KJC Korea
Journal Central

The materials of Korean allegorical proses could be classified into persona, natural object, artifact, and abstract object. They account for 51%, 38%, 12%, and 11% in the 201 pieces of sample works respectively. Closely speaking, while imaginary personae of history on the material of persona, animals are given most weight on the natural object. However, compared with imaginary persona for 22%, the weight of animal account for 30% in the whole works. We recognize newly that animal allegory in Korea is given a great deal of weight unexpectedly. Also, as the kinds of animals, the frequency is higher according to the order of dog > mouse/cat > tiger/horse > fox/cow/mole/tortoise·turtle/louse·flea etc. The material of allegory roles as the thematic one in the point which it consist of the core of analogy. Also, it deserve to be refered as analogical element while we consider allegory as figurative discourse. In this thesis, through Lee Kyu-Bo's <a View on Dog & Louse> and so, I contemplate how the materials of 'dog' and 'louse' embody the theme of allegorical works. As the result, I found the process of logical conversion as follow. (1) Dog is a helpful animal, louse is a harmful animal. (2) As dog and louse are very familiar with mankind, they are beings to like living against the mankind together. (3) Dog also has the harmful side, louse also has the helpful side. (4) Dog and louse have much more meaning when we compare them with history of mankind or contemporary society. As the result of contemplation on the allegorical works, the analogical elements of animals provide us with the moment to reflect how the mankind should match well their living with the whole creation, moreover how the mankind themselves live well one another. It may be a prejudiced view of mankind that he like a particular animal because of being helpful or hate because of being harmful. In this view, we can comprehend the idea of Lee Gyu-Bo newly. Especially <a Dialogue with the Creator> is remarkable, in which the writer doubts with the creationism of harmful insects to harass mankind always. It is allegorized within it that the whole creation is not fixed as being created at the very first time, is created as new being always, and only by the being of 'I' could be participated fairly with such repeated process of creation.

This essay is for the excavation and introduction of Si-geum-gang(시금강), an anthology of Sino-korean poetry which was written by Choi, Yeong-nyeon and published in 1926. The anthology is consisted of five parts that contain 240 pieces of poems in various forms by Choi and about 300 pieces by the other 200 poets. These poems are entirely focused on an itinerary for Mt. Geumgang. Especially it is the part 5 that characterizes the anthology as a peculiar work. The poems in it are all of meta-criticism written by poets of the whole country which takes on the character of the anthology and poems by Choi. I think that the poets not only who participated in Mt. Gumgang tour but also who contributed a poem were members of Dae-Dong-Si-dan(대동시단) which means the poetry circle of Great Korea literary, an actual poetry circle of 1920s. The fact that the society of poets really existed and they took part in literary activity as a group, calls us for the interest in Sino-korean literature in the early part of the 20th century, which is necessary for an objective description about Korean literary history.

This thesis is to analyze and discussed on the symbol and role of the tiger in folk-tales. The tiger is classified into three ones; Tiger as a shadow, Tiger as a conscious shadow, Tiger as a antipole union of shadow. And the three symbols of tiger play an important role on the growth of children and teenagers. In that children and teenagers choose higher development step to stimulate their growth, the folk-tale group of Tiger as a shadow is a development model which provides an opportunity to meet the shadow safely and naturally to children who are supposed to meet the shadow for enlarging and deepening their consciousness. The folk-tale group of Tiger as a conscious shadow is a development model which provides an opportunity to meet the process naturally in advance to children who are supposed to meet the process of acceptance, acknowledgement, and change of the shadow in consciousness. Tiger as a antipole union of shadow is a development model which provides an opportunity to meet the antipole union of shadow naturally to children or teenagers who are supposed to be in stage to meet the antipole union of shadow.

