Korean | English

pISSN : 2466-1759

2020 KCI Impact Factor : 0.36
Home > Explore Content > All Issues > Article List

2017, Vol., No.39

  • 1.

    A study on “Sijo Book”(the collection of Kim Hae-jeong) and the new Sijo works

    Gu Sawhae | 2017, (39) | pp.5~31 | number of Cited : 1
    Abstract PDF
    This study is to discover and introduce “Sijo Book” a new collection which seemed to be edited in the modern period. It contains 89 Sijo works. It seems to be produced for Sijochang by the producer. The producer seems to be the person engaged in the activities in Jeonju and it is estimated to have been made in 1960. While this collection is made in modern times, it is all in the form of an old Sijo. The current collection is owned by Professor Kim Hae-jeong of Woosuk University. Many of these 89 Sijo works are new works that were not introduced to academic circle yet. There are 12 new works out of 39 works of Saseol Sijo, and 3 works are worthy of different versions. There are 8 Eot Sijo works, 2 of which are new. Finally, there are total 42 Pyeong Sijo works, 6 of which are new works and 2 of which have value of different version. Among the new works, some contains the patriotic loyalty of the patriotic personnel and one is on the the national flag “Taegeukki.” There is also Samgochoryeo of <Jeokbyeokga> and revised Saseol Sijo of ‘Beompijeungryu’ of Pansori “Simcheongga.’. It is noteworthy that there are 2 Saseol Sijo works and 1 Pyeong Sijo on the scenery of Jeonju area. These works are the works that embodied 8 great sceneries of Wansan, which is not found in other books.
  • 2.

    <Dendongeomihwajeon-ga> from the Point of Veiw of Literary Therapeutics- focused on the process of healing -

    Eunhee Kim | 2017, (39) | pp.33~69 | number of Cited : 4
    Abstract PDF
    This paper has examined and observed the specific process of the three elements like empathy, catharsis and insight, which are the mechanisms of literary therapeutics. I went into the text of <Dendongeomihwajeon-ga> and organized the process of play and aspects of enjoyment and communication. I also empirically examined the process and aspect of the therapeutics focused on a narrator, main characters, participating women and readers one by one. In other words, I looked over the process of the healing by three layers: (1) Dendongeomi[Dendong mother], (2) young widow, (3) narrator and participating women of Hwajeon play. I have confirmed the nowness by presenting the comfort and encouragement that women in the late Joseon Dynasty would have received through the creation, enjoyment and transmission of Hwajeonga. Dendongeomi talked about her past in front of the participating women of Hwajeon play. I could find out that Dendongeomi discovered herself and escaped from the fateful pain through the story. I also find out that the young widow could have healed solitude and sorrow through the integration of the epic of herself and the epic of the work. The story of the Dendongeomi’s life provided opportunities to heal for the narrator, readers and participating women besides the young widow. In particular, despite her shame, she honestly faced to her past and talked about her deficiency and therefore healed all the participants by her extended sympathy, catharsis and deep insights. The exposing her sorrow and play were a training of honesty and a Self-suggestion to Dendongeomi and the young widow. The spontaneity and creativity can heal oneself and also give the strength to heal others. Their healing process makes participating women and readers aware of the fact that the problem of life is inevitably solved by oneself. It allows us to share the healing experience from the fatal sufferings and the universal unhappiness. As a reader of modern life, I could confirm the present value of Hwajeonga and Hwajeon play as a literary therapeutics. As mentioned above, it is confirmed that the <Dendongeomihwajeonga> has enough value of a literary text for healing.
  • 3.

    A study on the Chinese poem of Gyeonghoe(景晦) Kim Yeong-geun(金永根) - From the Gangjin to the Gando, focusing on <Wonyuillok> -

