Korean | English

pISSN : 1229-3946

2020 KCI Impact Factor : 0.68
Home > Explore Content > All Issues > Article List

2008, Vol.44, No.1

  • 1.

  • 2.

    The Study of Ideographic Characters Searching System, Using IDS(Ideographic Description Sequence)

    Shin, Sang Hyun | 2008, 44(1) | pp.55~88 | number of Cited : 0
    Abstract
    This article is the study of Ideographic Characters Searching System, using IDS(Ideographic Description Sequence) that based on the theory of Ideographic Structure Characters in Han Ideographic Characters. Ideographic Characters can be analyze into some specific components, they are well known characters to include radicals or strokes to have no meanings. And we can construct database structurally by the union of these components with the kind of 12 IDC(Ideographic Description Characters). Due to using this database, we can search Ideographic Characters simply; nevertheless, it's the first meeting, never seen before. Based on this theory of Ideographic Structure Characters in Han Ideographic Characters, we can construct a new type database called IDS Database. To structure of database be applied some rule, as follow four items. ① Number of Ideographic Characters are 74,474 in unicode. ② All of Ideographic Characters analyze into components the numbers of N having pronunciations and meanings. ③ Components are limited within CJK Unified Ideographics Ext.A, and must be input to change Ideographic Characters by Hangul. ④ Radicals changed original shape, example of 㣺[心], 巛[川], 乚[乙], 牜[牛], are input through special input windows. Based on this IDS Database, we can construct Ideographic Characters Searching System. It is consist of four part, ① the part of input one more components at least with IDC, ② the part of analysis components and IDC, ③ the part of IDS Database, ④ the part of display the results of searching. And It has four step's processing for searching progress, ① the first step of input one more components at least with IDC, ② the second step of analysis components and IDC, or changing to IDS it is suitable for searching, ③ the third step of generating SQL Query to IDS Database, ④ the forth step of display the results of searching, getting from IDS Database. Thanks to use this Searching System, we can search Ideographic Characters simply, if you know that Ideographic Characters can be analyze into some specific components, and these components can be the union of its one; nevertheless, it's the first meeting, never seen before, and have no informations of it's pronunciations and meanings. Due to this feature, It will be use non standardization Ideographic Characters Searching System usefully, lake as Database of Variants Ideographic Characters, Database of Old Ideographic Characters, etc.
  • 3.

  • 4.

    The study, efficient support policies on Korean education for the international marriage women immigrants - focusing on the analyses of the support programs for the international marriage women immigrants in each local governmental institution in Jeonbuk

    Ko Eun Mi | 이수라 | Mi-Young Jang and 1other persons | 2008, 44(1) | pp.111~138 | number of Cited : 20
    Abstract PDF
    This study has been advanced with the aims of (1) understanding the situations of Korean education for the international marriage women immigrants in Jeonbuk province. (2) construction the basic data of the efficient support policies on Korean education with a view of the government. (3) devising these efficiently. However, this study was restricted to Jeonbuk province. Because this study was affected with the budget and the number of researchers, so we chose the region which could be taken possibly. Therefore, the targets of this study were institutions and parties which were taking actions, related to the international marriage women immigrants. The ways to research those institutions and parties were the examinations of homepages, telephones, questionnaires and visits. The results arisen from this study show that, first, we could understand the situations of Korean education which have been doing by the institutions and the parties in Jeonbuk province. Second, we could present the efficient methods of Korean education practice. Third, we could propose the alternatives that the government should take actions planning policies for the international marriage women immigrants in Korea.
  • 5.

    A Study on syntactic characteristics and restructuring of ‘malida' sentence

    Lee Raeho | 2008, 44(1) | pp.139~156 | number of Cited : 4
    Abstract PDF
    This paper aims to investigate the restructuring of ‘malida’ and syntactic characteristics of ‘malida-1’, ‘malida-2’. ‘Malida-1’ sentence has basically ‘NP1i NP2i-’ structure. So its sentence can change negative sentence transformation and combine the tense pre-ending, conjunction ending. ‘Malida-2’ sentence don't describe sameness or property between NP1 and NP2. ‘Malida-2’ is combined with the preceeding complemet ‘-n'. ‘Malida-2’ means that show speaker's attitude about a proposition of a stentence and not be concerned in construction of the proposition's contents. ‘Malida-2’ sentence has no restriction of subject but has restriction of negative sentence transformation, combination of tense pre-ending and conjunction ending. ‘Malida' is restructuralized ‘malida-2' because of semantic weakness of ‘ida' and the completion or definiteness of the ending of ‘-n'.
  • 6.

