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2005, Vol., No.54

  • 1.

    Kyorinsuji’s bibliography and Phonological Charateristics

    심보경 | 2005, (54) | pp.1~22 | number of Cited : 6
    Abstract
    The purpose of this study is to introduce the bibliography in Simsugwon Version and 14-year-version of Maisie reign, in bound form of Kyorinsuji and to examine the phonological characteristics presented in those books. Kyorinsuji of Simsugwon Version is a Korean Conversation Book distributed to the Japanese from Gangho to Maisie reign. Kyorinsuji is a precious source for a comparative study of modern Korean language and Japanese language. Kyronsuji(1843, manuscript) is the collection of a Simsugwon’s descendant living in Kuju and volume 1(part), 2(part), 3(full) among 4 volumes exist. 14-year-version of Maisie reign was revised and enlarged by Poroiyu and published in 4 volumes in the department of Foreign Policy. The system of Kyorinsuji is as follows ; there is a headline written in Chinese and below it, there are Korean sentences related with the headline and Japanese translation. Comparing these two, they are different versions. Simsugwon Version shows ‘conservatism of orthography’ of editor who followed the system of the Middle Korean orthography in the areas of palatalization, roundedness. Ming dynasty 14-year-Version actively reflected the system of Modern Korean orthography.
  • 2.

    A Diachronic Study on the Dialect of Housing Space

    위 진 | 손희하 | 2005, (54) | pp.23~42 | number of Cited : 4
    Abstract PDF
    In this study, We intended to describe the diversification process of meaning between bueok(the dialect of central area, the standard language) and busak(the dialect of Jeollanamdo) in diachronic method. Although bueok and busak have the same pedigree, meanings are not in accordance; busak means a fuel hole and bueok means a cook space. In Jeollanamdo dialect, a cook space is jeongje, not bueok. On the other hand, the standard meaning of a fuel hole is agung-i. Busak and jeongje(the dialect of Jeollanamdo) correspond to agungi and bueok(the dialect of central area) as synonyms. Therefore, We assumed that bueok(or busak) meant both a fuel hole and a cook space etymologically. Busak and jeongje have been used from the middle ages and used in Jeollanamdo Jangheung up to now. But as agungi meant a fuel hole in the central area of the 17th century, bueok didn’t mean a fuel hole anymore. Therefore, We concluded that meaning between bueok and busak was differentiated in the seventeenth century. Also we investigated the process of phonetic changes on busak and jeongje. Busak has preserved ‘ㅅ/s/’ that is a phonetic form in the early middle ages than ‘ㅿ/z/’ that in the middle ages. The final phoneme has been changed as follows; ㅂ/b/ > ㄱ/g/ > ㅋ/k/. Jeongje is originated in jeongdyu(form in the middle ages) and has been changed as follows; 졍듀/jeongdyu/ > 정디/jeongdi/ > 정지/jeongji/ > 정제/jeongje/.
  • 3.

    The poetic consciousness and the literary thoughts ofSeokjong Lee Jung-jik

    구사회 | 2005, (54) | pp.43~68 | number of Cited : 8
    Abstract
    This article is designed to research the poetic mind and the literary thoughts of Seokjong Lee Jung-jik. He considered that everything be the subject matter of a poem from our moral nature to the chores of our daily life. As he regarded human nature as unchangeable, poems had to have something to do with human affairs and poets should write unchangeable poems that were not be influenced by the drift of the times. The characteristics of literary thoughts in his poetry are as follows. Firstly, Seokjong pursued the pure poetic mind of virtue and ampleness which was presented in poong-a of the ancient <Book of Poetry>. He tried to inherit the creative attitude of the Book of Poetry and to recover the tradition of lyric structure of poong-a. That was the old poem. Secondly, he believed that the poem was to be based on the pure and true ‘human nature’. Poetry should not gloss over the matter for the purpose of getting a certain worldly intention. Poem should not founded on the ‘sentiment’. He thought that it was not from an innate ability but form an incessant endeavor to achieve this sort of poetic creativity. Thirdly, as Seokjong got older, his method of writing poem was of statement or of discussion. This meant that he did not use metaphor or symbolic expression in his poem, but described things as they really were in a brief and an easy way. Finally, from the perspective of poetic history of the late Choson Dynasty, he was one of three prominent literary men in Cholla Province(Honam Region). This paper tried to explain where he was and what his literary works meant in the history of literature in the late Choson Dynasty. In the literary circles of Cholla Province in that period could be divided by two main streams, the one Seokjong group and the other Maechon(Hwang Hyun) group.
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    On the Corresponsive Sijo and the Possibility of Answering Writing