    Heesoon Moon | 2017, (39) | pp.71~110 | number of Cited : 1
    Abstract PDF
    Gyeonghoe Kim Yeong-geun (1865~1934) is a national patriot and a literary scholar of Honam area who lived during the modern turbulence. Gyeonghoe was born as a person of Joseon Dynasty, living as a Korean under Korean empire and Japanese invasion, practicing the spirit of scholarship and Neo-Confucianism of Joseon Dynasty. He lived a life of destitution and affluence, living as people of a helpless country, l being a village school teacher of teaching Confucian scholarship, which is becoming a scholarship without choosing anger, resistance, and the way into the government service. Kim Yeong-geun had buried the god of the Gando of our history in the heart, saying, "To be a lively guest of life and to become a lion's demon of death." <Wonyuillok> is an article written in the form of a daily record of the long journey of the journey to Gando when such desire is put into practice. Gando Wonyu was made during the most powerful period of Gyeonghoe of the 70 years of age, 42 ~ 43 years of age. In the shock of the Japanese strength and the impact of the westward tide, Wonyu was launched to find a new alternative to life. <Wonyuillok> is a daily record and Chinese poetry describing the penance of 5 people recuperating in Gangjin and going north to Seogando, and is a work that describes the rapidly changing modernity of Korea under Japanese imperialism. This article focuses on the works of Chinese poem of the 234 volumes of the <Wonyuillok>. The Chinese poems in the <Wonyuillok> are largely classified. ① The rough journey and hardship of Wonyu; ② The atrocity of the Japanese imperialism and giving vent to one's anger; ③ The loyal of Wicheokjonyang; ④ The family love of nostalgia and pity; ⑤ Lamentation of poverty and wealth, and ⑥ Sigh of social conditions of shift. And the significance of literary history in the <Wonyuillok> is evaluated as Chinese literature of constancy under Japanese colonial era firstly, succession of Honam literature tradition secondly, and recognition of South and North Korean language and song thirdly. The main emotions of Chinese poem expressed in Kim Yeong-geun's <Wonyuillok>are composed of grief, sorrow, anger, resistance, frustration, and solitude. Kim Yeong-geun is a person who has received rave reviews that "Dong-pa was born again" since he was a boy. It is regarded as the last generation that has kept the Chinese literature that has been blinking with its place in the modern sciences.
  • 4.

    A study of the nameless items in Chongguyeongeon(靑丘永言) from the viewpoint of performing arts

    Park Youn Ho | 2017, (39) | pp.111~134 | number of Cited : 5
    Abstract PDF
    The aim of this paper is to examine the characteristics of the nameless items in Cheongguyeongeon(靑丘永言) in terms of performing arts(Gagokchang). Until now, most researchers that the nameless items reflects the reality of Gagok performance in Seoul and they was added for content classification purpose. One of the important feature of is Cheongguyeongeon is to be classified the works by music. And the musical classification was need to organize a series of performance composed of several tones. The current Gagok performances is opened with First-sakdaeyeop(初數大葉) and go to calm and slow Second-sakdaeyeop(二數大葉). And the musical mood are increased when go to the Third-sakdaeyeop(三數大葉). When the tunes are converted to Rong(弄) and Rak(樂), Pyeon(編), as the performance progresses, the speed of music increases, and the amusing and exiting atmosphere are increased. And the performance are finished with a slow <Taepyungga> In this paper, I examined the theme of amusement in relation to the progress of the performance. As a result, I found that the nameless items in Cheongguyeongeon is closely related to the composition of Gagok performance. Therefore, the nameless items were not just for classifying contents but was designed for performance.
  • 5.

    Methodological Prospect of Literary Education in Gasa-Focusing on regionality and gender -

    PAIK, SUN-CHUL | 2017, (39) | pp.135~161 | number of Cited : 1
    Abstract PDF
    This article focuses on 'regionality' and 'gender' as a topic with prospective value among the studies that are attracting attention in the research on the Gasa literature or the literary education in Gasa and how to accept and practice it in the literary classroom The purpose is to present a perspective. First, there are two ways to view the regionality in the study of the former. One is to view the 'regionality' as the basis of the production of the Gasa literature, and the other is the way in which the place and space as the concrete existence are reflected in the Gasa text. This is a research that gives historical and specificity to the local culture that is subject to localization and localization, and restores the life and consciousness of the individual individual and individual works hidden in the discourse centering on the age and group. Next, the main subject in the discussion on gender is the Kyubanaggasa or Gasa of the female household. The research method is to confirm the ontological value by listing new writers and materials that have not been discovered and to register them in the history of literature. It is also important to understand the universal consciousness of female gender sharing the same experience and the unique worldview attitude of the author. Based on the review of these discussions, how to apply and practice the problem of 'regionality' and 'gender' when teaching housekeeping literature in literary class is summarized as follows. In order to confirm that the regionality is the source of vitality forming the domestic literature, I focus on the image geography of the domestic literature, observe the central point of view, explore the concrete existence of the domestic literature, Next, when teaching the Gasa literature, the points to be considered in the aspect of 'gender' are as follows : First, it has a viewpoint and attitude looking at the text away from the male - centered viewpoint, and restructuring the list of canons in the housekeeping literature, And to overcome the dichotomical view of masculinity / femininity and to confirm the diverse evidence of contents and expression that women's households can reach. This approach to literary education can be a more lively discourse when the approach and research of various perspectives and perspectives that are changed and differentiated meet the educational field efficiently.
  • 6.