    Color Images appeared at Park Do-jin's initial Poetry ―『Cheongrokjip』, attaching importance to 『sun』

    Ji-won,Lee | 2008, 44(1) | pp.157~192 | number of Cited : 1
    Abstract
    This article was originally begun to light on Park Do-jin's Poetry in the plus side. We need to review the customary approach that we have typically cut his poems upon the biographical fact. By analyzing color images mainly - one of the important poetic representation, I tried to make foundation that helps to understand the meaning of Poetry variously. A imaginative and various color languages in Park Do-jin's Poetry make us understand his Poetry from different angles with the potential of open access. This color images are not only a device making Park Do-jin's poetic world possible but a key deciphering his Poetry. In other words, If there are certain color images appearing repeatedly, the images will be a standard explaining his poetic world. If this article opens possibility that helps understand his Poetry with different viewpoint, there is sense in studying. In summary, this discussion follows; First, black image expresses reality of despair and fear. This is the dark side of the poet's unfortunate inside. Therefore, this image is used to highlight the characteristics- the pursue of heliotropism- of the poetic. Secondly, the golden image expresses the pursuit of transcendence and immortality. Park Do-jin used golden image to transcend human's finite and wished immortality in golden imagination. An individual illusion empathy with metallic characteristic is a aspect showing Park Do-jin's poetic characteristic. Thirdly, the red image is a symbol of struggle and intense vitality. By using red image, Park Do-jin gave shape to his intense ideology of rise when he described a fierce confrontation consciousness and hot, hearty vitality. Fourth, the blue image is germination of desire to reture home in ideal world. This color makes up most of percentage in his color images. Blue widely symbolizes the aspirations of the world. But, when going through the narrow poetic meaning, blue is medium resolving thirsty of nostalgia. This can be called ultimate voice of Poetry. As a result, Park Do-jin's color images in Poetry are one of his approaching ways over deep-rooted biases. As I studied, if the color plays a symbolic role and maintains consistency, it is a key to determine his Poetry. If his Poetry moves toword certain place, by following that, I think we can find the flow of his thought.
  • 7.

    Discourse on Confession and Forgiveness -With The Travelers for One Hundred Years Written by Lee, Hoisung-

    Byun, Hwayeong | 2008, 44(1) | pp.193~214 | number of Cited : 4
    Abstract
    Lee, Hoisung describes the lives of the Koreans who had to wander as a stranger in Sakhalin in The Travelers for One Hundred Years. As Sakhalin was not a simple geographical spot but an axis of East Asia, it is true that the grounds for Korean people spread out all around the East Asia. The history of Korean people should include the lives of them, and the solutions of the problems of the Korean race can be found when we cross the border of 'the country' of Republic of Korea and 'the region' of Korean Peninsular. Lee insisted that the notion 'race' should be approached with the view of the recovery of humanity and racial equality, not the racism itself. His new vision of race is well described in The Travelers for One Hundred Years, which insists that the conflict among races can be settled down through confession and forgiveness between the power and powerless. To be brief, in The Travelers for One Hundred Years, Lee argued that humanism in the era of transnationalism can be achieved through confession and forgiveness.
  • 8.

    The Reflection and Task of the History of Korean Theatre - mainly on period classification and genre classification

