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2010, Vol., No.25

  • 1.

    A Study of Wolfa Jung sirim and poetry

    Kim Kui-Suck | 2010, (25) | pp.5~23 | number of Cited : 4
    Abstract PDF
    This paper has been considered abouy Wolfa Jung sirim(1839~1912)'s academic traditions and his social intercourse, noting the changes taking place in the bottoom of the 19th century world of letters. That, as part of this working, was because Wolfa was not only the most prominent figure in the practical and realistic literary world of the day but also a significant man having established such a historical beachhead as brings about the proper understanding on the approach to literature. His thought and literature has been handed down through Wolfajib written by his descendants without being taken any notice of by the history of literature and reaserch. And he was no more than a country man getting along without making his debut in literart circles. he is Honam sungrihakja. His thought and literature, however, has started to get generally known to the academic world since 1913s. the printed Wolfajib, reflecting the charavteristic of contemporary literary works, and showing the social changes, the social status of writer, the awareness of self-experience and the changes of sensitivity, the reconstruction of literature.
  • 2.

    A Study on Records of Imjinwaeran POWs' Experience in Japan

    kim, mi-sun | 2010, (25) | pp.25~53 | number of Cited : 13
    Abstract PDF
    Imjinwaeran (Japanese Invasion of the Joseon Dynasty between 1592 and 1598) devastated the soil of the Korean peninsula, and caused huge pain to a slew of people. Whatever the experience with Imjinwaeran might be, it must have been shocking and tragic, but POWs who were taken to Japan should have been more painful. They should survive in Japan, and return home. This study examined such records on the experience of Imjinwaeran POWs taken to Japan, as Gang Hang's Ganyangnok (Shepherding Sheep), No In's Geumgyeilgi (Diary of Peacock), and Jeong Hui-deuk's Wolbonghaesangnok (Moon Peak Sea). These three works concern Imjinwaeran and POWs' experience in Japan. The three authors, as POWs, experienced their lives in Japan. They were all literati hailing from the Honam region. In the second Japanese invasion of Joseon (the Year of the Rooster), they were captured and taken to Japan, and finally returned home in the similar period. Their works constitute precious historical materials, forming a particular group of works on POWs' overseas experience with each work having different characteristics and values. This paper examined the authors, their experience and travel to and in Japan, and the characteristics of the content of the works to identify each work's basic information, characteristics, and values. Gang Hang did not live a passive life as a POW, but positively explored Japan. This enabled him to write a wide range of information on Japan and schemes to govern Joseon in Ganyangnok. Gang Hang and Jeong Hui-deuk were able to return to Joseon under the permission of Japan, while No In took chance to escape for his life. That is why Geumgyeilgi detailed his escape. He escaped to China before going directly to Joseon, allowing him to experience his lives in three nations which were involved in Imjinwaeran. Of the three works, only his work describes a life in China. Jeong Hui-deuk described his experience with more emotional and tearful feelings. He described the journey course from his refuge from the war to his return home, making it the only work of the three works to feature the whole course relating to POWs' experience.
  • 3.

    Tradition and character of Aeil-ga written by Yang, San-bo

    Kim, Shin Chung | 2010, (25) | pp.55~71 | number of Cited : 6
    Abstract PDF
    Aeil-ga written by Yang, San-bo is the song of offspring to pray their parents' long life on parents' birthday. The original words of a song named Aeil-ga hasn't been transmitted and only the translation into Chinese by Yang, Jin-tae has left. This article is written to study on the original state of Aeil-ga by examining the translation. The principle contents of this are made of two parts. First, this article searches the aspect of its tradition by examining the translation in detail. Second, this article analyzes literary character of Aeil-ga by presuming its Genre and reconstructing of the original words of the song. As the result of the study, Aeil-ga has been known for Ga-sa but now it is confirmed that Aeil-ga is Si-jo. Moreover, through reconstructing of the original words of the song, Aeil-ga was a song for longevity(Chuksu-ga) which spreaded powerfully at that time.
  • 4.