    Literary Clubs during the Period of Japanese Occupancy and Their Literary Responses-Focused on Banyang Literary Club in Naju and Haeyang Literary Club in Gwangju-

    seo, seong-u | 2017, (39) | pp.163~186 | number of Cited : 0
    Abstract PDF
    This thesis examined two pieces of literary work by literary clubs formed during the period of Japanese Occupancy, Banyangsisa by Banyang Literary Club in Naju and A Collection of Poetry and Prose from Wonnimdang by Haeyang Literary Club in Gwangju. By focusing on the activities and creative work by literary clubs during the period of Japanese Occupancy, it investigated literary responses of literary men in the colonial modern space. The Japanese secret police included in the targets for its censorship not only political organizations or the press, but also private groups like literary clubs. Furthermore, most literary clubs were participated by local Confucian scholars, community leaders, and patriots, and therefore, these literary clubs were considered to be perfect targets not only for distributing pro-Japanese propaganda, but also for a target for surveillance. As such, literary clubs often could not express their frustration freely and had to endure considerable restrictions. Also such censorship often clouded rational judgments by lierary men. Consequently, there were diverse literary responses from literary men who participated in literary clubs, which this study categorized into three types. Literary men in the first category were those who resisted atrocious violence committed by Japan during the occupancy. They sang the nation’s sorrowful life and continued to desire for the independence from Japan. Those in the second category are those who compromised with reality and sang an age of peaceful time. Most of them were degraded to become pro-Japanese factions to acquire or maintain their vested rights. Literary men in the third category are those who ignored the reality. They clung to natural beauty, mainly writing seasonal poems.
  • 7.

    A comparative study between Hyangga and Nimeuichimmook, Seosi

    Jae Hong Shin | 2017, (39) | pp.187~214 | number of Cited : 2
    Abstract PDF
    This study is to find a source of Korean modern poetry in the Hyangga prevailed in Shilla dynasty through understanding of genre features of Hyangga. It is obvious that Hyangga has influences on the forming of Korean medieval lyrics of post periods of Shilla like Koryeogayo or Shijo. But the influence of Hyangga on the modern poetry is questionable until now. But we could find the traces of Hyangga in the modern poetry and the lyric properties flowing on the base of Korean lyric history. Nimeuichimmook and Seosi are famous and popular poems of Korean modern poetry. In the two poems we could find the traces of Hyangga’s poetic features. Nimeuichimmook is a poem which gets 10 lines like Hyangga, and has dialectical structure of meaning and an interjection in front of ninth line also like Hyangga. Seosi is a poem which gets the form of 6 meters per 2 lines which is the poetic feature of Hyangga, has pause between eighth and ninth line working similar function of Hyangga’s an interjection plus ninth line, and is constructed by time stream structure of meaning. With finding Hyangga’s features in two representative Korean modern poems, we could guess the endurance of lyric properties of Korean poetry flowing on the base of Korea lyric history. That is we could recognize the flow of Korean lyricism from Hyangga to modern poetry. But this study has limits of generalization of similarity between Hyangga and modern poetry. So it is necessary to supplement this arguments with more abundant data.
  • 8.

