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2005, Vol., No.55

  • 1.

    The Analytic Approach to Interpretation of Contextual Pronoun

    Kim, Kwanghee | 2005, (55) | pp.5~30 | number of Cited : 2
    Abstract PDF
    The purpose of this paper is to propound an analytic and positive basis of interpretation of Contextual Pronoun. The term 'Contextual Pronoun' can be defined as the pronoun which is interpreted by non-syntactical methods like as discourse situation, speaker's volition or intend, and shared conceptual information etc. We see, hinted in everyday usage of the Korean language, interpretation of pronoun is closely connected with context. The referents of pronoun depend on what kind of situation is presented or how composited contextual indexes. This process is located beyond the syntactic approaches. We argued in this paper, that the aspects of non-syntactic interpretation of pronoun are found conspicuously in the way of binding pronoun with its reference. The interpretation of anaphora is influenced by the specificity of antecedent noun, the direction of anaphora, the closeness between pronoun and its antecedent, and antecedent-absent compositions. Arguing these issues, we proposed several strategic points for comprehension of anaphora.
  • 2.

    A Study on the Relationship between ‘Hanangda’ in the 15th Century and ‘Hane’ in the 16th Century

    양영희 | 2005, (55) | pp.31~50 | number of Cited : 1
    This study aims to show that ‘hanangda’ in the 15th century and ‘hane’ in the 16th century are considered ‘polite informal style’ and the latter has the same function as the former. The conclusion is as follows. First of all, ‘hanangda’ and ‘hane’ are considered ‘polite style’ in that they have the polite mark ‘ee.’ It is known that ‘ee’ is the most objective mark to show ‘polite style.’ Therefore, the hierarchy of ‘being polite’ has to be divided into ‘polite style’ and ‘impolite style,’ and ‘hanangda’ and ‘hane’ belong to the category of the former because they have the mark. Second, ‘hanangda’ and ‘hane’ are informal style. It is impossible to talk about hierarchy without thinking of ‘being formal/informal’ because it is likely to use different style to the same people according to the situation and place. So, ‘hanaida’ style is regarded as ‘formal style’ that states the difference of the social status of the speaker and listener, while ‘hanangda’ and ‘hane’ style are regarded as ‘informal style’ that expresses one's emotion subjectively. Third, as mentioned above, we came to the conclusion that ‘hane’ style in the sixteenth century is the developed form of ‘hanangda’ style in the fifteenth century. In other word, it is inferred that ‘hanangda’ style in the fifteenth century was ‘polite informal style,’ but in the sixteenth century it was transformed to ‘hane’ style and functioned as the same continuously.
  • 3.

    Aspects of the Adoption and Change Reflected in the Process of Adjustment of Orthographic Works in the Japanese Imperialism Era

    윤석민 | 2005, (55) | pp.51~72 | number of Cited : 15
    This paper was written to study on the role of some works under the management of Japanese colonial government with a establishment of the orthography of Hangeul, Korean characters in the Japense imperialism era. The orthography of Hangeul was said to be completed with <Hangelmachumbeoptong- iran>(한글마춤법통일안) in 1933 and to be based from <Gukmunyeonguuijeongan>(국문연구의정안) in 1909. But in this paper I asserted that <Hangeulmachumbeoptongiran> was originally brought from <Gukmunyeonguuijeongan> and it also must be influenced by some orthographic works under the management of Japanese colonial government(조선총독부), e.g. <Botonghakgyoyongeonmuncheoljabeop>(보통학교용언문철자법)(1912), <Botonghakgyoyongeonmuncheoljabeopdaeyo>(보통학교용언문철자법대요)(1921), <Eonmuncheoljabeop>(언문철자법)(1930). Conclusionly <Hangelmachumbeoptongiran> was a work which was made through the reception of all the previous works and the development of it.
  • 4.

    A Study on the Connective Ending of the Transfer Relationship in Korean

    윤평현 | 2005, (55) | pp.73~102 | number of Cited : 13
    This study discusses the connective ending ‘-daga(-다가)’ which represents the transfer of the antecedent clause event to the succeeding clause event. The ‘-daga’ should be maintained with the identical subject constraint or identical predicate constraint; the study also examines a syntactical characteristic which takes only ‘-ass-(-았-)’ as tense prefinal endings. The transfer of event means that the constituents of a sentence are ultimately replaced; the transfer of event between the antecedent and the succeeding clauses comes from the interruption and aspects of continuation which consists of four different types. Besides, even though the central meaning of the ‘-daga’ is transfer, it also creates interruption as well as overlapping; this paper points out that when it breeds the meaning of overlapping, the act of the succeeding clause is made in the unintention context of the performer. It is discussed that the -daga is used as a meaning of cause and condition: cause when the tense of the succeeding clause is past tense; condition when it is present tense or estimated expression. Also, this project examines the meaning of enumeration by the ‘-daga ~ -daga’.
  • 5.