    Kim, Mido | 2008, 44(1) | pp.215~238 | number of Cited : 2
    Abstract
    This essay intends to explore and discuss the viewpoints and the their difference of period classification and genre classification described in the important works which have been published up to now. The most leading writers on Korean History of Theatre are Lee Do-Hyun, You Min-Young and Seo Yeon-Ho. And on the Period classification, the most contradictory point among these three writers is the concept of 'modern drama' and 'contemporary drama'. In my humble opinion on the starting point of the two dramas, it seems to be more advisable to contemplate from the more independent viewpoint and from the viewpoint of overcoming 'Tradition Discontinuity Theory'. Thus, I wonder if it would be agreeable to have Chang Geuk 'Eun-Se-Gye' performed in 1908 as the true starting point since there has been such an agreement that 'Eun-Se-Gye' showed the modern style and modernity awareness. Similarly, the opinion that the starting point of contemporary drama is the beginning of 1960 is also rooted on the theatre atmosphere of the time which western style play such as Theatre of the absurd, Epic Theatre, and Theatre of cruelty were around. It appears to be plausible to see that the true changes in Korean Theatre have begun from 1970's with new discussion on tradition and creative inheritance of traditional play. Through this, it can be said that we have passed over to 'creative contemporary plays' from 'transplanted modern plays.' On Genre division, there seems to be a great difference between A History of Korean Theatre written by Lee Doo-Hyun and A Complete History of Korean Theatre written by Seo Yeon-Ho. According to Lee, it is suggested that the greatest heritage of our traditional play is 'Mask Play', and he classified six types on the basis of lore type. While according to Seo, he roughly classified Gut, Talchum, Kkoktugaksinorum, Uheui and Pansori and as such they are all clearly differentiated. It seems remarkable that he established Gut as a separated form from Talchum and one form out of traditional play and also Uheui was highlighted as a meaningful genre. As it comes to modern drama, Genre classification seems to be agreed for the most part. Seo, in the A Complete History of Korean Theatre described 'melodrama and Popular Theatre' / 'Chang Geuk and Ak Geuk' / Realistic Drama / Proletarian Drama / pro-Japanese Drama for modern drama. This classification appears to be acceptable for modern drama period, but it is exposed to have a big confusion as it comes to contemporary drama period yet. It should be necessary, on this period, to be more vigorously and attentively studied in the many more directions such as playwriters, directors, actors, theatrical companies, and theatres before it is put into shape as a part of history of modern drama.
  • 9.

    A study on the narrative comics in "YeoWon"

    Mi-Young Jang | 2008, 44(1) | pp.239~264 | number of Cited : 4
    Abstract
    The aim of this study is to review narrative comics in the female magazine, "YoeWon" in the gender's point of view and to investigate how the characteristics of post-war female culture is related with the Korean modern style. Cartoon and literature have in common in a way that they are both recognized as creative arts through language and story. But there is a difference between literature which writes a story by words and cartoon which picturizes the story thereby keeps the imagination unharmed. If we have more flexible and more extended point of view on the literature, cartoons can be recognized as one of various forms of narratives. Considering today's situation that the division of classical genre and the border of genre is demolished, it is necessary to escape from language-oriented bias existing in the literature researchers. This study is to ascertain the possiblity of the said actions by performing the desire of expanding the territory of the object of the literature study. The object of this study, "YeoWon" is a female magazine with the motto of "advancement of the cultural thought of women" which started to include various cartoons from Oct. 1955, the very beginning of the magazine. Most main characters are women such as a housewife, single female, high school girls, university students, working woman, married couple and maidservants. Narrative comics have the same character in every series even though the story goes differently all the time. Every scenes reflect the current life and approach the criticizm of realization by using the narrative method of exposing the character's personality and also of making a caricature. The roles and activities of female main characters in the narrative comics are divided into emotional work and physical work by their clothes and hair styles. A woman who is working physically at home wears white traditional jacket and black skirt with hair in a chignon or with an apron, on the other hand, a woman who is working emotionally wears a western style one-piece dress or two-piece dress with western style hair. Women's physical works in the cartoons are limited to home work with little compensation and treated as worthless. In particular, like a housemaid cartoon 'Aunt Walsun', the house work strongly related to physical labor is regarded as women's work only and this idea results in the distinction of sex in the labor. House work is always given to women only in comparison with outside work which is treated as men's work. Cartoons show that to do the house work properly is too heavy to keep women's health. The cartoons ascertain the house work to be a very heavy physical work as we see in the 'Aunt Walsun' and make the female character a tough woman. On the contrary, a rich housewife or a single woman is described as a person who has to do the emotional work even though she is free from house work. Emotion can be regarded as personal, natural and voluntary rather than compulsory, but the cartoons express emotion as a kind of socially forced work. House wife's emotional labor is differentiated from man's mental work. The latter is recognized as the expression of individual ability in order to achieve the social work. However, the former is regarded as non-labor just focusing on consideration and care for the family members' rest which is also derived from collective ideology. That is, house wife's emotional labor has to be done from a mere sense of duty under the social structural force not by the voluntary or creative choice. Emotional labor at a workplace is done in the form of office cleaning, coffee serving, an erand etc. This emotional labor is regarded as women's own nature and even promoted as an etiquette of female officer. The meaning of emotional labor becomes equivalent to the meaning of care, consideration, obedience, kindness, winsomeness, softness etc and makes the expressions such as 'a woman should be winsome' or 'female officer has to be a flower in the company with obeying and kind nature'. However their emotional labor is placed out of market economy which means no need to be regarded as worth or no need of compensation. This idea is quite different from the situation of a 'house maid' in a way that the labor done by the 'house maid' is easily converted into money or other types of compensation. The narrative cartoons in 'YeoWon' mainly express lower class of woman or old woman with a big face, small eyes and flat nose. The image of Korean women is tough and unpolished housemaid, peddler, worker, out of dated mother-in-law, middle aged house wife. On the contrary, unmarried women are described as western style with a small face and a long nose. They are mainly wearing western style clothes and take a handbag, high heeled shoes, parasol, hats as they look good. They are well-educated female with self-confidence that they are the center of the society and with a dream of future happiness. They have relatively longer nose, bigger eyes, longer eyelashes and curled hair and these characteristics becomes an object of envy. Namely, the richer you are, the more western image you have. Male image also has the same principle as female image. In case of male characters, older, lower class or labor class seems have a flat nose, on the other, richer, higher class is described western style with a higher nose . Such a western image made Korean style image inferior by the idea of losing the competition in the society. This is also the result of inferiority that we felt at that time. Jeopardizing Korean traditional image and preferring western image in the cartoons are because we were looking for physical richness and brightness in the western countries. That's why the narrative cartoons in 'YeoWon' have described the pursuit of western life style as bright and beautiful.
  • 10.