    A Study on Maecheon Hwang Hyun’s Lu-You rhyme-borrowing poems

    ZHANG LAN | 2017, (39) | pp.215~243 | number of Cited : 1
    Abstract PDF
    This study focuses on the Chinese rhyme-borrowing poems of Maecheon, especially the rhyme-borrowing poems of Lu-You. Even though Maecheon wrote a lot of poems in his life, After examining his rhyme-borrowing poems, we can not only explore his cultivation process, but also better understand his poems’ world. The main thrust of the discussion is as follows: Through the analysis of relevant poems, we can see that Hwang Hyun didn’t pursued gorgeous language skills and modification. On the contrary, he advocates the poetic expression of individual poetic Lu-You Style. In particular, admire the brute unrestrained Lu-You poetry. There are three main characteristics through investigation. Frist of all, there are many seven-character poems. Second, many beginners in the exercise process will be applied. Finally, when Lu-You was relegated to the Shu(在蜀時期), he always used. By analyzing Hwang Hyun's Lu-You rhyme-borrowing poems, we can see the leisure and traces of rural life everywhere. And also reflect the ideal of scholar-bureaucrat’s frustration and self-deprecating mood, as well as the expression of realistic critical consciousness and reveal sentiment. However, Hwang Hyun was very enjoyed his casual, rustic country life. But the seemingly peaceful life will be cracks, when he realized the ideals of the scholar-officials’ frustration. Even so he was watched calmly chaotic political reality. He criticized the royal family and the power of corruption, while fulfilling the fate of the times as intellectuals. In the study of Hwang Hyun's Lu-You rhyme-borrowing poems, we can feel his mood’s changes. And then I focus on the poems’ rhyme of Lu-You when he was in the Shu(在蜀時期) in Hwang Hyun's Lu-You rhyme-borrowing poems. I also compared rhyme-borrowing poem and original poem to discusses the tendency of his rhyme. First of all, it is important to understand the meaning to Lu-You when he was in the period of Sichuan. By this way, we can understand the resonance between Huang and Lu-You’s poems. In my opinion, Hwang Hyun, who has high literary attainments but lack of opportunities, was resonated with Lu-You, who also in the same situation. So it’s easy to understand why Hwang Hyun liked borrowing rhyme from Lu-You’s poems. In the past Studies about Maecheon Hwang Hyun's Lu-You rhyme-borrowing poems, they analyzed the themes and tendencies and so on. However, it is very rare to discuss the rhyme-borrowing poems from the feelings of the poets. in this way, I hope we can explore the unique literary features of the rhyme-borrowing poems which span time and space.
  • 9.

    The meaing cosideration of Yangsigaseok(良志使錫) article and Pungyo(風謠) in Samgukyusa

    ByeongIk hwang | 2017, (39) | pp.245~284 | number of Cited : 0
    Abstract PDF
    “Oda”repeated five times in Pungyo is a word that one should do ancestors’ good deeds firstly but the one that one should embrace Buddhism ultimately. The sorrows of the second and third phrase are simply not the kind of things that “complain about the sadness of working and living life or the sufferings of undesirable mobilized labor.” Sorrows are persistent and fundamental feelings durante vita such as “Humans are not always free from hunger, thirsty, cold and the heat. Afraid of the four phases of life, they karma. And suffering from those who they loved or broke up with, they can’t cut off them, etc.” The fourth phrase underlines the practice of good deeds as the only way to escape from sorrows. It hopes that though coming to Yeongmyo Temple and carrying soil is also ancestors’ good deeds, humans will get to land of happiness hearing the law of Buddha and realizing truth after practicing good deeds continuously and getting out of the River Styx of hell, starving demon and animals. Pungyo is a literary work which contains the hope of cutting off the sad link between karma and retribution and entering into Nirvana after finding enlightenment as more people are converted to three treasures and practice good deeds.
  • 10.

    A Comparative Study: Ancient Korea and Chinese Fu about Qin’s Political Demerits in Zhongzong’s Reign

    Gao Yanjun | 2017, (39) | pp.285~312 | number of Cited : 0
    Abstract PDF
    The Guoqin Fu, Fenshu Kengru Fu and Ailiuguo Fu are typical Ke Fu written in the ruling time period of Zhongzong, the ancient Korea King. Those three Fu are sharing the same theme for "demerits of Qin's political policies". This paper eyes on the narrative structure, thepolitical stand and the artistic features of them three, intends to provide an accurate orientation for them among a wide range of Han literatureafter making several discussions comparing with Jia Yi's Guo qin Lun and Liu Guo Lun, for these articles have similar theme with them three. From the structural aspect, beside an special narrative and argumentation's combination in Jia Yi's Guo qin Lun, all those Fu are using a traditional "three parts" division which is a typical political argumentation's way, in which illustrate the central idea at the first beginning, narration and discussion in the middle and conclusion as the ending part.From the political stand aspect, San Su and Minqi Ren have different opinions on the decay of the Six Kingdoms, they discussed into social details and both providing stable truth and reasons, however, Shen Yonggai give an honest narrative to the incident of "burn books and bury Confucian scholars alive", which is used as a key reason to Qin Dynasty's fall, and Jin Qiu is an good inheritor to Jia Yi's historical views. Therefore, we could also found that Jin Qiu and Shen Yonggai have similar political idea in against the Jun and Xian division to the territory, in which a close explanation and deduction are made in front of the certain time background. For the artistic features, Korea's San Fu used a good deal of comparative discussion to reinforce the power of historical argumentation, as well, the language has a unique characteristic for its Fu style, the reduplications and exaggerations could also be seen inside those discussion, for which, comparative studies are also made.