This study aims to explore the reception and dissemination of Korean writer Kim Ae-ran's works in China. After the establishment of diplomatic relations in 1992, cultural interaction between the two countries was fully restored and expanded, and moder...
This study aims to explore the reception and dissemination of Korean writer Kim Ae-ran's works in China. After the establishment of diplomatic relations in 1992, cultural interaction between the two countries was fully restored and expanded, and modern Korean literature was gradually introduced into China during this period. With the expansion of the “Korean Wave” in the 2000s, Chinese readers' attention to Korean literature has increased significantly, but the acceptance structure of Korean literature in China is characterized by limited attention to formal literature and deeper influence of popular literature. In this context, Kim Ae-ran's works have gradually attracted widespread attention from Chinese readers with their unique female narrative style and social insight, and have become an important representative of the spread of Korean women's literature in China.
Based on R. Escarpit's theory of literary sociology, this paper analyzes the actual situation of literary communication from the three dimensions of creators, works and readers. The research object is the publication and republication of Kim Ae-ran's works in China from 2012 to 2022, by collecting reader review data in two stages (2012∼2017 and 2017∼2022), 100 comments are extracted from each work, data cleaning and word frequency extraction are carried out using text mining technology, word cloud diagrams and core word lists are constructed, and statistical analysis and visualization are completed using PYTHON3.6.
The results show that Chinese readers' acceptance of Kim Ae-ran's works shows a changing trend from dispersed attention to core deepening. First of all, compared with the later stage, the number of early comments is significantly smaller, but the number and frequency of high-frequency words increase significantly in the later stage. Secondly, at the thematic level, the early reviews mostly focused on the film and television adaptation and writing style of the work, while the later stage gradually turned to the diversified discussion of emotional expression and social themes. Finally, according to the content of the comments, it can be seen that Chinese readers not only pay attention to the narrative content and themes, but also gradually form an overall understanding of the author's writing style and creative trajectory.
This study is helpful to reveal the dissemination mechanism and reception characteristics of Korean literature in Chinese context, and provides an empirical basis for analyzing the exchange mode of Korean Chinese studies and the cross-cultural influence of Korean women's literature.