    <Imja-Yeonhangbyeolgok>'s creative contexts and literate features

    Kim, Yun-hee | 2010, (25) | pp.73~108 | number of Cited : 4
    Abstract PDF
    This article is the first academic introduction of <Imja- Yeonhangbyeolgok> was created in 1732 (Yeongjo 8) by Dogok- Leeuihyeon. The literary characteristics of the original context and the meanings of poetic history are main points. In the analysis of works it is clear that this work was created by diplomic experience in the early 18th century. So it's very crucial the recovery of <Imja-Yeonhangbyeolgok> make posssible the expansion of diachronic literary composition. <Imja- Yeonhangbyeolgok> is a recall to the Northern Territories are occupy considerable amount, intellectual effort to enhance its recognition aspects. The desire for Myung(明)‘s recovery as the main mechanism of recognition was called Myeongbunron is the mid-17th century's pattern and is also the point of discrimination. As time goes by, the exclusion and idealism of Myeongbunron were disappeared slowly. At the same time the concrete perception of Qing Dynasty(淸) is shown. <Imja-Yeonhangbyeolgok> is not only reflection of current perception but also creation of a private author based on flexible literate recognition. The main characteristic is the use of literary authority. The itinerary listed the cause of the objective to prevent the severance of the aesthetic and literary inspiration, ventilation. But literary authority are working as the factors doubles literary features in the text. Finally, the <Janguga> in the mid-17th century was based on the spatial recognition Myeongbunron, so 'lamentable' emotions converged, while the <Imja-Yeonhangbyeolgok> was stressed recognition of Northern old territory and the Qing Dynasty relics era have become notable in terms of recognition and literary representations were able to discover the difference. <Mujaseohaengrok> in the 19th century is compared with <Imja-Yeonhangbyeolgok> in the interest about Yeongyeong's cultural landscape. In the 19th century, exotic customs and lexical representations are transformed to the very precise observations. Thus, <Imja-Yeonhangbyeolgok> let us know the existence of 'Envoy's Ga-sa' and also enable extension of literate research in synchronic and dychronic field.
  • 5.

    A Study on Tao Yuan-ming's View of Seclusion in Mok Eun Lee Saek's Chinese Poems

    Kim Jou Soon | 2010, (25) | pp.109~135 | number of Cited : 5
    Abstract PDF
    Tao Yuan-ming lived in Wi Jin period which was the most confused and darkest in Chinese history and Lee Saek lived in the turbulent period which moved from Koryeo to Choseon period. In spite of these changing social situation, both of them were absorbed in literature. Although Lee called himself 'Mok Eun' because he wanted to live a hermit life, he didn't have pessimistic attitude to escape from real life. While Tao had the desire to escape from poverty and Lee Saek had the motivation and patriotism to cope with turbulent period, they soon realized the sense of futility and returned to nature due to their nature-friendly disposition. Lee also reflected Tao Yuan-ming's love for a chrysanthemum in his poem by comparing a mum which sends forth a sweet fragrance till withering with the symbol of a hermit and a noble scholar. Although Lee showed the opposite aspect with Tao Yuan-ming in that he had the desire about political power and finally became a high-ranking official, they have something in common about confucian philosophy of going into government service because Lee had a strong passion about administrating the state to relieve the people´s suffering according Mencius' phrases while Tao Yuan-ming feel depressed about usurpation the throne from Jin dynasty to Song dynasty and determined to return to home and nature. Lee thought the valuable life doesn't lie in life with materialism but lies in life with returning to home and reflecting himself. He became lost in thought like this after watching chaotic situation in late Koryeo period.
  • 6.