    The Study of Language Variation and Social Classes

    이길재 | 2005, (55) | pp.103~126 | number of Cited : 8
    The aim of this study is to verify thequestion, that language classification according to social classes, which has been considered an important element for social variables in the field of social linguistics developed by Labov, is as distinct in Korean society as in Western society. This thesis compared and analyzed language data collected from two groups of people. One group has the same level of education, which is divided into upper, middle, and lower social classes according to job, amount of income, and personal assets. The other group has different levels of education, which are from the same social class. This study shows that language classification according to social classes is constructed not by social classes, but by the level of education in Korean society, where the social class is determined by individual traits such as income, level of education, job, housing, and assets.
  • 6.

    The Structure of Korean Interrogative Sentence Final Form

    Lee yu-gi | 2005, (55) | pp.127~146 | number of Cited : 4
    Abstract PDF
    Most of Sentence final forms are formed by confusion. So the exact description about the meaning and function of sentence final forms can be possible only when maximum analysis is applied within the limits of structural and semantical explanation. Sentence final endings {-ka}, {-ko}, {-i}, {-so/euo, -eo/a}, {-tsi} are used in interrogative, and among them the original interrogative's sentence final endings are just {-ka} and {-ko} and the rest are all speech level marker. Sentence type and speech level belong to pragmatic category. In pragmatic function, ‘-eunka, -eulk’a, -eunko, -eulk’o, -na, -te/ti, -tsi’ can be a problem. They are sometimes used as a ‘hake’ level in interrogatives. But they are also be used in neutralized speech level, in indirect cited sentence. and even in self-question with no relation to honorific of hearer. So to explain all this, the basic function must be understood.
  • 7.

    A Study on the Function of ‘mut(뭇)-’ a Bundle

    황금연 | 2005, (55) | pp.147~164 | number of Cited : 2
    This study is to research on the function of ‘mut(뭇)-’ a bundle, sok(속), dong(동), dan(단)’ among Korean materials from the 15th century to the 17th century. The summary of this study is as follows. 1. The Korean word, ‘mut(뭇)’ and ‘sok(속)’ had both the independent function and dependent function in the 15th century. 2. ‘mutgeum(>mukkeum)(뭇금>묶음)’ was appeared first after the 16th century. It used to be as a unit which was expressed as an indefinite number, a set of object. 3. ‘dong(동)’ had an independent function in the word of ‘dipdong(딮동)’. 4. ‘dan(단)’ was appeared first among the materials of the early 18th century, has only a dependent function. 5. ‘jarae(래)’ was used dependently with the tree and grass words.
  • 8.

    The Application of Children’s Songs and its Meaning in Classical Novels

    경일남 | 2005, (55) | pp.165~164 | number of Cited : 0
    This paper aims at examining aspects how children’ songs were applied in classical novels and its meaning. The contents discussed in this paper are as follows: Children songs prevailed in the late period of Josun Dynasty. This trend stimulates children’ songs to be accepted in classical novels. There are two types of children’ song expressed in classical novels. The first type is to criticize the misbehavior of corrupted politicians. Writers have intentions to reveal the injustice of them through children’ songs. The second type is to criticize the ruling class. Through the children’s songs, writers express people’s voice criticizing ruling class. Writers of classical novels apply these two types of children’s songs as composition apparatus of their literary works. Thus, children’ songs in classical novels involve in the development of plot. Also, children’ songs contribute to enhance readers’ critical consciousness on the reality. As this, children’ songs in classical novels are the literary apparatus with various functions. Therefore, it is necessary to develop study on children’ songs in classical novels more comprehensively.
  • 9.