    류수열 | 2005, (54) | pp.135~156 | number of Cited : 6
    Abstract
    This paper aims to clarify the significance of answering writing, performed by learner who reading a literary text. I demonstrate this significance by illustrating corresponsive sijo texts, which contain answer to prior text. The sijo is a genre of regular form in Joseon age. It was performed as a music in the way of give-and-take. So it has interactive and dialogic feature. These features result in the educational possibility of sijo as a model of reading and writing. The corresponsive sijo text is a representative example of the model of reading and writing. Especially, its regular form lessens difficulty and load of creation and construction that learners generally have in writing classroom. There are different types in corresponsive sijo. The case of using a formulaic phrase and transforming syntagmatic form is the representative examples. There is the case of answering writing without particular rule. These are so many examples of answering writing but these case in sijo. The learner has to response actively to all of texts, especially literary texts. The corresponsive sijo text is able to be a model of answering writing. It is the preferential possibility and significance of Sijo as a genre of regular form.
  • 8.

    Yeoam Shin Kyung Jun’`s Poem Principle Revisited

    박명희 | 2005, (54) | pp.157~180 | number of Cited : 5
    Abstract PDF
    This paper discussed Shin Kyung Jun’s Poem Principle by largely dividing it into three parts. First, it recognized and discussed the systematic organization of Poem Principle as an academic characteristic. It reached a conclusion that theorizing an academic discipline systematically was meant to serve as useful materials for like in terms of practicality. Second, it summarized the idea Shin Kyung Jun pursued through the poetics section, which is considered as the essence of Poem Principle. It made an interpretation that Shin Kyung Jun emphasized securement of lyricism in poetry along with a belief that poetry should have originality as an area of verse literature. As well, this paper also examined his mentioning naturalness as an important factor in creating poems, which denounces forged art. Third, this paper noted the ideas underlying Poem Principle, and sought for their meanings. Shin Kyung Jun carried an attitude after practicality in many aspects, not following his precedent artists. The conclusion is that such attitude could emerge only based upon modern thinking.
  • 9.

    The Arts of the Late Choson PeriodAnd the Aesthetics of Ho 豪 or “Unrestraint"

    신은경 | 2005, (54) | pp.181~210 | number of Cited : 1
    Abstract
    This article intends to examine the aesthetic characteristics of the arts of the late Choson period. This issue presupposes that the aesthetic characteristics of a certain age has a close relationship with the spirit of the times. A brief survey of literature notably the saseol sijo and the yadam, music, dance, and painting of the time reveals that these artistic forms have some salient features in common: a free-spirited mind, impromptu style in composition and performance, and artistic expressions based on sensuousness and materialism. This article clarifies that ho or “unrestraint” can constitute an aesthetic term to cover all of these features. With the exploration of the origin of the word “ho” and a historical ground that the “ho” can be placed in the boundary of aesthetics, the aesthetic connotation of the word is elaborated in section Ⅱ-3. As an aesthetic consciousness, the ho’s characteristics can be described as follows: first, it is an aesthetic type born of the principle of the yang, that is, masculinity, second, it is an aesthetic product of an extroverted mind toward the world which derived from the explosion of inner vitality and energy, third, it is an aesthetic consciousness based on an untrammelled mind that refuses any fixed frame and regulation, fourth, it is an aesthetic type that is intimately related to materialism. Finally, in section Ⅲ, it is articulated that how various artistic forms of the late Choson period such as the saseol sijo and the yadam, folk music, pungsokhwa or “genre painting,” and the talch’um or “mask dance” embody the aesthetic characteristics of “ho.”
  • 10.