    A Study on Su-eun Gang Hang's Poetry, A Series of Poems on Arbors

    Park, Se-In | 2010, (25) | pp.137~167 | number of Cited : 7
    Abstract PDF
    Examining Su-eun(睡隱) Gang Hang(姜沆, 1567~1618)'s <Suwalljung 30 Poems(水月亭30詠)> and <Chihun 8 Poems(癡軒8詠)>, this article aims to enlarge an understanding of Su-eun's poetry. A Su-eun's literary collection, Sueunjip(睡隱集) includes his poems on arbors(52 poems under 14 titles), the poems of which <Suwalljung 30 Poems> and <Chihun 8 Poems> are only written as a series of poems. First, I examined the context in which <Suwalljung 30 Poems> and <Chihun 8 Poems> were written by consulting Su-eun's two essays, Suwalljung and Chihun. Su-eun wrote <Suwalljung 30 Poems> to encourage Jung Sul(鄭渫) the owner of Suwalljung, who had retired to the country after his political failure. Meanwhile, <Chihun 8 Poems> was written to emphasize an ironic value of ‘silliness[Chi(癡)]’ in Jung Yong(丁鎔)'s life as honesty and sincerity, who was the owner of Chihun and Su-eun's in-law. Although both <Suwalljung 30 Poems> and <Chihun 8 Poems> are a series of poems that contains a good deal of landscape, there are remarkable differences in the ways in which poems in each series are titled. The titles of the poems in <Suwalljung 30 Poems> vividly describe the landscape of Suwalljung, but the titles in <Chihun 8 Poems> merely present natural objects that imply human nature. As for poetic forms, <Suwalljung 30 Poems> describes the landscape in a well-structured form: Introduction(Poem1)–Body(Poem2~Poem24)–Conclusion(Poem25~Poem30); however, <Chihun 8 Poems> consists of only 2 parts, Body(Poem1~Poem7) and Conclusion (Poem8), in which the described natural elements mirror Sir. Chi(癡翁)'s life. Then, I looked into poetic styles. <Suwalljung 30 Poems> creates an ideal world that embodies the eternity and constancy of nature, harmony and variety, and human life close to nature. Meanwhile, <Chihun 8 Poems> highlights the significance of ‘silly yet honest life’ in a simple description of natural elements that symbolize fidelity and honor. Finally, I examined poetic vision of <Suwalljung 30 Poems> and <Chihun 8 Poems>. Su-eun, Jung Sul and Jung Yong, all of them suffered from ‘abandonment’ and returned to ‘nature’ after abandonment. Thus, Su-eun composed the poems for both Jung Sul and Jung Yong in empathy with them and tried to recover his self-esteem by healing his wounds in nature.
  • 7.

    A Study on the Background of Hwangjoga

    Park, Inhee | 2010, (25) | pp.169~189 | number of Cited : 6
    Abstract PDF
    This study is making clear when Hwangjoga was sung for the first time. Hwangjoga is a song to sigh one's loneliness. However, it is difficult to understand the time that Hwangjoga was sung. Because Hwangjo, namely a Chinese oriole, is a migratory bird and thus it can't live in the northern area in October of the lunar calendar. Hwangjoga was published in the record of the third year of King Yuri in the Samguk-sagi. It should be noticeable that the song was published following the record about discord between Chihi and Hwahi. So, the discord between two women seems to be the background of Hwangjoga. But, a Chinese oriole can't be found in the northern area in October of the lunar calendar. Because a Chinese oriole can't be seen, it doesn't make sense that he sang the song when he saw it. It is not this time but another time that King Yuri saw a Chinese oriole. Therefore, Hwangjoga was sung by originally another reason. The mood in Hwangjoga is loneliness. When King Yuri was conscious of his father's absence, he sank into an abyss of loneliness. Especially, King Yuri might feel much more loneliness by the figure of his mother who raised him alone. Although he met his father when he came to Goguryeo, soon after that his father passed away. King Yuri's loneliness wasn't relieved and his mother again came to live her life alone. Hwangjoga was sung probably in Spring after his father's death. In the next Spring after his father's death, King Yuri sang Hwangjoga alluded his mother's and his life when he saw a Chinese oriole on the way back from his father's tomb. By the way, Hwangjoga sung by King Yuri matches well the discord between Chihi and Hwahi, too. Chihi declined King Yuri's offer to return and he had no choice but to return alone. Therefore, it was recorded following the discord between Chihi and Hwahi. If the record in the Samguk-sagi is believed, it should be admitted that there can't be a Chinese oriole in October of the lunar calendar. If so, it is right that Hwangjoga was already sung before the time not then. Judging from the mood in Hwangjoga, it is highly likely that Hwangjoga was sung in the next Spring after his father's death.
  • 8.

