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2019, Vol.70, No.70

  • 1.

    The influence of Old Chinese in 15·6 century Korea-Chinese's 'zhe' xiesheng - Focusing on the Initial's differentiation of ㄷ, ㅈ,ㅅ -

    zhangqian | 2019, 70(70) | pp.1~22 | number of Cited : 0
    Abstract
    In the process of changing from Old Chinese to Middle Chinese, therewere many changes in the Chinese language system. Korea-Chinese wasinfluenced because it accommodated the pronunciation of Chinesecharacters. Most xiéshēng characters seem to follow the principle that,words must normally have identical main vowels and codas, and theirinitial consonants must have the same position of articulation. Generally,the initials of the Xiéshēng series, which have the same phonetic elementshould be the same. But some xiéshēng Character's Initials are differenteven though they have the same phonetic element. This phenomenon isnot only in Sino-Chinese but also in Korea-Chinese. Therefore, thisarticle will check the different aspects of the xiéshēng Characters whichhave the same phonetic element, and search the dividing process, the findtheir original sounds. And through the orignal sounds to explain somespecial case which was definded by the other scholars. We choose the xiéshēng Characters with '자(者)' phonetic element ofKorea-Chinese, which has never been explored as an object, in order tocheck their initials we extracted the '자(者)'xiéshēng Characters from the15·6 century's literature.
  • 2.

    A Study on the Transmission Process and Aspects of Pansori in Jeonju Region - Focusing on Jeonju Gwonbeon and Jeonju Gugak Institute

    BAEK EUNCHUL | 2019, 70(70) | pp.23~52 | number of Cited : 2
    Abstract
    Jeonju is the core city for the transmission of pansori, as well as acity in which pansori-related performances are lively put on. Competitionsand festivals such as ‘Jeonju daesaseup nori,’ ‘Wansan National GugakFestival,’ and ‘Jeonju Sori Festival’ are held every year, and ‘changgeuk’performance by Jeonbuk Provincial Changgeuk Company and ‘madangchanggeuk’ by Jeonju Cultural Foundation are also held continuously. Inaddition, Jeonju, in which a number of pansori myeongchangs (mastersingers) including holders of intangible cultural heritage pansori reside,passes down pansori livelier than any other city. Behind the growth of Jeonju into such a place for the livelytransmission and supply of pansori were Jeonju Gwonbeon and JeonjuGugak Institute. Jeonju Gwonbeon was a space established in the 1910sfor educating gisaengs about singing, dancing, and music, and was thelife base of local virtuosos and renowned singers as well as thestronghold of gugak education until directly after Independence. TheJeonju Gugak Institute was a private institute for gugak organized afterJeonju Gwonbeon was dissolved, and it took charge of gugak education until 1960 when it was also dissolved. That is, modern and contemporarypansori in Jeonju region could develop with these two spaces as thefoundation. However, despite the weight carried by Jeonju Gwonbeon and JeonjuGugak Institute in the course of the development of pansori in Jeonjuregion, little attention has been paid to the two organizations. Neitherdata nor research on master singers in the two organizations as well asthe establishment and operation of the organizations has been insufficient. Therefore, this paper collected relevant data as much as possible, andinvestigated the processes of the establishment and operation of the twoorganizations and activities of master singers in the spaces. Through this,it was also tried to grasp the process and aspects of pansori transmissionin Jeonju region.
  • 3.

    Participation aspect of men's housekeeping in the Hangul letters of the Chusa family

