The Research of the Korean Classic 2021 KCI Impact Factor : 0.53

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pISSN : 1226-3850

http://journal.kci.go.kr/kcl1994
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2018, Vol., No.42

  • 1.

    Literary imagination about Anpyeong prince and its meaning in Unyeongjoen and Bongijaerongphilwangi

    Kim Moon Hee | 2018, (42) | pp.5~45 | number of Cited : 1
    Abstract PDF
    The purpose of this study is to discuss literary imagination of reconstructing historical character and its meaning through imagery, representation and comments on historical character, Anpyeong prince who appears in Unyeongjeon and Bongijaerongphilwangi. In the interior frame of Unyeongjeon, Anpyeong prince is shaped as a writer and caligrapher, a patron of the arts and a commander with power. Emotion of grief and sympathetic view about Anpyeong is expressed through description of Suseong palace and reaction of figures in the interior frame of Unyeongjeon. The beginning and body part of Bongijaerongphilwangi is shaping a writer and calligrapher, a patron of the arts, a man of refined taste. In the comment part of Bongijaerongphilwangi, Anpyeong is viewed negatively that he is defeated in the Gyeyujeongnan because he used his talents uncarefully. The shape of figures in the interior frame of Unyeongjeon and the beginning and body part of Bongijaerongphilwangi, is imitating imagination of history simulation which constitues figures imitating history. The meta-view about Anpyeong prince in the exterior frame of Unyeongjeon and comment part of Bongijaerongphilwangi, is the interpretive imagination of history assessment which views historical events and characters variously. The imitating imagination of history simulation gives material that make repetitive talent and personality of character when shaping a historical character, Anpyeong prince in literature. The interpretive imagination of history assessment gives material that make the narration of Anpyeong prince fresh.
  • 2.

    The Issues in English Translations of Pre-modern Korean Literature

    YOUME KIM | 2018, (42) | pp.47~82 | number of Cited : 2
    Abstract PDF
    The number of publications on Korean studies has surged due to Korea’s increased international exposure since around the early 2000s. While the number of studies on Korean literature also has shown noticeable growth regarding contemporary novels and poems translated into various languages, the field of pre-modern Korean literature has relied on a small number of scholars and publications. To expand the scope of pre-modern Korean literature in English-speaking countries, this study suggests ways to enhance the readability of English translations of pre-modern Korean literary works by focusing on introductions and notes in Epistolary Korea: Letters in the Communicative Space of the Chosŏn, 1392-1910, Score One for the Dancing Girl, and Other Selections from the Kimun Ch'onghwa: A Story Collection from Nineteenth-Century Korea, and Wrongful Deaths: Selected Inquest Records from Nineteenth-Century Korea. This study selects the three publications above because they were translated and edited by pre-modern Korean scholars in the United States, who number very few but have devoted to themselves to make useful reading materials for students, published in US university presses, and received favorable reviews among scholars and students in general. The three translations commonly devote 30–50% of the total number of pages to the introduction, which guides readers to understand the significance of the translated literary works in understanding Korea and neighboring East Asian countries. In addition, detailed and sufficient notes on Korea’s historical figures and events from an East Asian context help to catch readers’ interest.
  • 3.

    Leisure life depicted in Korean classical novels and its meaning-focused on play

    Jeung Sun Hee | 2018, (42) | pp.83~111 | number of Cited : 3
    Abstract PDF
    This paper examines play, which is one of the leisure activities that characters in classical novels do. Leisure activities are classified into play and hobbies. Play includes baduk, tuho, boating, sightseeing, a kind of polo, and so on. Various leisure activities described in classical novels seem to work as a means to express suppressed emotions and abilities. Leisure activities also show different preferences according to class and gender. Women of the upper class share various information and emotions, and communicate with male family members during playtime. Men of the upper class express personalities and abilities, and compete with each other through play. Play of common people is not often depicted in novels, and play at a party or play of prodigals are usually mentioned. Through these examinations we could learn about ancestors' living culture and emotions in detail, and these will be humanistic resources arousing sympathy and consoling modern people.
  • 4.