    The pivotal context and character of 'Seongsanbyeolgok'

    양희찬 | 2010, (25) | pp.191~213 | number of Cited : 5
    Abstract PDF
    A way of study of this paper is telling the core from the secondary in work and grasping pivotal context. By this process, next four conclusions are drawn. First, the content of work is consist of the four steps in composition (i.e. introduction, development, turn and conclusion) around staying leisurely in mountain(山中閑居). Second, monologue or suspected dialogue form is used because counterpart doesn't appeared in front, even though he is in the work. Third, getting down to historical phenomena of literature and brass tacks in writer's lifetime is rhetorical device for intensifying figuration of staying leisurely in mountain. Fourth, Im eok-ryeong is estimated as a writer based on new villa and direct experience. There is collateral surplus harvest by this study. To reveal the truth and whole aspect of work rationally and effectively, inside and outside meaning that is used in work have to be extracted distinctly and rigidly and context that reflect the core content consistently has to be confirmed.
  • 9.

    A study of GoRyu(高麗) LiQiXian(李齊賢) Ci Poetry(詞)'s receptivity from SuShi(蘇軾) HaoFangCi(豪放詞)

    LEE TAE HYOUNG | Park Mi Suk | 2010, (25) | pp.215~239 | number of Cited : 6
    Abstract PDF
    I am finds out that the characteristics in the early form and degree of receptivity process from Chinese Ci Poetry through analysis and literature study about authors of the formative period of Go-Ryu and their works. After Ci Poetry was inflowed into the Go-Ryu from China, trying to create Ci Poetry first and adopting an author who played a fixed role in forming Ci Poetry literature and works as category. Ci Poetry that was created in the formative period of Go-Ryu, made use of China's Ci-Pai(詞牌) and the then Li Qi Xian used various Su Shi(蘇軾)'s Ci-Pai(詞牌). and He receptivity from sushi(蘇軾) Hao Fang ci poetry(豪放詞) style. He is a great Ci Poetry in the famous scholar of the late Koryo Dynasty from a perspective Ci Poetry writer. He lived in China (Yuan Dynasty) for a long time and made important contribution to the literary exchange between China and Koryo. In general, the contents of China written by Li Qi Xian’s Ci poetry is described as the beautiful nature viewed while traveling of the utopian through formed while communication, and feeling about the superior being, expressed because of the heavy spiritual pressure to him.
  • 10.

    The Recreation of Tongsogminyo during The period of Modern Pop-songs -Recreation of Nanbongga's Lyrics-

    Lee, Hyungdae | 2010, (25) | pp.241~269 | number of Cited : 6
    Abstract PDF
    In this paper I will explain The Recreation of Tongsogminyo during The period of Modern Pop-songs(the early 20th Century). There are two styles of Nanbongga's lyrics. One is written in books of Jabga and the other is burnt onto albums. The lyrics in Jabga books express one's abnormal sexual desires. It is created by using a variety of other songs. The lyrics express the behaviour and emotion of love. The style of writing is straightforward. The structure of the lyrics are unsystematic. The lyrics that are in the album are indifferent. However, some of the lyrics were recreated. An omniscient point of view was changed to the first person viewpoint. The dialog's were changed to monolog's. If we see the text of Jabga, the lyrics was recreated by the people's emotion and hobby's. But the character of the genre has not changed, because the lyrics are still unsystematic. For this reason Jabga disappeared near the end of The Period of Modern Pop-song.
  • 11.

    Aesthetic Harmony in Korean Old Siga

    전일환 | 2010, (25) | pp.271~288 | number of Cited : 4
    Abstract PDF
    We can find out the essence of aesthetic of Siga(詩歌), a Korean poem, which is the aesthetic harmony. This aesthetic of harmony rises yang-in thougt(陰陽思想) of the Oriental. They become togetherness making pairs with same or other differences, and are making a pretty in a harmony. They divide into two kind. One is the facing things which the dual relation between a material or a thing, the other is the facing discourse which is the subject to the subject and the predicate to the predicate. The rhetoric aesthetic making such harmonies divide into three kind. First is antithesis of opposition(反對偶) making harmony in the most intense. Second is antithesis of same or similar(正對偶)producing being easy and smooth pretty. The final is antithesis of the relationship between cause and effect or master and servant(串對偶 ) producing orderly systematic pretty. Songgang Jeong Cheol or Gosan Yun Sundo becme the foremost writers of Gasa or poem in Korea using the rhetoric aesthetic in their works. They became the most famous poets using Korean words and languages with the aesthetic skills in Jeong Cheol's "Samiingok", "Sokmiingok", "Gwandongbyulgok", "Jangjinzusa", and "Huminga", and Yun Sundo's "Sanjungsingok", "Eobusasisa" etc.
  • 12.

