KJC Korea
Journal Central

The Study on <Sanyuhwa> from the viewpoint of Korean Informatics

Kim Gi-Taik is a poet who actively writes poems after 1990's. Kim Gi-Taik poetry study has not been conducted seriously because literary-study is possible after securing objective distance. However, since a full-scale study of his poetry can be made abundantly on the basis of various sights and viewpoints, a new approach should be taken to the research of Kim Gi-Taik poetry. Kim Gi-Taik poetry study which has been carried out until now focuses on only the materialism of the flesh and the phenomenology of the body, and other approaches of the poetry do not exist. So, this article will access the poetry through another method and find the motive of the poetry. It is the resistance against the speed that this article finds the motive of his poetry. The motive is categorized into three types. The first type expresses the imagination of the stop, disintegration, and return in order for the narrator to have time for introspection and self-reflection. The second type shows the motive of 'slowness and traces' as the resistance against the speed. The last type reveals that the poetic narrator values the pre-language sounds rather than grammatical language in communication. In the most Kim Gi-Taik poetry, the poetic narrator chooses non-effective, non-quick, but vital pre-language which sounds better than the effective, quick, reasonable, and grammatical language. In conclusion, Kim Gi-Taik poetry actively materializes the motive of 'anti-speed' as the strategy of his poetry.

A pattern and meaning of <Songs of a daughter-in-law for resisting her husband's family>Oh Sun-Ju(Chonbuk Univ.)

Awareness of Language and its Use

In this article, I try to find alternative use for Korean Classic Music in the digital era. Specially, I focus on possibilities to utilize Korean Classic Music through Culture Content which is emerged recently. First of all, there is a rumor of a crisis at the humanities. Because of going against the current of the time, the place for humanities is getting smaller. The people also turned the cold shoulder on Korean Classic Music. Therefore, I try to find alternative ways to utilize Korean classic music through Contents and Culture Contents, applied studies, in the digital era. For example, trying to compose new types of Korean Classic Music, showing new types of public performance, and utilizing Korean Classic Music in new concepts. Also, I think that artists majoring in Korean Classic Music should be playing a role in making contents which is related to Korean Classic Music.

The object of this thesis is to look at the characters and status of Kim Tae-jun's 'Collection of Joseon Songs'. It seems like Kim Tae-jun has attempted to put Korean classic poetries together as an anthology, just like he arranged sino-Korean literatures by History of Sino-Korean Literature in the Joseon Dynasty and classic novels by History of novels in the Joson Dynasty. He started to study on this anthology's characters and status because there were little research on this matter, though 'Collection of Joseon Songs‘ was very important anthology in the research history side.As a result of discussion, the works included in this anthology have strong democratic character by its period and genre. Further, the title of old Korean folk songs, and the meaning and character of Goryeo folk songs, the number of <Bohyeon Sipwonka> and the genre provision of <Song of Fishermen> affected to later researchers directly and indirectly. Moreover, we could recognize that Kim Tae-Jun and this anthology showed much of their influence on North Korea's classic poetry arranging work. However, there are limitations of this anthology by ideological bias including interpretation of work, a provision in character of genre and exclusion of a Korean verse.

This study mainly focuses on extracting the feature of discourse and the literary meaning that Park Wan-Seo's gerontological novels have, making the Old aged novel as a prime object that is in her anthology <Jumunnal's saphwa>. First of all, this text analyzes <Jumunnal's saphwa 1-5>sequence and several novels in her anthology <Jumunnal's saphwa>. Thus, I set an object on discovering the problem this novel has, and the future value through her gerontological novel, considering the deficiency of interest and research of gerontological novel. Her novels that old women are protagonists mostly use confession form or the first person. Besides, though it develops in a form of reminding of aged narration, we can easily notice of the author's 'valuable desire' through an elective disposing of the things that are not forgettable in the stories. Because of that, her novels function a 'Public discourse' though they are garrulous. An 'episode' form is a new discourse form that the author applied to widen the chemistry with readers. Next, her novels embody the dreams in an ideal scene that are impossible to be realized in reality, by going and returning to the illusion and the realities of life. This is kind of method revealing the severe recognition that our real world is a place of anti-life. The problem of expanding the range of analysis and objects of her gerontological novel will be the next problem to be solved.

A Study of Epistle Poems under the Japanese Colonization Period

This research focuses on the myths of Amamiko in okinawa. Today, Okinawa is a prefecture of Japan. But it was a kingdom Ryukyu in the past. So, this research is what about the myths of not only Okinawa but also Ryukyu dynasty, that is, the oral traditions of today and the records of the past. First, I made a survey of the myths of Ryukyu dynasty. In that mythology, Amamiko figured out the sacred of creation. The islands of Ryukyu was made by Amamiko. Amamiko was the riser of rice-farming, too. The rituals of each village organized into the control of Ryukyu dynasty, chanted the Amamiko who had braught the first seed rice and started the rice-farming.Some times, Amamiko was related to origin of man, particularly the royalty or ruling class. Ryukyu dynasty stressed that their ancestor came from the Heaven to emphasis their sacred origin and power. But I have to add that this figure of Amamiko is not usual one.We know the myth of origin of man, that is what was introduced by Iha-fuyu, the famous savant of Okinawan studies. We can see many versions in oral traditions of okinawa like as that a young pair became the common ancestor of human beings. On rare occasions, Amamiko is to be the name of that pair. I think that it was caused by the dominated character of Amamiko, the sacred of creation. Creation means the creating of universal, culture, and human beings.In oral traditions of today okinawa, we can see the origin of rice-farming myth related to not Amamiko but bird. In spite of ritual performances chanting the rice-farming riser Amamiko, the other different myth has been told in oral traditons. I dare say that the rice-farming riser Amamiko was figured and announced by official routes of Ryukyu dynasty. The past and the present, the literal records and the oral traditions, and the official and the popular, we have to think these aspects and their interaction to understand the myths of okinawa.