    A Study on Choi Sang-kyu Literature

    김교식 | 2005, (54) | pp.211~234 | number of Cited : 0
    Abstract
    Since Sang-kyu Choi made his debut in the literary world, he wrote 160 novels; nevertheless, it is unfortunate hardly to study Sang-kyu Choi in comparison with the number of his works. His works are divided into four characteristics in this paper, which can be described as follows. Firstly, the technique of stream of consciousness used in the psychological novel is often used in his novels. This technique harmonized with his short sentences, so that it is revealed as the exposure of unconsciousness in fragments. It also disorganizes the accidental development and heart of incident like the floating stream of consciousness. The technique of stream of consciousness in this psychological novel characterizes his novels. Secondly, he is in a position of the materialistic view of history that soul will vanish if the body vanishes. As a consequence of that, man is afraid and fearful of the disappearance; nevertheless, he is able to overcome the horror and fear of death with belief and trust in man. In other words, he isn’t afraid and fearful with belief in something of the time that man has to accept death since death is a process of man’s life. Thirdly, his literary works are in the literature of self-exploration. In his works, he composed various forms of split-self, and then he tries to discover true ego. Those self-explorations are revealed with extraordinary imagination in his works. Furthermore. we can see the journey that he makes an effort to find new ego in the hopeless real world. Finally, he expresses the self-investigation based on the consciousness of his hometown. He wanders isolated from the space of real shelter like his father, mother, hometown, family, and so on. He considers his home not as the function of shelter and protection but as the source that makes him discover his ego.
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    A Study of ‘Childhood’ in Baek Seok’s Literature

    남기택 | 2005, (54) | pp.263~282 | number of Cited : 2
    Abstract
    This paper examines the characteristics of Baek Seok’s poems with a focus on ‘childhood’. The imaginative power found in his poems should be seen from a perspective which is different from the enlightening features in children’s literature. It is not like the concepts of children’s literature implied by ‘sonyen’, and existing distinction among genres. While most children’s literary works concern ‘the children that should be’, Baek Seok’s poems tend to give shape to ‘the modernity that should be’. ‘Childhood’ in his poem thus effectively encourages the restoration of the community spirit and peaceful order of the past. ‘Becoming-child’ in his poems represent a manifestation of literary modernity made correspondent to the social modernity of multi-faceted life in reality. Accordingly, this is presumed to be one particular stage of aesthetic modernity reached by 1930’s literature. Analyzing ‘childhood’ in Baek Seok’s poem should be seen as part of a work giving a new perspective through which we can revisit from today’s standpoint the achievements of his poems as well as the literature in those days in general. Furthermore, it could be a task to reproduce the past with a new perspective and rethink the value of his literature. Through such a task, his poems will have meanings in such a way as to illuminate today’s literary landscape and guide directions in which for the literary world of today to move. For this purpose, a close examination need to be conducted of a variety of works and literary activities after the end of the Korean War.
  • 13.

    Kim Su Young’s Poetry and Freedom-Ecological Study of Modern Literature

    신철하 | 2005, (54) | pp.283~312 | number of Cited : 0
    Abstract
    The ecological study of literature is focused on questioning about the prerequisite of the modernized life of human beings. At this stage, freedom has become the most important premise in maintaining the discipline of ecological conditions of the existence of mankind. Freedom itself nowadays is being extremely distorted and suppressed. In discarding these ecological conditions, we can think of the anarchistic freedom as one of the valuable alternatives. The anarchistic ecology by means of the model of self-control and self-administration can be superbly fused into the protection of literary ambiguity. The relation between ecological study and the problem of freedom in the poem under the category of ecological study of Korean modern literature, in which this writer is currently conducting researches, is well depicted in this writing. Kim Su Young is such an ecological poet who put maximum efforts to artfully go between the reality of language and its abstraction. His poetic life could be marked as the norm of ecological study of Korean modern literature, as he had pushed ahead the complexity of life and the poetry to the end of his life. In that sense, the abstruseness of the poems written by Kim Su Young should rather be interpreted as an ambiguity itself. This ambiguity is the essence of life to the author. Moreover, it is the essence of ecological freedom as well. Kim Su Young will be remembered for recording a Copernican adventure in the history of Korean modern literature by not only experiencing the theory of chaos, the essence of those ecological conditions, but also reflecting those experiences to the poems he wrote. Without it, he would have been just a poet of ecological freedom of the day and never be the “Alive Kim Su Young” like the way he is called by the people nowadays.
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    A Study on Visualization of Modernism Poems

    양인경 | 2005, (54) | pp.343~364 | number of Cited : 2
    Abstract
    An important characteristic of the modern literature is the discovery of a new visual system. At the beginning of 1920, the period of formulation of the Korean modern literature, subjective factor, a visual point and a respective person, appeared. So the triangular of ‘the observing subject’ was emphasized as literary skills and subjective factors. An important change aroused from media cultures. Firstly, Unlike the modern literature, recorded literatures became a dominative recording method and genre, so the modern literature changed into character cultures from oral cultures, as if it is affected by the particularity of character language. The invention of new media as well as the change of these media was a noticeable tendency of changes. It is birth of a movie. It is needed to clarify how subjective factor, a looking subject, makes a movie linked with new media and genres, and, also, what change this linkage provokes from the poetic genre. This writing intends to focus the modernism literature. As known, most skills like imagism and pictorialness were examined in modernism literature. An important skill was examined. These skills is not the sensual examine that pursues a polished shape. They were literary examines which criticized problems of existing triangular and custom literatures, denied an aesthetic autonomy, and practiced social and cultural actuality. In modernism poems, romantic writers’ image of the absolute writers is destroyed. In addition, a self-conscious poetical narrator exposes the tendency of disrupting a subject in the fore sights, taking a view of his/her inside, and he/she observes and reviews the world through visual expression skills. This thesis scrutinizes what writers saw and how they observed through two poets of modernism, Kim Ki Rim and Kim Su Young.
  • 16.