    Jeong Chang kwon | 2019, 70(70) | pp.53~84 | number of Cited : 0
    Abstract
    Hangul letters of the Chusa family are 85 letters of the Chusa KimJeong-hee’s family, famous on calligraphic style of the Chusa and thepicture of <Sehando>. The letters of the Chusa family are 45 letters, andthe letters of the Chusa are 40 letters. They are Hangul letters whichhave passed between previous generation and future generation, and theyare very important family history data that give us family life andculture, language and consciousness in 18~19th century. Especially, theHangul letters of the Chusa family show the participation aspect andmeaning of men's housekeeping as well as the role and awareness ofwomen. The late Joseon Dynasty is known to have had a rigidly patriarchalsociety and men have just focused on going on in the rest the world,and have thought that housekeeping was usually women's share. However, to review the Hangul letters of the Chusa family, men of thosedays were participating for housekeeping more than women. The female members of the Chusa family managed housekeeping, suchas food, clothing, and shelter, and they focused on childbirth andchildcare. On the other hand, the male members of the Chusa familyparticipated in family affair both inside and outside the home, such as his family, family members, household goods, family function. This paper isto examine the role and awareness of the female of the Chusa family,and then is to study in earnest about participation aspect and meaning inhousekeeping of the male of the Chusa family.
  • 4.

    A Study on the De-territorialization in Lee Mun-Yeol's Novel The Poet

    Sangin Gwak | 2019, 70(70) | pp.85~109 | number of Cited : 0
    Abstract
    This paper focused on the aspect of de-territorialization in LeeMoon-yeol's The Poet I focused on Kim Byeong-yeon's infranomadbehavior, which was shaped in The Poet, and how Kim Byeong-yeon'sattitude of creation and poetic world view changed. First, KimByung-yeon was repeating territorialization and re-territorialization inorder to escape from the surveillance system of the Chosun Dynasty. Despite winning the poetry test, he was forced to continue movingbecause of his grandfather's sins. His ‘wander' is a challenge to thepowerful ideology established by the Chosun Dynasty, as well as aresponse to denying the blood relations and affiliation that led to hisgrandfather. De-territorialization has become a driving force for Kim Byung-yeonto create a free world of poetry. He wrote poetry in harmony with thesystem, which was only to match the upper class, so he refused anddreamed of de-territorialization. In the end, Kim Byung-yeon was able tobe free through the Risome thinking that constantly escapes from the lineof semantics, without going back to any fundamental meaning or origin,and was able to move to the poetry world of '0' in the potential of something.
  • 5.

    A Study on the Modernity and Inner Consciousness in the Early Poetry of Oh Jang-hwan

    KimJiYul | 2019, 70(70) | pp.110~140 | number of Cited : 1
    Abstract
    In this paper, I will look into how the multilayered modernity showedin the early poetry of Oh Jang-hwan influenced the inner consciousnessof modern subject. In other words, I want to confirm the correlationbetween modernity and inner consciousness by demonstrating thecomplex inner consciousness of modern subjects through more detailedcharacteristics of colonial capitalism modernity. The 1930s was a special and complex period time of 'modern' and'colonial', and the colonial subjects internalized the multilayeredcontradictions of colonial modernity. In the early poetry of Oh Jang-hwan,the distance of objectivity and observational gaze are revealed bybecoming the other. This gaze is in contact with the reflectiveintelligence of the modern subject wandering between the conviction andskepticism about modernity. In addition, modern subjects who are faithfulto personal desires in the values and ideologies of modern and premoderntimes experience the division of subject by being exposed to thecontradictions of colonial modernity. Finally, the spaces including citiesexperienced by modern individuals are the space of social existence andbecome an indicator of individual values and imagination. They also experience racial discrimination and class distinction in the colonialmodernity and disillusionment of reality in decadent and enjoyablecultures.
  • 6.

    Seo Jeong-ju's Writing and the Political Desire of the Liberation Period. -focused on "Biography of General Kim Jwa-jin" and "Biography of Dr. Lee Seung-man"