    A Study on Munsojeon Akjang

    Kyu Ick Cho | 2010, (25) | pp.289~311 | number of Cited : 5
    Abstract PDF
    The sacrificial rites of Munsojeon is an important ritual item of dynasty's happy ceremonies with the rite of Jongmyo. Munsojeon's place in dynasty's sacrificial rituals was very important till about the middle of the time of Joseon dynasty. According to documents, all processes with Akjang of Munsojeon rite are supposed to be set up at the 15th year of King Sejong(1443). Botaepyeong and Jeongdae'up were made at the 28th year of King Sejong(1446), and those were adopted as Jongmyojerye'ak. If we take these facts into consideration, the akjang or music of Munsojeon goes before from 13years to 30years comparing to Jongmyojerye'ak. Therefore, we can say that Munsojeon rite belongs to pioneer place of the ritual culture of Joseon Dynasty. They showed the object of rites in the 1st part of the Choheon and Aheon Akjang works of Musojeon, result of administration in the 2nd part, and petition in the last part. We can find out this points in the proper form Akjang of Chinese Sung Dynasty, Gyryeo and Joseon Dynasty, commonly. Its origin was the Book of Odes. The core key word of Munsojeon Akjang works is Heaven's will or moral appropriateness. Because Taejo received order from the Heaven, the foundation of Joseon Dynasty is a supreme good project. And achievements of succeeding kings were set up as a moral appropriateness which they did for the sake of people and give to pledge in security for dynasty's eternal continuity. The Choheon Akjang works of Munsojeon are made with a proper form of 4 letters, Aheon Akjang works are a little different. Some works of the ritual Akjang in the King Sejong period was made newly, those could not get out of existing proper Akjang style to such an extent. They renewed their old systems in the early days of dynasty, yet the Jerye Akjang works remade following the old system, trend like that was intensified at the King Taejong period and unchanged to the early stage of the King Sejong. In this case, the old system is Goryeo Dynasty's system introduced from China. The vein of Akjang in the proper style mainly used in sacrificial rites was continued unchanged. Therefore, Munsojeon Akjang appeared after the Akjang's synchronic chain of 'the Book of Odes-Sung Dynasty-Goryeo Dynasty', and it played an important role of exemplary precedent for Botaepyeong and Jeongdae'up Akjang. If we take the fact that Botaepyeong and Jeongdae'up were changed to Jongmyojerye'ak into consideration, we can understand Munsojeon Akjang was recognized as a standard of Joseon Dynasty's Jerye Akjang for considerable period.
  • 13.

    A Study on Expression Local Emotion of Gurye Poetic Groups

    Hwang, Su-jeong | 2010, (25) | pp.313~333 | number of Cited : 2
    Abstract PDF
    This study examines expression of local emotion centering on poetic works by Maechon Hwang Hyeon and poets in Gurye that show regional peculiarity of Gurye. We can identify peculiar emotion and realistic aesthetics of each region through the poetry that highlights locality. In addition, we can illuminate dynamic and realistic aesthetics through the poetry. Yeongok Temple, Yongho Pavilion and Mt. Obong are representative places with history and elegant tastes of Gurye people. First, poetry on Yeongok Temple expresses righteous emotion. Historical traumas in the temple with beautiful landscapes led Gurye people to have righteous spirit and brave mind. The poetry describes such reflection handed down to descendants as powerful mental heritage as time lapses. Second, the poetry on Yongho Pavilion shows sad feeling. It expresses grief of the migrants. It indicates sorrow of the people who lost their nation beyond sorrow of personal separation. Third, the poetry on Mt. Obong highlights romantism. It shows romantic senses through mysterious appearance of the mountain. It was designed to soothe present difficulties with elegant tastes and art and music. And it was to overcome present impasse and gain power to open tomorrow. Thus, Hwang Maechon and poets in Gurye longed for local history and elegance and described true and honest feeling, on which they expressed their peculiar emotion. It is righteous and romantic description of Gurye people's emotion.
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