    A Study on Beomhae Gakan’s(梵海 覺岸) Travel-poetry in Jeju Island

    김석태 | 2005, (55) | pp.185~204 | number of Cited : 2
    This study is about Beomhae Gakan's travel-poetry in Jeju Island. He was born in Jeollanam-do, Wando-gun at 1820. He entered the Buddhist priesthood when he was 14 years old. Then he lived in Daedun Temple at Haenam provinces for his whole life to practice austerity. He traveled to many places from Geumgang Mountain to Jeju Island, writing poetry about his travels. He was interested in Jeju Island, and then he traveled to Jeju in 1873. The following are characters of his poetry. First of all, Although, he didn't write many poems, they are rare and special in Buddhist Literate. You can feel how much he was interested and yearned about Jeju before he traveled when you read the Preface of “Dongsayeoljeon” and his anthology. Furthermore his poetry has all the characteristics of travel-literature such as an itinerary, descriptions and experience of travel-literature. Secondly, because he was a Buddhist monk, characters of Buddhism were reflected in his poems. He gave expression to his feelings in poetry of his travels about Daejeong(大靜), Sanbanggul temple (山房窟寺) which are places of historic interest. Thirdly, his poems are typical of transcendental Buddhism literature. He enjoyed Buddhistic emancipation while he lived in beautiful places like Baengnokdam(白鹿潭), Yeongsilgiam(瀛室奇巖), Jeongbang waterfall(正房瀑布) in Jeju. Those characteristics of travel-literature truly matched his desires about Jeju when he stayed at Daedun temple.
  • 10.

    Women’s Sorrow in Korean Women Song - Centering on the “Song of Women’s Married Life” -

    김영민 | 2005, (55) | pp.205~222 | number of Cited : 0
    A ballad is a literature reflected life experience through words. It's also popular literature and national literature as a speech community in the course of conveying by word of mouth. In this ballad is Women's song. Women's song is based on the joys and sorrows of women's life of feudal days in the Joseon Dynasty. "Song of women's married life" expressed the women's sorrowful heart candidly. And it contained women's urge of expressing something internal and a rebellious spirit. In a word, it could be called the song of women's tears . This paper investigates how "Song of women's married life" represented the consciousness of women who lived the lower life than men. There are three ways for women to resist the wrong custom. The first is to overcome it, second is run away from it and the third is kill themselves. It can be said that if the mainstream of our people is sorrowful heart, it started from this women's sorrowful emotion in the long history. So Korean women's song which contained it negatively and affirmatively is a delivery room of popular literature and a valuable vessel of the Korean women's soul.
  • 11.

    A Study on Yeoam Shin Keoung Jun’s Poems about Natural Things

    박명희 | 2005, (55) | pp.223~244 | number of Cited : 5
    This paper examines the poems about natural things of Shin Keoung Jun who lived in the 18th century. As poems about natural things, he wrote one piece of Yachung (insects in the field), 8 pieces of Hwajukbyeongeum (a poem depicting a folding screen of pictures and bamboos), and 10 pieces of Sochung 10jang (10 verses about small insects) The number of his poems cannot be said to be large, but it is enough to see "How he depicted things in the poems?". In a word, he depicted things in his poems after observing them as what they were. Therefore, it can be said that the poetic speaker took the observer's stand and did not often judge things or make value judgments. This means that human beings should recognize the ecological nature of things, even trifles. Among the literatus in the late Joseon period, there were some people who tried to free themselves from the idealism of the Neo-Confucian philosophy. They valued the real observation of things based on natural historical thinking. Shin Keoung Jun's perception and record of things can be said to be dovetailed with such thought.
  • 12.

    A Study on <Hungnyong-ilgi> (1)

    임철호 | 2005, (55) | pp.245~274 | number of Cited : 0
    <Hungnyong-ilgi> is a kososul written on the background of Imjinwaeran. So it has been classified as a variant of <Imjinrok>. It is a quite established theory that <Imjinrok> is consisted of five branches, each showing different stories. But <Hungnyong-ilgi> contains a different story which cannot be classified to any of five branches. It is common and usual for a work with a different story to be considered not as a variant but as a independent work. <Imjinrok> is named not on one particular work which has a consistent and homogeneous story, but rather on a whole set of five branches. So, the stories in five branches can be called the variants of <Imjinrok>. Furthermore, <Imjinrok>, containing five different branches, should be correctly called "<imjinrok>-Junsung(傳承:handing-down)". Although <Hungnyong-ilgi> contains a different story from five branches, it includes a partly same content as the variants of <Imjinrok>. So it is absurd to classify <Hungnyong-ilgi> as a totally different and irrelevant work from <Imjinrok>. So I suggest <Hungnyong-ilgi> should be classified not as a variant of <Imjinrok> but as a variant of "<Imjinrok>-Junsung".
  • 13.