    Nam Ki-Hyeog | 2019, 70(70) | pp.141~180 | number of Cited : 0
    Abstract
    In this paper, I tried to identify the political unconsciousness reflectedin Midang Seo Jeong-ju's "Biography of General Kim Jwa-jin" and"Biography of Dr. Lee Seung-man." Midang's writing biographies camefrom the impulse to the narrative, but it is impossible to explain it apartfrom his own existential motives. I focused on the Midang’s anxiety dueto his pro-Japanese career. He wrote two biographies to find a way outof this anxiety. Specifically, "Biography of General Kim Jwa-jin" is forthe political position of his son, Kim Doo-han, and "Biography of Dr. LeeSeung-man." is the result of a political project to consolidate his politicalposition by the idolization. Midang, who chose anti-Communist ideology and nationalism in themidst of the liberation period, wanted to be reunited with the imaginedcommunity by writing thesebiographies and sought to escape from thecrisis of political isolation and condemnation. These two biographies differ in several respects. First of all,“Biography of Kim Jwa-jin” has many elements of amusement becauseMidang followed the composition and style of a previous hero novel. However, "Biography of Dr. Lee Seung-man" has a tendency toemphasize the modern character of Lee. The former is based on theretrospection of family members and people around him, and on thenewspaper reports. So, the writer’s imagination was likely to be involvedin his writing. However, the later, based on the surviving character's oralretrospection and personal records such as diary, tended to describe thestory based on objective facts, excluding the writer's imagination. Midang’s biographical writing itself was a political project linkedtospecific political forces. From Midang’s standpoint, this was a decisivemoment to become an influential figure in the literary circles. However,his experience of joining the nationwas not so consistent. Despite hisobsession to shake off the self-consciousness of pro-Japanese career andhis pride as an anti-Communist, he has always been seized with anxietyand fear. The auditory hallucinosis of the Midang during the Korean Warshows that his identity as a nationalist and a anti-communist ideologywas not so solid.
  • 7.

    The Meaning of the ‘Other Space’ and Possibility of a Post-Liberation Period Solidarity as “World Citizen” - with Focus on The New City and the Chorus of the Citizens

    Park Eunji | 2019, 70(70) | pp.181~210 | number of Cited : 2
    Abstract
    This article examines the literary project pursued by the coterie journalSinshiron, focusing on its second poetry anthology The New City and theChorus of Citizens, and reviews its poetic responses to the post-liberationzeitgeist. This newness called for the recognition of the post-liberationspace as a heterotopia. After the shattered hope for an independentcountry dreamt of during the Japanese colonial rule, Sinshiron created aheterotopia, in which imagination and reality were merged, in pursuit of a“new city.”By embracing the New Country Group, the Sinshiron coterie memberscame to cultivate attitudes of solidarity towards colonial nations as worldcitizens. “Indonesia” and “Bae In-cheol” depicted in the poems of PakIn-hwan and Im Ho-kwon, respectively, demonstrate the reality perceivedby the Sinshiron coterie members, who were aware of their “socialresponsibilities” as world citizens inhabiting the heterotopia as a practicalspace geared towards building global solidarity.
  • 8.

    A Propose of modal education for Korean learners - around ‘-(eu)lkka ha-/bo-’ used to mean conjecture and intention.

    Yang Jihyeon | 2019, 70(70) | pp.211~231 | number of Cited : 2
    Abstract
    There are many phrases used to imply conjecture and intention inKorean textbooks. Among those phrases, those compound phrases used toinclude both conjecture and intention include ‘-(eu)l tenikka’, ‘-(eu)lkeosida.’ In Korean textbook, although the same phrase, they are the sameunits to deliver conjecture and intention separately. In case of having morethan two modes in one phrase, it is appropriate to teach all the modesrather than educating one mode only, it is better for leaners to have abetter understanding of the language. The reason for dividing unit tomake it easier for learners to understand. Although ‘-(eu)lkka ha-’ and ‘-(eu)lkka bo-’ contain both conjecture andintention, but it is found out that ‘-(eu)lkka ha’ is focused more onintention and ‘-(eu)lkka bo-’ more on conjecture, in terms of education inKorea textbook. However, ‘-(eu)lkka ha-’ and ‘-(eu)lkka bo-’ arecompound phrases often used in Korean, they should be educated fromboth modes, conjecture and intention. Conjecture and intention are included in ‘-(eu)lkka’ and may be usedoverlapped with ‘ha-’ or ‘bo-.’ Their meaning or syntactic features mavary little. Therefore, this research tries to look into meaning andsyntactic feature of ‘-(eu)lkka ha-' and ‘-(eu)lkka bo-’ and suggesteducation method for effective teaching. It is important to teach wordsthat are often used or not so burden to students. Then, it is better toeducate their features and compare then so that students can apply thosewords to their communication easily.