<SangsaBulgok> is a representative romantic poem in late Chosun dynasty. Current studies on this poem has been carried out focusing on the external facts such as various editions, cultural atmosphere of poem and level of poet group. Therefore, in this study, author focused on the aesthetic expression of the text itself. <SangsaBulgok> was read as a romantic love poem for a long time in late Chosun dynasty and the aesthetic expression of the text is worth to study.
In chapter 2, the aesthetic expression was evaluated in two ways, and the significances of aesthetic expression was evaluated. In chapter 2.1, the usage of archetypical symbolic lyrics was observed. This expression did not let the love fall into a private region and embrace into the perspectives of nature and universe. Therefore, the common interests were obtained in wide range regardless of gender. In chapter 2.2, the usage of parallelism was observed on the effects of literary facts. Parallelism provided to form fast breath, thus psychological distance. In chapter 2.3, the significances of aesthetic expression was evaluated.
In chapter 3, the significance related to the literary history were evaluated. In chapter 3.1, the facts of content of the work related to the aesthetic expression described in chapter 2 were observed. And in chapter 3.2, the meanings of <SangsaBulgok> as a romantic love poem in late Chosun dynasty in aesthetic expression were evaluated.
Hakpo Yang Paeng-son was removed from his government post and exiled for twenty-seven years. During the exile, he educated his children, wrote poetry of rare beauty, and engaged in painting in the literary artist style.
In an examination of his existing works of art, it was found, first, that they represented yearning and remorse. His poetry reflected yearning for fellow scholars and remorse and a sense of shame caused by the thinking that he was indigent. Secondly, inner resources and romanticism were frequently expressed in his poetry. Despite continuous criticism from political opponents, he was able to be calm thanks to his education at Hakpodang, his cultural and artistic exchanges with fellow scholars, and his hobby of painting.
Thirdly, his poetry had various elements of painting. In particular, he was good at educational poetry, and his educational poetry was strongly directed to a fairyland. His poetry and painting were related to construction of a Utopia.
This paper aims to study the chinese poems in Unyoungjeon.
The form of poems are 18 part lined chinese quatrain. As for Unyoungjeon's chinese styled poem. We can notice that 18 lined chinese poem quatrain and they are also very excellent.
What do they Unyoungjeon chines poems really mean? They are of beauty of nature and life. They are full of feeling emotion and ideas.
The tragedy Novel in Unyoungjeon are very means. The study above may contribute to identifying part of aesthetic and linguistic characteristics of Unyoungjeon chinese poems.
The writer of Gong-hu-in and the year when it was written has not been demonstrated yet. This work is translated in sino-Korean and recorded in various books. The writer of the Gon-hu-in is largely assumed as the following two persons: wife of Baek-su-gwang-bu and Yeo-ok, a wife of Gwak-ri-ja-go. It is named as Gong-mu-do- ha-ga as a poem which is thought to be written by a wife of Baek-su-gwang-bu. And it is named Gong-hu-in as a song whose writer was thought to be Yeo-ok. In various perspectives, this study concluded that the writer is Yeo-ok, but when it considered as a poem named Gong-mu-do-ha-ga, it is written by Gwak-ri-ja-go, husband of Yeo-ok. The above result was obtained through consideration of progress of events, roles of heroes, subsequent situations, and reinterpretation of background story. Therefore, Gong-hu-in as a name of song is written by Yeo-ok, and a poem named Gong-mu-do-ha-ga is written by Gwak-ri-ja-go. That is, it is a work written by the couple(husband and wife).
In this paper I studied whether Baeyul(排律) was used in Macheon's poems. Macheon, who used a variety of styles in his poetry, preferred writing modern-style poems which have strict rules to writing old-style ones. In particular, he enjoyed writing Chilanyulsi(七言律詩-Chinese poems which have seven characters horizontallyand eight characters vertically) more than Oanyulsi(五言律詩-Chinese poems which have five characters horizontally and eight characters vertically)
At first I thought that his two poems, Sijungsam(示重三) and Mansusongjeol(萬壽聖節) were written using Chilanbaeyul(七言排律). But after careful analysis, I found that Chilanbaeyul (七言排律) was not used. In conclusion, he had hardly used Baeyul(排律) although he used Oanbaeyul(五言排律) in a poem, Suksansa(宿山寺). Moreover, he had never used Chilanbaeyul(七言排律), which is similar to Chilanyulsi.