    Phase of Songgang Gasa in History of Korean Literature

    전일환 | 2005, (55) | pp.275~292 | number of Cited : 0
    Songgang Jeong, Chul had been influenced by Sabu and Byungryumun as in Chinese Literature, yet he established his own Gasa genre into universal order of literature with his aesthetical sentiments permeated, and without any aspects or indications of Chinese Literature. The rhetoric skills foundation of Songgang is externally ordered by unrestricted elegant expression of delineation of his feelings or the nature and internally with the finesse contrast writing skills of Byungryumun which most effectively describes. Beauty of contrast writing skills which accord in pairs are not always found in dual opposite relations as in negative-positive dualism. As mentioned above, it could be found in principal and subordinate relations, ascending relations, resembling relations, as well as in assuming relations. Also, Songgang was extolled by Chosun poets for experimenting the acme of beauty of Korean Language which is composed of phonetic symbols other than fancy and charm of Chinese Language, an ideograph. Especially Kim, Man Joong stated in Seopomanpil that three volumes of Songganggasa had most genuine sentences in Korea and Sokmiingok, above other two, which was written in Korean, is most excellent work. Kim, Man Joong also said that other two were just no comparison to Sokmiingok due to Chinese phrases used in other two. Hence, Jeong, Chul is the most preeminent a Gasa writer as well as a poet of Chosun, established unique Gasa genre and enriched Korean Literature.
  • 14.

    A Study on the Sense of Hometown Represented Buddhist Chinese Poetry in the Choseon Dynasty

    조태성 | 2005, (55) | pp.293~308 | number of Cited : 1
    In most cases, a poetic word, "Hometown[故鄕]", performs faithfully its duty as a throw-back to motherhood, nostalgia, homecoming, and so on. And it is needless to say that this plays its role regardless of all ages and countries. But, what I say in this study, "Hometown", is different from that of the existing. From my point of view, buddhist priests who have to forsake their hometown may have a different sense of home. Buddhist Chinese poetry in the Korea Dynasty usually represented hometown as the awakening or the buddhist realm. So the sense of home tended to be emphasized a religious aspect. In this way, there has been an understanding that hometown is directly Buddha. This is very universal recognition, however it obviously differs by social and political scene. Especially Buddhist Chinese poetry in the Choseon Dynasty revealed this tendency signally.
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    A Study on the Rhetoric of Mythologic Features of Jilmajae Myths

    김혜영 | 2005, (55) | pp.353~374 | number of Cited : 3
    The purpose of this study is to assume that Seo Jeong Ju's Jilmasae Myths transforms the daily experiences of Jilmajae into myths, and so identify the inherent mechanism of mythologizing the experiences. If Jilmasae Myths was projected to attract the concern of readers and so, for this intention, Jilmasae Myths transformed the experiences in Jilmajae into myths, the mythological features can be the rhetorical devices to induce the sympathy of readers. The mythological features have the aspects of restoring the continuity through the regression to the origin, and embodying the totality of individual existence in the progress of overcoming the alienation and disintegration. By noticing that this tendency was also shown in the poetry which was published before Jilmasae Myths, this study identified the mechanism of making the mythological features of Jilmasae Myths. In the poetry which contained the life to live according to the circulating order of nature and sustain the traditional lifestyle, the tendency to regress to the origin was shown. And, in the poetry which treated the tendency to overcome the life of alienated and humble state and become a God, the tendency to restore the totality was revealed. This rhetorical device of mythological features reflected the desire to return to the integration state before the division of self-consciousness, and the desire to wish to make the humble self acknowledged by the others. The mythological features regarded as the features of Jilmasae Myths were the rhetorical device of Seo Jeong Ju's poetry, which was connected to the fundamental desire of human beings.
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  • 20.

    A Study on the Ideals of Modern Man Presented in the Sin, Chae-Ho’s Novels

    채진홍 | 2005, (55) | pp.419~442 | number of Cited : 6
    Sin, Chae-Ho who wrote the novel and studied the Korean old history in the early 20th century had always paid attention to the problems of making strong national people through his writing and studying about Korean national history under the premise that the history of mankind is the struggle for 'I' against 'Non-I'. So, he took the Korean old historical heros and recreated them in his stories the characters who have modern and national spirit to fight against foreigners who had been eager to invade Korea and to fight against the native intelligentsia who had been in the pitfalls of imperialism and colonialism. He wanted to recover all the foreign ideologies produced from Confucianism, Buddhism, and Christianity, especially the modern ideologies prevailed in western society. But he did not make such characters to simple hero who were in a historical view of heroism asked by ruler class in a feudal society. Many characters of his stories lived in and with the people, and their acts and thoughts were practical also in such states. This process which restructured from old history to modern meaning resulted in the Mugunghwa(the rose of Sharon) thoughts, the breaking of class structure, the consciousness of anti-Japanese, the criticism of religion and rationalism and imperialism, and the revolution of violence. These concepts are the modern meanings presented in Sin's stories, and are the results of the Sin's excellent vision of world history.
  • 21.