    The Prelude of History that a Mountain Testifies

    오하근 | 2005, (54) | pp.365~392 | number of Cited : 0
    Abstract
    The Prelude of a Mountain is Shin Suck-Jung’s fourth anthology which was published in 1967 in memory of his 60th birthday. It is usual that an anthology in memory of one’s 60th birthday is composed of one’s masterpieces or retrospective poetry, but he named this anthology not ‘The Prelude of a life’ but ‘The Prelude of a Mountain’. We will find the connotative meaning of this name through the poetry that is contained in this anthology. ‘Mountain’ is the historical site of the national tragedy. The history could mean the Mt. Halla of Jeju’s 4.3 contention or the Odong-Do of the Yeosu and Suncheon’s 10.19 incident or the tragic sites which were covered with people’s blood. These sites testify the history to us through the sound of nature. ‘Prelude’ means the conquest of dark reality for the preparation for the main music of the affluent Korean history. This work fills the role of the prelude of an huge national epic poem. But the conscientious creation of poetry was hard because of foreign influence and military autocracy after the Korean Liberation in 1945. So this anthology keeps away from the pressure on discussion by not the poet’s voice but the sound of nature, and by not the plain language but the metaphorical or symbolical language, and by not the presentation of the whole but the allusion of a section. The Prelude of a Mountain means the prelude which performs with indirect language on the dark history that the historical site, the mountain should overcome.
  • 17.

    The study on Ahn Soogil’s Novel, Bukhyangbo

    정현숙 | 2005, (54) | pp.391~410 | number of Cited : 4
    Abstract
    This paper examines Ahn-Soogil’s literary world and consciousness through novels in his Manchurian period. Ahn-Soogil is one of the most representative writer in Korea literature in Manchuria. He described the suffering and a will for settlement of Korea emigrant through many novels. 「Saebyuk」, 「Byo」 are mirror of the tragedy of the early period of Korean emigrant. And 「Wongakchon」, 「Mokchukki」 are comprehended his will that construct an ideal town in Manchu. Especially, 「Mokchukki」, 「Bukhyangbo」 deal with the duplicity of Manchu nation policy. 「Bukhyangbo」 depicts double-faced consciousness that accepts encouragement of stock raising outwardly and emphasizes farming which is absolute condition of life to Korean emigrant. These novels show actual circumstances of Korean emigrant in the period of Manchu nation.
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    Oh, Jang-hwan’s Poetry in the Era of Independence

    최명표 | 2005, (54) | pp.411~433 | number of Cited : 7
    Abstract
    This study is to find out the qualities of Oh, Jang-hwan’s poetry in the era of independence. Appearing in the poetry world in 1930’s, he replaced the volition of independence suppressed because of colonial extreme situation with credible poetic expression. In other words, what he wanted to get is not the future but aesthetic realities. In short, disappointed with colonial realities, he made poetic the symbols of illness and corruption. During the era of independence, he placed the love of nother above his own faith and chose to remove thought. It was a son’s natural choice who couldn’t deny the order of human beings represented by the meaning of mother. He couldn’t help taking the unnatural position of a man calling his mother under the umbrella of the red flag. Therefore, most of his poems written in this period contain internal complications to the situation of the time. His poetic consciousness came to have the frustrated appearance confronting new realities of the truth of self-criticism, which was a disturbance in internalizing the theories of communist. One of the main qualities found in Oh, Jang-hwan’s poetry in the era of independence is that there is criticism for the lack of tradition but it is not the negative mind against tradition. Although he insisted on the way of literature for human beings, he sang for abnormal life. This caused him to tend to the imperfection of thought and the poetic theory of tradition well shown in his political poems. He decreased the political burden by renewing the wealth of Kim, So-wol’s poems and, at the same time, checked his poetic area.