    On Aspects of Narrative Retardation in Korean Classic Novels

    Cho, Yong-ho | 2018, (42) | pp.113~149 | number of Cited : 1
    Abstract PDF
    This paper was written for the purpose of examining aspects of narrative retardation in Korean classic novels. Narrative retardation usually arises from differences in information about events that are known to the character at story level and to the reader at the discourse level. I focused on this fact and divided the aspects into four categories according to the presence and difference of the information perceived by the character and the reader. In addition, I investigated how they appear in real novels. The novels researched in this study were four books, including Nam-ga-rok, Jeol-hwa-gi-dam, Shim-cheong-jeon, and Chun-hyang-jeon. The tactics of narrative retardation adopted in these novels were evenly distributed in the four categories and were realized in various aspects. Next, I analyzed the intention and the effect that the writer or the narrator used the retardation tactics in the four novels. As a result, the intention to use the retardation tactics was converged to strengthen didactics, enhance pleasure, or harmonize pleasure and didactics. Especially in the novels, Jeol-hwa-gi-dam, which mainly pursued pleasures, and Nam-ga-rok, which tried to harmonize didactics, succeeded in inducing the interest of the reader by using sophisticated techniques, so they deserved to be evaluated as showing the advanced form in classic novels. This suggests that the retardation tactics can be used as an important criterion for analyzing and evaluating Korean classic novels.
  • 5.

    Formal Characteristics in Gokmun of Beaksangrugi-Focusing on the comparison with Jin, Shengtan's critique Seosanggi

    LEITING | 2018, (42) | pp.151~174 | number of Cited : 0
    Abstract PDF
    This study is intended to look into the formal characteristics in Gokmun(lyrics) of Beaksangrugi, an opera written in Chinese by Jung Sanghyun, and to verify the reason why such writing formal characteristics were formed. The studies on Beaksangrugi so far focused on writer investigation, format analysis, characteristics of linguistic expressions, comparison with Jin, Shengtan's critique Seosanggi, characteristics of the critique, character images, sexual discourse and etc. However, there hasn't been any studies on the characteristics of writing in gokmun of the work. Therefore, this study analyzed the formal characteristics in gokmun of Beaksangrugi, and the results are as follows. First, gokpaes of Beaksangrugi were classified, to see whether they belong to Bukgok or Namgok. It was found that there were many gokpaes belonged to Bukgok of China, and some names of the remaining gokpaes were similar to those of Chinese opera gokpae. Also, the gokpaes 【Zhuanshawei(賺煞尾)】, 【Shawei(煞尾)】 and 【Wei(尾)】 which indicate the end of each act of the opera were the ending part of Yuan opera music and are also the most important part of the whole set of music, so the music of Baeksangrugi was highly likely to be made according to Bokgok of China. Second, the gokpeas appeared in Beaksangrugi and Jin, Shengtan's critique Seosanggi were compared. Gokmun which commonly appeared in both Beaksangrugi and Seosanggi didn't correspond to the standard format of Chinese opera gokpae, and surely the number of sentences and the number of letters in each sentence had a lot of differences. Also, the gokmun of Beaksangrugi 【Jinjiaoye(金蕉葉)】 showed almost the same pattern of [Xianlv(仙呂)]【Dianjiangchun(點絳脣)】. Furthermore, gokpae related to 【Shuangyuanyang(雙鴛鴦)】, which can be found in Bukgok gokpae but didn't used in Seosanggi Gokmun and Seosanggi, was compared and analyzed. As a result, it was also found that gokmun of Beaksangrugi didn't correspond to the standard format of Chinese opera gokpae, and surely the number of sentences and the number of letters in each sentence had a lot of differences,and also Chenzi(襯字) was almost not found in Beaksangrugi. Therefore, it can be concluded from the Gokmun of Beakssangruji gokpae that the Beaksangrugi author's understanding and the using of Chinese opera gokpae had many differences from the writing way of Chinese opera gokmun. Such formal characteristics in gokmun of Beaksangrugi, which doesn't correspond to the standard format, is evidences of attempts to seek a new style while adopting literary styles of Ming and early Qing Dynasty, in addition to Jin, Shengtan's critique Seosanggi.
  • 6.