This study pursuit topology of animal tales. We analyzed animal tales in the interest of this critical mind, worked up to find out human images in animals of these tales, and grasped the point of the process of human subjectivization these tales has in it. To this purpose, we focused our attention on 'gratitude of magpie' tale. We reached a tentative conclusion that animal tales reflect the process of human subjectivization. As a result, we could concept that topology of animal tales have a relation to the process of human subjectivization and use terminologies, for example 'equatable animal', 'verbal animal' and 'dying animal'. Through various animal tales, human have passed the three courses, what is called 'the imaginary', 'the symbolic' and 'the real'.(Jacques Lacan) Human can construct a subject through animal, in animal tales, and through animal tales, because animal is eternal mirror of human.

It's the time to innovate an academic discourse of Korean classical literature. Until now, academic discourses of classical literature were created either through excessive positivistic under-interpretation or through excessive metaphysical over-interpretation. Those methods which represent a fact-centered perspective and an idea-centered perspective respectively commit the fault that makes one of them reduced to another. It is the reason why academic discourses of classical literature in Korea tend not to be opened, but to be exclusive. Between a fact and an idea, a language that mediates two opposite sides is needed. It is presented as a theory in academic discourse. Therein diverse interrelations between diverse facts and diverse ideas are created and, also, they create diverse discursive networks. They always open new horizon by innovating themselves. Academic discourse of classical literature today has to participate in such a productive discursive work which creates new meanings incessantly.

This paper is intended to look at why the poetic image is reproduced from the pictorial image in what directions, by the poet who has seen the object of the actual landscape painting. For this purpose, in this paper, "Kum Si Dang Pavilion twelve poems(今是堂十二景詩)", which Lee, Yong-gu appreciated "Kum Si Dang Pavilion twelve pictures(今是堂十二景圖)" and wrote, are studied. First, the aspects of relation between pictorial and poetic sceneries are extracted through comparing their elements with each other, and the meaning of the aspects of relation is grasped through analyzing the compared. Among "Kum Si Dang Pavilion twelve poems", there is one poem of which the pictorial scenery is reproduced in the direction of emphasizing the pictorial image. There are eight poems of which the pictorial sceneries are reproduced in the direction of complementing the pictorial image, and three poems of which the pictorial sceneries are reproduced in the direction of replacing the pictorial image. In conclusion, the poet valued and emphasized his own experience of the actual landscape, as the object of painting, more than the painting, as the poetic object.

This study analyzed the publications and life of In Hong Jung (pen name: Raeam), a northern sect scholar from the mid-Joseon Dynasty, to examine his noble spirit. Before doing so, I investigated how the History of the Joseon Dynasty and later scholars evaluated Raeam. The evaluation of Raeam varies greatly in northern administration's History of King Seonjo, and western administration's Modified History of King Seonjo, and the Journal of King Gwanghaegun. The History of King Seonjo describes Raeam as a man of faith and integrity, while the Modified History of King Seonjo and the Journal of King Gwanghaegun depict him as a treacherous and violent man who likes to talk ill of others. The History of King Injo and the History of King Sukjong describe him as a monstrous and rebellious man who initiated the disposal of the queen. Raeam is more severely blamed in later generations. Yi Yi (pen name Yulgok) evaluated him as a faithful man in his Journal of Seokdam at first, but later blamed him when Bal Yi and In Hong Jung impeached Eui Gyum Shim, another scholar in the western sect. The History of Sukjong, written by the southern sect criticized Si Yul Song of the western sect (conservative) more severely than Raeam of the northern sect. Based on these facts, we can assume that these evaluations of Raeam were strongly biased by the political stances of each sect. Modern scholars evaluate Raeam as a revolutionary and liberal Confucian scholar, but point out that he lacked toleration of other sects. Although certain parts of the History of the Joseon Dynasty record In Hong Jung as a traitor, modern scholars describe him as a practical and revolutionary political thinker. The fact that Raeam emphasized the virtue of offspring and servant by criticizing the execution of disposed queen in 「Dabijonguk」 and was always concerned about the reality even after his retirement, shows that he was a truthful Confucian scholar. When the Joseon Dynasty encountered the Japanese Invasion of 1592, he wrote, "Everyone dies in a war," in his Yegi (「Yuhaeng」) and showed his noble spirit to confront the invaders. His political view also reflected his noble spirit. Raeam showed that nobility shall be able to wait for the world to clear up when the world is ruled by the vice.

