KJC Korea
Journal Central

This paper aims to examine the background and characteristics of the poem of ‘describe regret in the poem with a hundred rhymes’ by Lee Min-gu, Dongju, and to give its significance of the literary history. This poem was written by Dongju in the 17th century in Yongbyon, a place of exile. In particular, This poem tells us that Dongju was influenced by Doo-bo(杜甫) poetry during the exile period. And in the middle of the Joseon Dynasty, many works that borrowed a poem of Doo-bo’s the poem with a hundred rhymes were gradually produced and developed. This poem draws attention in literary history because it was built during such a period. As a result, the following could be found as characteristics of the poem with a hundred rhymes by Dongju. At the beginning of the poem, Dongju started magnificently by focusing on his family and life with the prosperity of the Joseon Dynasty. Subsequently, he recalled the Manchu war of 1636, described the battlefield, and expressed his feelings in exile through quotes from the Chinese literature of 辭賦. However, Dong-ju showed the process of mentally recovering through his daily life. The poem with a hundred rhymes of Dongju is different from the poem with a hundred rhymes of the mid-Joseon Dynasty. After that, it influenced the construction of Baegunmansi(百韻輓詩) by Namin(南人) writers in the late Joseon Dynasty. And as a poem built in exile, it was able to reveal its significance in that it was differentiated while continuing its genealogy.

The Diary of a Man Who Followed Exile is a diary that records the experience of a father, grandfather, or teacher who is going to exile by a son, grandchild, or disciple. As can be guessed from the relational peculiarity of the exile and the accompanist, the exile and the accompanist are inevitably very closely connected emotionally. Therefore, the diary of the exile does not merely record the experience and the subconscious of the individual without any purpose and intention. The ultimate goal of the diary is to claim the injustice of exile and to restore their damaged reputation. As a result of examining 〈Namhaengnok〉, 〈Bukcheonilrok〉, and 〈Changguekil〉, it was found that narrative strategies of direct explanation and indirect explanation were used to achieve such narrative goals. The descriptive method of direct clarification contributes to securing the basis for identity by providing diverse and rich information. Indirect explanation is not an objective basis, but it is a very intense and effective narrative strategy in that it provides a basis for sympathy that can convince innocent exile. Through the process of examining what narrative strategies were used in the exile diary for identity, we can get clues to understand other exile diaries belonging to the same category, and furthermore, we can identify the universal emotions of human beings who are afraid of history.

This paper aims to explore how the author of Kirichonghwa, Lee Hyun-ki, satirizes the fallen yangban in “Simka Gwae-gwi”. He utilizes a traditional structure of starving ghost stories but adds his own twists and techniques to create a unique work that exposes the absurd attitudes of the yangban. Unlike traditional narratives, Lee places fallen yangban in the role of the ghost and ridicules their behavior and beliefs. He also uses irony to highlight the flawed perception of the yangban towards their own situation. Through his work, Lee criticizes the limits of the fallen nobility by emphasizing their mentality and depicting their poverty as something “fateful” that cannot be avoided. Furthurmore, what distinguishes “Simka Gwae-gwi” from other works in Kirichonghwa is its unique approach to depicting the fallen yangban. Lee Hyun-ki creates many protagonists that exhibit the typical characteristics of the fallen yangban class, but unlike other works that offer a clear contrast with the middle and lower classes who adapt to the changing realities of the times, “Simka Gwae-gwi” only focuses on the mentality of the yangban by depicting transcendent beings. At the same time, their poverty is depicted as “unavoidable” that only deepens their distress, further emphasizing the limits of their situation. To sum up, Lee Hyun-ki's use of satire, irony, and transcendent beings offers a critical perspective on the limits of the fallen yangban’s mentality and their poverty. This technique is often found in modern and even contemporary novels, and through this, we can see that Lee sought innovation in his perception and writing style from the traditional ones.