    The Studies of Literary of Ha Gye(霞溪) Gwon Yu(權愈)-With Reference to Geungi Namin Gwan-gak literati in the Reign of King Sukjong

    Ha Ji Young | 2018, (42) | pp.175~214 | number of Cited : 1
    Abstract PDF
    In King Sookjong’s period, Namin(南人) Gwan-gak literati developed their own unique writing style while succeeding the antiquarianism and literary attempts of writers from the previous period. Thus, there is no precedent for the high interest in literature, style, and investigation seen in this period. Gwon-yu represents the Geungi Namin Gwan-gak literati in the Reign of King Sukjong. He exemplifies a different aesthetic of writing. His work has been intensifying the esotericism, such as his efforts of phrasing and quoting from the classics. In case of the writing of Jeonjangryu (傳狀類) and Epitaph (碑誌類) that record the life of the character, he showed the difference with the Noron(老論) writers by choosing to show a character’s life as it was rather than actively evaluating the character. The writing method of Gwon-yu can be evaluated as focusing on the life of the character rather than conveying his subjectivity to the reader. Of course, whether or not the esotericism and narrativity diagnosed in Gwon-yu’s literature can be applied to the general Namin Gwan-gak literati sould be discussed in parallel with the analysis of the works of Namin Gwan-gak literati. Of course, whether or not the esotericism and narrativity diagnosed in Gwon-yu’s literature can be applied to the general Namin Gwan-gak literati should be discussed in parallel with the analysis of the works of Namin Gwan-gak literati. Nevertheless, it seems clear that the differences in the writing of the Noron writers such as Lee Gwanmyeong, Song Siyeol etc. overlapped with the difference between Tang-Song and Qin-Han Writings that exemplified the ideal model of Literature of each party. Gwon-yu’s literature can be understood as a result of an extreme pursuit of the demands and tastes of the contemporaries of Namin, rather than a reflection of a unique individuality.
  • 7.

    A Study on the Aspect and Meaning of Evilness through Shaman Epic in Jeju Island

    Kang Ji Yeon | 2018, (42) | pp.215~244 | number of Cited : 0
    Abstract PDF
    With the fact that myth gives human beings behavioral norms in mind, this study focuses on the meaning of evilness in order to define both what deeds shamanism myth deals with significantly and fundamental features of those deeds. By focusing on causes of what brings about unpleasant feelings, this study analyzes the meaning of evilness so as to figure out what deeds main characters in Jeju bonpuri define as evilness and how they avoid them. In analyzing this, the way they control evilness in shamanism can be understood, and moreover, the definition of virtue that shamanism pursues can be identified. In Cheonjiwangbonpuri, a story about a god who governs earthly world, evilness stems from the feeling of lack, which arouses such emotions as greed and violence that make one extort and destroy things. These evil deeds hinder society, family, and religious community from continuing to exist. In shamanism myth, gods present the value of shamanism and put importance on the moral values through evilness. Also, they display vigilance on evilness that destroy these values and forbid evil deeds. In shamanism myth, there are other things that are defined as evil deeds. First, it is unethical deed of parents who do not conduct their roles as parents and do things against family ethics. Second, ignorant attitude of ordinary human beings who do not obey gods properly is considered evil deed. All of their deeds give ordeal to mythical characters and by overcoming this ordeal, mythical characters’ sacredness is realized. Consequently, evilness that shamanism myth deals with goes forward by transforming the state of disorder and chaos into that of order and organized. Through this, it promotes stability of society, family, and religious community, and deals with the essence of world that shamanism pursues. With the fact that myth gives human beings behavioral norms in mind, this study focuses on the meaning of evilness in order to define both what deeds Shaman Epic deals with significantly and fundamental features of those deeds. By focusing on causes of what brings about unpleasant feelings, this study analyzes the meaning of evilness so as to figure out what deeds main characters in Jeju bonpuri define as evilness and how they avoid them. In analyzing this, the way they control evilness in shamanism can be understood, and moreover, the definition of virtue that shamanism pursues can be identified. In Cheonjiwangbonpuri, a story about a god who governs earthly world, evilness stems from the feeling of lack, which arouses such emotions as greed and violence that make one extort and destroy things. In Shaman Epic, there are other things that are defined as evil deeds. First, it is unethical deed of parents who do not conduct their roles as parents and do things against family ethics. Second, ignorant attitude of ordinary human beings who do not obey gods properly is considered evil deed. All of their deeds give ordeal to mythical characters and by overcoming this ordeal, mythical characters’ sacredness is realized. These evil deeds hinder society, family, and religious community from continuing to exist. In Shaman Epic, gods present the value of shamanism and put importance on the moral values through evilness. Also, they display vigilance on evilness that destroy these values and forbid evil deeds. Through this, it promotes stability of society, family, and religious community, and deals with the essence of world that shamanism pursues.
  • 8.

