This Society has maintained its status as a registered journal for 15 years since it was selected as a registered site on 01.01 2006. Until now, academic capabilities have been continuously developed through re-evaluation conducted every two or three years. The area of study subject to this conference is the field of alienation research. It targets a wide range of literary works including Korean poetry and Korean poetry. It is also pursuing an external expansion into poetry culture, not limited to literary research. It is continuously expanding its research area to regional and municipal cultural phenomena and cultural contents accordingly. It also aims to systematically investigate, organize and study the heritage of Korean poetry culture to understand the reality of Korean traditional culture, reveal its value, and further contribute to the development of Korean studies.
This paper examined the creation of Sijo by naturalized poets from the late Goryeo Dynasty to the early Joseon Dynasty. From the late Goryeo to the early Joseon Dynasty, it was the formation of Sijo, where Shinheung-Sadaebu was the main creative class of Sijo. In this phase, naturalized poets also created Sijo, revealing their political position and world awareness. The fact that naturalized poets, who had no choice but to speak poor Korean, created Sijo, a unique Korean song format, is very special in itself.
General Byeon An-yeol from Shenyang, wrote the lyrics of <Bulgulga不屈歌> during the process of replacing the dynasty, expressing his strong loyalty to the Goryeo Dynasty. Seol Jang-su, a native of Uighur who was in charge of diplomacy to Ming China, wrote the lyrics of <Shineonga愼言歌> and warned against caution in his speech and conduct. Lee Ji-ran, who was born in Jurchen and rose to the rank of the Joseon royal family, wrote the lyrics of <Chukrokga逐鹿歌>, expressing concern about the fate of Joseon.
The fact that naturalized poets and high-ranking politicians created Sijo with Chinese poetry from the late Goryeo to the early Joseon indicates that Sijo was recognized as an important literary act in the literary field at that time. At the same time, it can be said that Sijo's creation has a personality that deserves pride as a writer. In addition, the openness of the creation of the sijo was already in place from the formation period.
The purpose of this study is to examine the meaning of the allegorical configuration expressed on the slave farm in the work, targeting the <Gogong-ga> and <Gogongdapjuin-ga> (hereinafter referred to as <Gogong-ga> series), which are believed to have been composed around 1600 years ago. The main direction of this study is the research of meaning of literary history and civilization that configured slave farms and factional strife in <Gogong-ga> series. Through this, it is expected that <Gogong-ga> series, which was built right after the Japanese Invasion of Korea(Imjin-wairan), will reveal a part of the significance that opened up a new era of literary history called the late Joseon Dynasty.
In this study, room of the master and the slave in <Gogong-ga> series considered a slave farm. The restoration of the slave farm, which was disrupted and faced with crisis after Japanese Invasion, was a top issue of King Seonjo and Leewonik. It was the contents of the <Gogong-ga> series. In addition, it was confirmed that the literary and civilization historical significance of <Gogong-ga> series was quite heavy, given that there were few works that embodied the slave(Nobi) or slave farms in korean history.
Next, I looked at factional strife that the real world outside of the work indicated by slave farm. In the process, I looked at the fact that <Gogong-ga> series was not simply criticizing factional strife, but the only work that tried to eliminate it. And I looked at the historical significance of literary history and civilization of this works.
The Old Meritorious Faction had bureaucratic literary view because of factional politics due to elite society splendid poetic techniques and difficult and distracted modification and new Neo-Confucian literati were opposed to techniques and sought the spiritual world of clear and clean literature of reclusive scholars (處士的) in the period that Gojuk (孤竹) Choi, Gyeongchang (崔慶昌,1539∼1583) lived. However, they tried to express ethical and free nature in the period.
This thesis tried to examine the situations of the time, people's view of life, and values through Choi, Gyeongchang's works and seek his style (風格) shown in them. Because styles are the aspect that writers' personality or ideas are complexly embodied in their works, it is thought to investigate and reveal writers' literary status The works were examined by classifying them into a limited time of love, longing for fairylands, and criticism on reality according to subjects.
First, there are many poems targeting love (戀情) in the works by Choi, Gyeongchang. The motive for creating the works like this is thought that women's delicate and rich feelings are naturally target of poetic expression because they accord with expression of his own romantic feelings. And the point that he longed for the heavenly world (仙界) is thought to be related to the flow of Sodan (騷壇) that got to imitate (模作) poems of wandering immortals (遊仙詩), one of literary circles of the time. And it is thought that he longed for and praised the transcendental realm as a way to solve frustrations and conflicts of reality.
Choi, Gyeongchang (崔慶昌)'s poems have a clean and new (淸新) style (風格). Cleanness (淸) is generally fresh as well as clear and clean and is the style (風格) of poems related to descriptions of scenery or landscape or pure nature and furthermore, clear and beautiful scenes to feel the realm of immortals (仙境) or Seonchwi (仙趣) that transcended the everyday world. And poetic diction (詩語) used in the poems is thought to be characterized by the general use of pleonasm of two letters and image vocabularies and the utilization of everyday words in the works of music bureau ballad (樂府詩) series.