    A Study of Baeg-seog’s Rhetorical Strategy

    최명표 | 2005, (55) | pp.443~460 | number of Cited : 8
    The purposes of this study is to analyze Baeg-seog's rhetorical strategy. The world which his poems show us, is based on traditional morals. Here his intention contains the conscious orientation toward the past. Hi was that Korean folk-customs of Japanese colonial period recovered cultural community by dialect. It means that the aesthetical effect as a result of the simile very important characteristic of his poems. His simile was effective figure which realistic description on mental shock and oral culture. He planning that had the use of dialect of Pyeongbug area represented national collective memorials. His non-political rhetoric which included in his poems, was apt to be shaped, bove all, on the dialect of orality, especially rhetoric of the simile. However Baeg's rhetorical strategy had to renewed. He had a choice that the simile was reliable rhetorical strategy embodied traditional morals and cultural identity. Especially, his Pyeongbug dialect and folk-customs can not translate by Japanese authority' text. Therefore his political meaning of non-political rhetoric was re-lighting. His poems was the product of his hard work.
  • 22.

    The Images and Imagination of a River as Poetic Mechanism - Centering on Poems by a Group of Poets

    한강희 | 2005, (55) | pp.461~480 | number of Cited : 2
    "The Yeongsan River," as poetic mechanism, does not remain as the symbol of loss, sufferings and alienation due to historical events, but its struggling to overcome them is connected with the vitality of the public in a sound way. Because poetic speakers do not express their feelings or thoughts through the nature but they are actively involved, we can see their struggling to endure historical tragedies and pains in reality, not simple description of feelings towards the nature. Briefly, "The Yeongsan River" represents the universal emotions running through Jeollanam-do which is linked to historical memory, emotional sufferings, sadness and reminiscence and becomes a remarkable mechanism expressing the poetic imagination peculiar to people of Jeollanam-do. To poets, "The Yeongsan River," a womb forming their poetic ego, comes in a variety of looks with tender memories in their childhood and emotions of people entangled in their lives fraught with difficulties. "The Yeongsan River," the poetic hometown to many poets, is embodied as a symbol of rescue which helps to reflect on today's life and to have courage and hope. "The Yeongsan River" contains all the grudges of the people living near the sea who got away from the fierce life. Poets visualize common, but colorful stories of people who live on The Yeongsan River through jest and satire. So they say directtly and indirectly that the life of people contains many stories of life as various as that of the river. Finally, the poems show sighs and tears towards the declining rural communities. They depicts the reality of rural communities that had to be alienated while the contradiction of industrialization became deepened socially and politically and today's Yeongsan River which gets ruined and contaminated due to a development ideology.
  • 23.

    Lee Chung-jun’s Novel-cognizance Examined by the ‘False(假)’ Motif

    Han Soonmi | 2005, (55) | pp.481~497 | number of Cited : 6
    This thesis considers chiefly in the 'False(假)' motif, appears repeatedly in Lee Chung-jun's novel. And attentions how the motif tuned with his formation of view of novel, and pursuits the aesthetic philosophic cognizance within. In Lee's work, the question about 'False' processed as follows. On the basis, there is tragic cognizance that the actual world is full of the 'False', then searching alternative plan both in individual and social dimension. In such course, he used aesthetic device like 'Mask' and a 'rhetoric of Masquerading' in pickpocket character. Consequently, he rescues the romantic truth which has critical attitude on the absurdity and violence of actual world. It is clear that his works are not only the fictions but also the fictions intermediate actuality. All of these examination let us notice Lee's post-modern speculation. And his works formated strategically by the supplement relation in "Truth/False, Fact/Rumor, Genuine/Corrupted, Value in use/Exchange value, Real/Fictional". Like this, by tuning the cognizance of 'False' variety, supplements new significance of the 'fiction', the basic concept of novel. Lee's peculiar 'pseudomorph(假象)' formed in this way.