Recorded as a folk song, 〈HeoUngaegibonpuri〉 reveals the appearance of a ‘daughter’ who is shunned by her parents in front of death. On the other hand, 〈HeoUngaegibonpuri〉, which was recorded as a folktale, highlights the image of a ‘mother’ who is in charge of both labor and childrearing. In particular, in folktales, HeoUngaegi’s motherhood is encouraged and demanded by King Yeomra and the village grandmother or mother-in-law. Bonpuri is also similar, but the narration is more complicated in that Kang Eulsaeng’s version depicts HeoUngaegi’s identity vaguely. This is because HeoUngaegi, Kongjwi’s stepmother at first, becomes Kongjwi herself in the end. This shows Simbang’s ambitious intention to illustrate the two extremes of motherhood by contrasting Kongjwi’s stepmother HeoUngaegi with Kongjwi’s HeoUngaegi. The problem is that the intention of such Simbang fails. Due to the structure of the narrative, HeoUngaegi has no choice but to leave this world. Therefore, the mother’s place is left blank. Instead, the mother-in-law, who protects the patriarchy, takes the place. The mother-in-law’s act of actively expelling HeoUngaegi in Kang Eulsaeng’s version implies that motherhood becomes a kind of power in a patriarchal society. In other words, motherhood is surrounded by interests. What is important is why 〈HeoUngaegibonpuri〉 was handed down in the ritual, and why the transmission context was cut off today. 〈HeoUngaegibonpuri〉 depicts the death of a woman, that is, the death of a mother. The story of Kongjwi Patjwi, inserted in Kang Eulsaeng’s version, shows that the myth focuses more on “mother’s death” than anything else. Regardless of genre, most of the speakers in 〈HeoUngaegibonpuri〉 are women because women sympathized with the death of such a mother. However, the reason why the ritual transmission of 〈HeoUngaegibonpuri〉 has disappeared is that the reality depicted by the narrative can no longer be accepted. Now ‘motherhood’ is not something that must be adhered to beyond the limits of death. The existence of 〈HeoUngaegibonpuri〉, where the transmission of rituals has been cut off, shows the changed reality of today.

This thesis tries to examine aspects and characteristics of writings called 「Seohanmunganghwaryakcho (Rhetorical Writing)」 in 『Shincheminun Contemporary Writings Letter Writing Style』 from a viewpoint of sentence introduction essays. 「Seohanmunganghwaryakcho」 is a syntax text which includes basic composition methods, the composition theory, writing’s social roles and significance. This writing regards 『Shincheminun Contemporary Writings Letter Writing Style』 as playing an important role as the book with sentence introduction as well as the simple letter textbook. And the thesis tries to examine 「Seohanmunganghwaryakcho」 as the text which was influenced by Jeong, Inbo’s sentence theory by analyzing his preface in 『Shincheminun Contemporary Writings Letter Writing Style』 in detail. For this, the preface by Jeong, Inbo was first examined. The preface shows the sentence theory and letter theory’s directionality pursued by 「Seohanmunganghwaryakcho」 like a completed example. Chapter 1 of 10 chapters of 「Seohanmunganghwaryakcho」 is the general introduction like an independent essay about the origin of languages, letters, and writings. Chapter 2 to 4 describe the characteristics of the composition methods to present concrete writing techniques, Chapter 5 to 6 explain the characteristics of the concrete sentence theory, and Chapter 7 to 10 focus on writings’ styles. Like this, it treats the letter theory in earnest. This 「Seohanmunganghwaryakcho」 is writing to make readers read Widang Joeng, Inbo’s efforts to establish the systematic composition theory and letter theory as the sentence theory made under his academic and cultural influence. Furthermore, it can be thought this text plays an important role in making the characteristics of 『Shincheminun Contemporary Writings Letter Writing Style』 which is the contemporary letter textbook the sentence introduction with the characteristics of strengthening sentences in earnest, not staying at the level of the simple teaching material for letters.

In the era of digital transformation, the medium of reading is expanding and accordingly, the meaning of reading is changing. In the utopia of reading, where we can find anything at any time, there are friendly helpers to help us read. Knowledge content that reconstructs information and delivers it easily in a shortened form emerges as a substitute for classic reading. Especially, AI ChatGPT replaces reading, thinking, and judging, and outsourcing of reading prevails. Outsourcing of reading is a new aspect of communication according to media changes. Therefore, it is necessary to accurately diagnose it and use its characteristics to adjust or expand the category of reading. Knowledge content can be used as an aid to stimulate interest and help basic reading comprehension and understanding, and can be used as a medium or supplement rather than a substitute for reading. A plan to use ChatGPT as a new conversationalist that can activate the entire process of reading that connects understanding, analysis, and expansion must also be devised in detail. Digital technology has brought lonely reading in the closet to the active world, and classics are delivered more easily and more fun through various media. However, apart from embracing change and acknowledging its usefulness, it should also be considered that the improvement of technology diminishes the ability to create emotions, attitudes, and values inherited from reading classics. Reading the classics was a three-dimensional process for humans to understand themselves and the world. Based on this, a new reading process in which humans and technology collaborate should be constructed.