    Thoughts on Fate in Woncheongang(袁天綱) Bonpuri-Comparative Study with Man Traveling to Seek Fortune Folk-tales

    Ryu Jeong Wol | 2018, (42) | pp.245~271 | number of Cited : 8
    Abstract PDF
    This paper studies thoughts on fate of the group which enjoyed Woncheongang(袁天綱) Bonpuri. To reveal the uniqueness of the thoughts on fate, I pay attention to different points with Man Traveling to Seek Fortune Folk-tales. Both of these stories are a journey back to the starting point and it has the going-and-coming and problem-solving narrative structure that responds. I see Woncheongang Bonpuri’s peculiarities which differ from Man Traveling to Seek Fortune Folk-tales at the beginning and end of the itinerary. The motive for Onuri to leave her parents is initial situation. The ending to become the goddess to write Wonchengan is her last situation. As a result of the trip, she becomes a sacred women. So this paper find the ontological change of Onuri is found in the Woncheongang, the mysterious river. The river has a meaning as a place to watch time and to see fate. Finally, this paper examine the knowledge of the river was a local knowledge shared in the Jeju island by this group. This group thought on the fate that the episteme and practice was the same. They believed the inexplicable experience of life is due to the ignorance of Palzha(八字), and they can overcome the hardship of life with knowledge of Palzha.
  • 9.

    Mythological interpretation of the type of <my wife who does not eat rice>

    Lee Jooyoung | 2018, (42) | pp.273~299 | number of Cited : 0
    Abstract PDF
    This paper attempted to analyze myths about the type of "my wife who does not eat rice" which is handed down to Korea. The contents of this narrative, which is a total of seven versions, is simple. A man picks up his wife who eats a lot of rice and then gets a wife who does not eat rice. However, when the grain was getting smaller, he secretly saw his new wife and said that she was opening his head and putting more rice. The two noteworthy notions in this tale are a lot of eating and a little eating. It is characterized by the murder of wife, and the weirdness of eating rice as a head. The story was able to be discussed in comparison with the Hinuwelle type Myth in the part of checking the rice and the bean by opening the stomach of the murdered wife. The Hinuwelle type Myth faces up to the paradox of life that eating is premised on death. The weirdness of life by this paradox is that this type has two strange elements: the wife killed by husband and dissection of the body, the eating rice as a head. It was a direct analogy to the murdered and disintegrated grain god and reconstruction of the body for new farming. At the same time, the divinity that must die for the human life and the life force against the death were characterized as a little eating and a lot of eating Through this discussion, it can be confirmed that the Hinuwelle type Myth, which had not been confirmed on the Korean peninsula until now, is handed down as a modified form.
  • 10.

    Study on Modern Korean Folktales Described in French-Comparing with the translations of Simcheong

    Hwang In Soon | 2018, (42) | pp.301~332 | number of Cited : 1
    Abstract PDF
    This essay will analyze the three representative french translations of Korean literature in 1900s as the difference of translation signify the diversity of perspectives. The objects of study include Le Bois sec refleuri, Contes Coréens and Miroir, Cause de Malheur! In these books, Simcheong is the only narrative choosen in common. It is divided in two different levels of transformation in modern translation: content-formation and language-formation. From these elements, individual perspective of interpretation is completed and Simcheong demonstrates their own signification with certain adaptation as well as translation itself. Therefore, these specified perspectives represents how modern subjects cognized and present this strong and unfamiliar time, modern times.