    Jeongeupsa of Paekjae Cultural Area and the Origin of Korea Sockyo

    서철원 | 2008, 44(1) | pp.265~284 | number of Cited : 5
    Abstract
    The purpose of this paper is to grasp Jeongeupsa(井邑詞) as a text of Paekjae Cultural Area for attaining a clue to the history of Paekjae Literature. It also arranges the relationship between Paekjae Literaure and Korea Sockyo. By this point of view, we can reach the 'space-time' context of Jeongeupsa clearly, in concurrence with new history of ancient Korean Poetry which contains not only Shilla(Kyeongjoo Cultural Area) but Paekjae. For understandig Jeongeupsa as a text of Paekjae, we have to watch its position on the whole context of Paekjae Poetry. But the existing Paekjae poems are only two(Jeongeupsa and Sanyoohwaka), adding four background stories of missing poems. But we can reach their context and cultural background of 'Paekjae' as space than time. Shilla had failed to harmonize the heart of other contry so the space of Paekjae Culture still alive to the 9th century. Korea Sockyo has some different factors which cannot originate in the cultural space of Hyangga. Especially the rhetoric and the lyric point. We try to find their origin from the 'Repetition' and the 'Refraction' of Paekjae Poetry, not from the 'Series' and the 'Bisymmetry' of Shilla Hyangga. Not only Jeongeupsa will be a clue to this, but many poems of Manyosoo(萬葉集) in Japan can be good instances. The name "Paekjae" is the earnest wish on Koean History. The continentality and oceanic nature of Paekjae have gained the very summit of Korean Culture. We must reconstruct its culture, beginning with the poetry, starting from Jeongeupsa.
  • 11.

    Diversity of Poetical experience and Nochunyeo-ga(<老處女歌(1)>)

    Ha, Yun-sub | 2008, 44(1) | pp.285~304 | number of Cited : 5
    Abstract
    Many recent researches and studies about the "Nochunyeo-ga: the Song of the Spinster" have been in progressed, but there are still many controversial issues. The writer of this paper stresses a few points on the basis of the inner logical grounds. For instance, firstly we cannot assume the speaker as a man in the piece, secondly people have standardized the subject of this piece for a while, so it is true that many repetitive and contentious discussions have been happened. Thirdly the writer focuses on the people who enjoyed this kind of song and also who can be checked in real. For these things, on the chapter 2 , the writer insists that the speakers' experiences can be differentiated by the gap between personal experiences and situations, and tries to prove this opinion demonstrating "Sasulsijo: Dalbaja jjangjjang" which is assumed to be very related to "the Song of the Spinster" Moreover, the writer considers thoughtfully that the interpretation of this piece might be changed depending on the people who enjoyed the song. Because those people have not be found for certain yet. On the chapter 3, the writer concentrates on the demonstration which can prove there might be certain common facts between "Gyubang gasa: the literature or song about the women's life, especially a kind of Tansik-ga : the song of the lament" and "Nochunyeo-ga" As a result, the writer noticed that there are some common rules between "Tansik-ga" and "Nochunyeo-ga"; The "I" who am suppressed by others criticise others very severely and those minds are turned up the language of Lament. On the basis of these facts, writer claims that the "Nochunyeo-ga", which was mostly enjoyed by the women in Chosun dynasty, doesn't show that the song was the target of criticism by a male writer, but it shows us the song was the approval of self-examination and self-pity.
  • 12.