A device for modernistic application of an allegorical novel - Focosed on <Dookkup-jeon> - Yun Jong-sun

The word ‘Sonnim’ condenses ‘Sonnim mama’. In Korean folk, ‘Sonnim’ means smallpox. It indicates visiter from remote country and awful being. In Hwang Seuk-Young’s Novel, Sonnim, indicates Marxism and Christian faith. Because of having that faiths, people struggled and killed each other in Korean War. That novel mutated forms of Jinoguygut and Sonnimgut and that is folk performance of Korea. It had designed for representation of Sincheon massacre of innocent people, pacification and guidance their spirits to the other (next) world. Besides it pray new history through sacrifice of miserable event. Sonnim represented invisible departed spirits as like live persons so that the departed spirits were included in reality. By accepting the form of Gut, Sonnim expanded the reality from the visible world to the invisible flexibly. This fact have made aware of that the conception ‘reality’ was determined not by literary convention by sociocultural context. Sonnim grafted narrative form of novel genre on the form of Gut performance. Sonnim has taken the plot of Gut, <asking the got → contacting the got →playing the got →sending the got>, and Sonnim’s characters performed the roles of a messenger who takes a dead soul to the other world, the departed spirits, woman shaman. And it’s theme was ‘praying for blessing by removal disaster’, that was the theme of Gut. Sonnim set socialism and christian faith up as disaster, therefore ethnic community became the object of blessing. This novel blamed the western ideology, socialism and christian faith for Sincheon massacre. So That disregarded the responsibility, the social contexts and the political faiths of participants in that massacre. Sonnim’s acceptance of Gut’s form resulted in emotional ethnic and postcolonial attitudes against the western modernity. But eventually that could move the reader’s intention from the dead to lives and bless their new livings.

아리랑의 시간적 배경은 동학농민운동 이후부터 815해방까지다. 공간적 배경은 김제와 군산을 중심으로 만주, 목포, 연해주, 하와이, 일본열도, 동남아시아로 확산된다. 본고는 심리주의 관점에 있는 자크 라깡의 ‘욕망의 구조’를 통해 분석한다. 타자를 통해 발생한 구멍은 남근을 추구하며 구멍 메우기를 실천한다. 하지만 메워진 구멍은 또 다른 구멍을 발생하고 또 다른 형태의 남근을 추구하며 미끄러진다. 이런 과정을 통해 작가의식을 찾을 수 있다. 아리랑은 독립운동가, 소자작농, 수탈당한 여성, 하와이 이주민, 친일파 등이 타자화로 인해 구멍이 생긴다. 따라서 이들은 각기 남근을 추구한다. 이들은 구멍 메우기를 실천하여 극복한다. 하지만 메워진 구멍은 또 다른 구멍을 발생하고 또 다른 형태의 남근을 추구한다. 욕망의 구조로 살펴본 결과 아리랑의 주체를 통해 제시한 작가 의식은 다음과 같다. 첫째, 독립운동은 민족주의 관점에서 발생하지만 점차 다양한 이데올로기 관점을 지닌 독립운동가에 의해 진행된다. 그러나 다양한 이데올로기 관점을 통합되지 않은 채 외세에 의해 독립이 이뤄진다. 이를 계기로 민족간 갈등은 심화되고 결국 분단을 맞게 된다. 둘째, 소자작농의 소극적 대응이 식민지 현실을 극복하지 못하고 유랑민의 삶을 지속시키는 원인이 된다. 셋째, 수탈당한 여성은 소극적 여성과 적극적 여성으로 나눠 작가의식이 나타난다. 소극적 여성은 시련을 극복하지 못한다. 적극적 여성은 또 다른 욕망을 추구하며 시련을 극복한다. 따라서 작가는 수탈당한 여성의 소극적 삶보다 적극적 삶이 바람직하다고 제시한다. 넷째, 하와이 이민자는 가난을 극복하기 위해 이민을 간다. 이민자는 하와이에서 시련을 극복하고 애국지사의 활동 때문에 독립을 추구하는 존재로 변한다. 작가는 이민자의 시련 극복 의지와 민족의식이 이어가고 있음을 나타내고 있다. 다섯째, 친일파는 신분에 대한 열등 때문에 부와 권력을 추구한다. 그래서 친일을 한다. 하지만 일제에 이용만 당하는 어리석은 존재임을 제시한다. 앞으로 연구과제는 아리랑에 나타난 작가의식을 기초로 태백산맥, 한강까지 확대하여 탈식민주의적 관점으로 한국근현대사에 대한 작가의식을 고찰하는 것이다.