An idea for nature of Jeong cheol reflected in his works, which is divided into that for ethical nature to be used for the method to improve his mind and that for nature of ease to escape into outer world and reveals that nature of place wait for an opportunity, the most general one in Chosun dynasty, is rarely expressed in Jeong cheol's literature. Like this, this paper presents that two utmost literary worlds coexist in Jeong cheol's literature and insist that this keeps the tenseness of Jeong cheol's literature.
Through this study I see that his larges special character is that the duality of deviation and harmonization consistently operated in all his works, especially Gasa 「Gwandongbyeolgok」, 「Seonssanbyeolgok」 and Shijo and life force is put in all works by his literary creative ability by breaking a general form into a unfamiliar thing familiar changing devices. Through it this study make the destruction and re-creation of words and form clear.
this paper analyzes how the double self to concentrate and to transcend in the two worlds overcome the conflict and configurate it. Through this, this paper manifests dualism of Jeong cheol's literature is his literary individuality
The content of significant changed-aspects of ritual common sacrifice performed in Jeon-nam Province is as follows:
(1) The date of the sacrifice is being changed from the day before January 15th to January 15th and the time of the sacrifice is being changed from night to daytime of from midnight to early evening.
(2) The location of the sacrifice is being changed from the mid-slope or the top of a mountain to a place located on a plain or in the center of a village and the places at which the sacrificial ritual is conducted are being reduced from many to a few.
(3) The condition of selecting a priest is being alleviated and, as some villages don't have any volunteers, the head of a village or director is charged with conducting the ritual. The number of priests is decreasing and is now 2～3 as compared with 5～6 in the past.
(4) The offering of the sacrifice is being simplified. Nowadays, there are few villages that conduct a garden festival(madangbapgi) as a means of financing the sacrifice. Consequently, the cost of the sacrifice is deducted from village funds.
(5) The combination of Confucian sacrifice and a festive sacrifice is the most general style used in a sacrifice. There is hardly any superstitious sacrifices remaining. There are, however, a few combinations of a Confucian sacrifice and superstitious sacrifice.
There are some major reasons for the change of ritual common sacrifice. First, the weakening of faith as the heart of the community. Second, the effect of economic ideas of efficiency and waste control. Third, the weakening of community consciousness considering the public and the individual. Fourth, a decrease in the rural population.
My research in this area will be limited to the above at this time although I plan additional research with another thesis on Korean village sacrifice in relation to various nation-wide data.
The purpose of this dissertation is to investigate the literary meaning of Buddist poetry of Baekungyeonghan.(白雲景閑, 1298～1375), explaining image through his works.
This study is for the purpose of investigating the poetry world of Baekungyeonghan(白雲景閑) who is representative poet of the latter Korea Dynasty era.
Because the existing study concentrate on dealing with ideal, religious and literary aspect, So it obviously could not explain the characteristic of Baekungyeonghan's poetry. The impartiality and aesthetics are not passive concept, which means right state, various situation and condition is not partial, but active concept to accomplish the best state.
It plays an important part, which explain the tensed relation that is generated by Baekungyeonghan(白雲景閑) unexpected adversity between ego and reality. It makes a precondition to clear the poetic characteristic of Baekungyeonghan(白雲景閑).
In the future, the concentrative and careful inspection will be required to understand poetry world of Baekungyeonghan. And I expect that his characteristics about aesthetics is stood out in bold relief by deep studying and discussion about his poet-spirit and poet-vision.
Shin Jaehyo rewrote six Pansori works, so we call him as a Shakespeare of Korea. And he wrote many short songs too, but their genre characteristics are ambiguous. This thesis is view to clear the meaning of those songs.
His songs are called as Tanga, Heoduga or Kasa, but I think they are his original works which are not limited a special genre. He picked many other's songs in his work. So his work is composed of various songs, many researcher regard it many works. But I think that approach ignored Shin Jae-hyo's intention. Because he ordered us to understand those works with unified viewpoint.
Heoduga is composed of thirteen songs. Some songs are made by other people, but the majority are his own works. He expressed nation's blooming future by comparing to China. This vision is very freshness at that time.
Oseomga is composed of things which express the emotion of love or sadness with separating. In this work, he showed common people's sight about love emotion directly, and omnibus style experimentally.
Shin Jaehyo expressed his mind of love his student Chaisun to distraction. This presention is very curious, so his mind is attention to modern times.
This thesis has the purpose of finding out the literary meaning of the Danjangibyoelgok. Especially this is based on the analysis of various voice of poetic speaker.