    A Review of Reality in <Jseongan Gisa> and <Gigyeong Gisa>

    Han Chang Hun | 2008, 44(1) | pp.305~324 | number of Cited : 1
    Abstract
    We can refer to Jeong Yak-yong (1762-1836) and Lee Hak-gyu (1770-1834) as representative figures on the side of practice of realistic poetic recognition in the late Joseon. Jeong Yak-yong has been evaluated as a great scholar who integrated Sil-hak ‘practical scholarship’ on one hand, and occupies a great position in the history of the late Joseon’s ideology on the other. Lee Hak-gyu also underwent life in exile for 34 years, and was influenced considerably on the poetic side by Jeong while exchanging with him. Of his works, those dealing with the miserable aspects of farmers occupy the central positions. He also created <Gigyeong Gisa> as a reply to Jeong’s <Jeongan Gisa>. As the two works are composed of narrative contents in a Sanbaipian-style form, they take reality as one of their most prominent characteristics. First of all, they figure aspects of farmers facing penury, and of bureaucrats full of corruption and vanity. In addition, as narrative poems, they are understood as having a structure of confrontation. However, considering them through thematic examination, they have limitations in that they cannot solve all the problems with the reality at that time. The two authors’ have many classic Chinese poems. Hence, we cannot account for the entire aspects of their works with only a few fragments. It is another task to review other works by these two authors.
  • 13.

    A Study of Pungmulgut Performers in Jwado, Honam -Focusing on Soijaebi (Kkwaenggwari players) of Pungmul Gut in Gwado-

    Yang JIn Sung | 2008, 44(1) | pp.325~356 | number of Cited : 3
    Abstract
    The purpose of this paper is to study the lives of Pungmulgut entertainers of Honam Jwado region focusing on the history and the characteristics of performances by each individual performer. Both paper research and field research have been carried out to obtain the personal information, related anecdotes, career history and the characteristics of the distinguished Pungmulgut performers in Honam Jwado region. The results are as below. Pungmulgut performers of Honam Jwado region used to be the Sangsoe (a leading kkwaenggwari player of the Pungmul band) or kkwaenggwari players of the village ceremonies. Early characteristics show that they settled in their hometown and took the role of leaders of Gutpae (a performing band of Gutpae) as members of villages. Aprt from this, they also did farming as a main occupation for living. Some cases of exceptions are found, however. Lee, Hwa-Choon is from Shman family, so he is moreover a professional performer. The family background of Khi, Chang-Soo is unknown and he is said to make it as his vocation to play the kkwaenggwari for Gut. It is assumed that the major performing area may have been limited to the regions in and around their hometown. Only brief Information about the history of their performances is found from the relevant literatures or oral documents. The information concerns primarily the professional Gutpae (shaman ritual group) or performers who payed the kkwaenggwari for their living. Immediately after the liberation in 1945, a number of group called 'Jwado Pungmulgul Tteunsoe' were organized to actively stage performances of "Pungmulgut' as their living profession. Yoo, Han-Joon and Choi, Sang-Geun formed a 'Pojang Geolippae' under their names to do performances and Jang, Doo-Man, Kim, Soo-Dong, Kang, Tae-Moon, Yoo, Myeong-Cheol seemed to be the performing members of such groups. Such trend has become more prevailing where the purpose of Pungmul performance gets closely tied with means of living. The reasons can be attributed to the more various choices available for social-economic activities, a renewed understanding on economic value of artistic culture, changes in living culture of farming industry, inefficacy of Dure (communal labor organization), increase of Nongak performances in competition styles and others. Professional performers in such environments include Kang, Tae-Moon, Shin, Ki-Nam and Yoo, Myeong-Cheol and others. However, environmental changes can not be considered as the absolute influence on the performing activtiies of those performers. One of the most representative cases include Kim, Bong-Yeol, Jungpyeong-gut performer in Jinan, and Yang, Soon-Yong, Pilbong-gut performer in Imshil. The two performers did farming as their main means of living and combined both farming and performing activities until they passed away. One common point of the two performers is found in that they did their performances in response to the communal objectives and needs of their villages, the most fundamental nature of Maeulgutpae (band for village ritual). The author of this paper defined such kind of performing activities corresponding with the genuine nature of Maeulgut, in contrast to performances for living, as "performing style for communal culture'. The lives and performing activities of Pungmulgut performers in Jwado region can be understood not only as specific individual history but also as the overall regional characteristics of Jwado Pungmul area.