Taegye & Yulgok are the leading light in the history of our intellegence and are the future generations who have deep impact. The people for future generations has been submitted to the deep and rich mentions about Taegye & Yulgok. In addition, the full deployment has been a fierce debate on the ground between Taegye & Yulgok. In the Essay, I clean up a few items and made the meaning about Taegye & Yulgok's trace that incorporated into future generations of the poetry. The works are as follows: The first works recite the space while previously lived in and go to the memories. It's the second works that sing the emotion through appearance in a dream. The third works give a demonstration of social recognition and cultural thought by plum blossoms. Finally, the other works manifest the agony among the resigning and remaining in office. Taegye & Yulgok's idea and literature gave to the enormous influence and inspiration on the cultural reasons of the future generations. Taegye & Yulgok's trace that be succeeded later ages is one of the passage that understand Taegye & Yulgok. On the history of research about Taegye & Yulgok, if we add this study, will be able to expand the understanding about the history of our intelligence.

This study explores how the Chinese general Kuo Tzu-i (697-781 A.D.) was represented in various cultural media throughout the Chosŏn Dynasty. Lionized in numerous literary and art works, General Kuo was an extraordinarily protean subject matter for all genres, ranging from the royal court annals to fictional narratives. On the basis of various source materials that date from the fifteenth to the twentieth century, this study reconstructs the cultural persona of Kuo Tzu-i in the Chosŏn context.

I studied the images of the Buddhist priests in Yongjaechongwha in connection with the subject of the secularization, in this essay. To this end, I divided off the types of the Buddhist priests, and argued about the distinction as narration, the background of tradition, and the view of editing. And according to the synthetic examination of this, I discussed the subject of the secularization. In the first place, that the images of the Buddhist priest are found a priest of virtue, an evil-working priest, a silly priest, and a secular priest. And they are resulted from the social circumstances, the social position of Buddhism and the priests, the agitation against Buddhism by Sadaebu including the editor of those years. In the next, I discussed the meaning of, the form of, and the cause of secularization. Specially, I created four ways of the secularization of the Buddhist priests. This is for the intention to examinate fully, and make a fixed form the subject of the secularization.

Eosayong is a song that was sung on the labor field to which lower-class men go for gathering firewood. Eosayong contains a sigh of lower-class men who need to make a tired life, instead of affirmative and optimistic self-recognition shown by the collective work song, which had been sung by men. Eosayong, which indicates the typical looks in a song of being sung while sighing alone, contains a scarred desire in the lower-class men who had been unable to make their desired life. Words in Eosayong are combined centering on the certain formulaic phrase same as the folk-song general. However, the aspect of combination between these formulaic phrases shows the aspect of being combined flexibly according to emotional direction in a traditional narrative singer. The contents of a sigh in Eosayong include criticism against society, alienation, loneliness, and own reality that is faced, but are also sublimed into popular aesthetics of trying to alleviate a sense of sorrow in reality through a smile depending on a case. This aspect indicates the characteristic in the class that had enjoyed Eosayong, and seems to be possible because of a private song that is sung in an individual labor situation. In the base of a sigh is positioned the recognition of reality that oneself needs to make a life as the other existence that is eternally isolated and discriminated in society to which oneself belongs. In a sense that Eosayong contains the lamentable desire of people who have self-consciousness of failing to make own life based on recognition of the ruthless reality, it will be said to be a song that gives deep echo to modern people who need to get accustomed to live in it with being employed by huge capital in today.

Mi-Am(미암)'s learning was appraised a respect of Juja(주자), with propound knowledge. Then he showed the course of Jujahak(주자학)'s internalization at large. And he read that the prose of Juja(주자) light Uiri(義理) and is as good as bonui(本義). Then Chilseok(七夕) poetry and Bujagimun(不自棄文) was not Juja(주자)'s work. This is the same view with Ki Dae-Seuing(기대승), Lee Hwang(이황), and show Mi-Am(미암) did not followed Juja(주자) blindly.