Danjangibyoelgok belongs to the genre of Gasa and it is a kind of Aejeonggasa. It is very important that this work starts with a male poetic speaker and changes the speaker to female later. In other words, gender identity of the poetic speaker in this work is mixed.
This study also looks into the change of voice in the historical development of literature. Gasa, especially composed in the later period of Chosun Dynasty, is usually a patchwork of the texts which have the mood similar to the poetic situation, lacking the organic composition. In this kind of works, the author loses the originality and acts just as an organizer of texts.
Future studies should expand the objects of analysis. First, it is necessary to examine the voice of Hansi and relate it with the voice of the poems written in Korean. It is also necessary to examine the relation of Jabga.
Human life fundamentally inheres in time and space. The stream of time corresponds to the stream of consciousness. And the consciousness of time forms our own private time by realizing our own activities or experiences.
The consciousness of time can turn the physical and objective time into the unique and special one for individuals. Especially in literature, the consciousness of time gives birth to another meaning for readers. Hence, in the study of literature, understanding the consciousness of time will be a good suggestion for the deeper understanding of literary works.
The consciousness of time shown in hyangga can be divided into two categories: the positive consciousness of the present time and the negative consciousness of the present time. The positive consciousness of the present time is mainly shown in 'four-line hyangga', which contains features of Korean folk songs. All of the 'four-line hyangga' has the present tense, singing the things of 'now' and 'here'.
The positive consciousness of the present time means the attitude of the belief in the present life at the very moment. It doesn't believe in the past life and the future life. It doesn't stand above religion towards Heaven, either. In these respects, the positive consciousness can be said the existential consciousness of time.
The negative consciousness of the present time is mainly shown in 'ten-line hyangga'. The negative consciousness is future-oriented, denying the present time and yearning for the future. The present time in 'ten-line hyangga' is the time of loss and lack, meaning negation. Consequently, the poetic speakers in the works long for the future, that is, the new time and the new world. The future is not the time of loss and lack, but it is the time of abundance and fullness. For them, the future is the holy time to complete their living.
Sijo is a style which is developed and reflected the characteristic mental world of the Yi dynasty that was under the control by confucian ideas. It is a product of "cho sun spirit" so, to understand Sijo work of Gisaengs, it needs to be preceded recognition of this circumstances of the day.
On the other hand, the literary criticism of womanhood is not merely to look into the women in the literary work.
It is a methodology of pursuiting the changes of the structure itself, criticizing and rocentric social structure and having criticism of feminism.
This essay tries to look into the situation which is taking up in the Sijo history of literature in this view of womanhood of 'a pure love' and 'a proud loneliness'.
The concern in this essay is on the assumption that reflection that the critical opposition of the academic world about the women had been progressed with single hearted words of praise.
In the later Period of Koryo(高麗) regime which is under the control of Won(元) empire, Ilyon(一然, 1206～1289) appreciated the history of his own country subjectively, and consequently wrote the Samguk Yusa(三國遺事).
It is a sort of complication literature which contains diverse, precisely selected, affairs of politics, society, and it as Ilyon's own literature.
But we can appreciate the Ilyon's literature accurately only through the Song of Praise of the Samguk Yusa, Which is a sort of concise verse 7 chinese characters. The Song of praise shows the Ilyon's critics the importance of it.
Samguk Yusa contains 48 Song's of praise in all. In spite of it's diversity of inhalt. It is based on the reflection and affection of humanity. His the song of prise shows divers descriptive characterastics, and he make it more impressional by virtue of this descriptive beauty.
The Ilyon's literature is very important in the Buddhist literature, and liyon is, as a poet of koryo, an eminent author in the history of Literature of chinese.
This study examined the representation of practical ideas in the poetry written by Maecheon Hwang Hyeon.
First, he revealed his loneliness in his poetry. He thought that the impoverishment of rural areas was caused by corruption by public officers and a contradictory policy. Therefore, he wrote real and critical poetry, speaking of the predicament and resentment of farmers.
Secondly, he criticized the dependency on foreign forces. Maechon specifically described a society that was changing through his poems, and used irony to warn of the unknown dangers we faced.
Finally, he represented sublime justice in his poetry. He identified the time he wrote sharply through looking at himself and his surroundings. His <Jeol-myeong-si>, which expressed the practical mind of the intellectual, was well matched with his way of living, sacrificing himself to preserve his integrity.
Based on the above study, it was found that his speech and actions were consistent throughout his poetry, in which his life, thoughts and literary mind were brought together.