea's intellectual landscape, offering new frameworks for understanding the intersections of aesthetics, politics, and social justice. Through her efforts to depict the "scars and contradictions of the world" without resorting to simplistic or blunt criticisms, she has encouraged a more nuanced and introspective approach to social commentary in literature. Her dual role as a celebrated poet and an influential philosopher positions her as a key figure in shaping contemporary thought, particularly through her consistent focus on humanistic values and a thoughtful, critical engagement with the complexities of modern society.