The Studies in Korean Poetry and Culture 2021 KCI Impact Factor : 0.19

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2022, Vol., No.49

  • 1.

    A Study on the Transmission Patterns of Sijo of 最樂堂 朗原君 李偘(Choi Rakdang Nangwongun Yigan)

    Song Tae Kyu | 2022, (49) | pp.5~29 | number of Cited : 0
    Abstract PDF
    This paper examines the collection and transmission aspects of the poetry collections of 最樂堂 朗原君 李偘(1640∼1699) from a genealogical perspective. In this process, it breaks away from the existing concept of transmission, that is, the method of understanding the archetypal preservation of work texts in the first documented literature as a tradition, and embraces the transformation of texts, 斷章取righteous, changes in the author's specification, and even the transmission in a segmental form. 'Expanded inheritance' is presented as an alternative. The need for an alternative concept of inheritance is as follows. As you can see, with the rise of 'Sijo as literature' in the discourse of national literature since the 20th century, Sijo also has a fixed work text, individual author identity, and a 1:1 author-work relationship required by the form of modern literary works. understood to exist or to have. Such existing understanding methods do not take into account the identity and enjoyment of the Sijo, and have resulted in the elimination or weakening of the fluidity inherent in the Sijo branch itself. Contrary to conventional wisdom, it can be seen that the ancestors of Nangwon-gun Igan, reconsidered through the concept of extended transmission, continued to be transmitted even after the 19th century. In addition, if we look at the aspects of the transmission process, we can find that the 付記 in the first recorded document, 'Chunggeongyeongeon Jinbon', is dropped from the later collections, and the understanding of the work changes accordingly. It can also be seen that groups of works, which were understood as a group, are dismantled in the process of transmission and are recognized as independent individual works and rearranged. In other words, even if it is a work that has been passed down from generation to generation, the acceptance context and understanding of the work is changing. Through this observation, it is expected that it will be possible to provide a clue for reflective reflection on the concept of sijo tradition along with the artist-work relationship, which has been regarded as a fixed and unchanging one-to-one correspondence.
  • 2.

    From the perspective of Literature Therapy, Exile Sijo - For 『Keumgangyengeunrok』

    kang seongju | 2022, (49) | pp.31~56 | number of Cited : 0
    Abstract PDF
    The purpose of this article is to examine the healing effect of creating Sijo based on 󰡔Keumgangyengeunrok󰡕. To this end, we looked at the family background of Kim Yi - ik and the life of exile to Geumgapdo, and reinterpreted Kim Yi - ik's exile from the perspective of literary therapy to restore the scars of King Jeongjo's death and Kim Yi - ik's exile. Kim Yi - ik(1743-1830) was exiled to Geumgapdo in Jindo on December 25, 1800 on the charge of deceiving King Jeongjo by Queen Jeongsun and Byeokpa. After that, from August 11 to September 8, 1802, he created a collection of Sijo books 󰡔Keumgangyengeunrok󰡕 in Geumgapdo, Jindo. Unlike 󰡔Gwanseongjabrok󰡕, which were created during the previous exile to Iseong, the themes of the works were mixed and presented, so it can be inferred that the works were not arranged with a series of intentions, but included in the order of creation. In addition, certain materials were repeatedly presented. In view of this, each text forms a disconnected meaning, but if it is grouped through repeatedly presented materials, it can have an instrumental narrative. Therefore, in this article, among all works, works on the theme of yearning for the king were classified as "diagnosis stage-resolution stage-recovery stage" according to the perspective of literary therapy and reviewed that conflict and healing were revealed. Furthermore, 󰡔Keumgangyengeunrok󰡕 clearly showed the process of reaching the stage of recovery through the stage of diagnosis and resolution from the perspective of literary therapy. Through this, it was possible to examine the healing patterns of each stage in the works and to confirm the effectiveness of literary therapy. These results further show that Kim Yi – ik experienced the literary therapy process through the creation of 󰡔Keumgangyengeunrok󰡕, and can be said to be an example of proving that the creation of exile Sijo is effective from the perspective of literary therapy.
  • 3.

    Gagokjip and Sijo of Haeam Kim Eung-jeong

    Kim, Shin-Chung | 2022, (49) | pp.57~79 | number of Cited : 0
    Abstract PDF
    Haeam Kim Eung-jeong(1527∼1620) was a Sijo writer who was active in the middle of the Joseon Dynasty. 70 years after his death, his works were woven into Haeamgagokjip(懈菴歌曲集). However, this document has not been handed down at present, and only his eight Sijos have been handed down through Haeammunjip(懈菴文集). This article examines Kim Eung-jeong's Gagokjip and Sijo. First, in Chapter 2, I looked into the compilation and whereabouts of Haeamgagokjip. Through this, it was estimated that Haeamgagokjip was compiled in the 16th year(1690) of King Sukjong by Kim Eung-jeong's fifth-generation descendant Kim I-ho, and the number of works recovered at this time would not have been much different from that of the first edition of the Haeammunjip. And it was revealed that Haeamgagokjip was again expanded and reorganized into the Haeamseonsaengjip(懈菴先生集), in the 35th year(1709) of King Sukjong by also Kim I-ho. In succession to this work, in the 49th year(1773) of King Yeongjo, the sixth-generation descendant Kim Myeong-eon published the first edition of Haeammunjip. Therefore, the argument of this article is that the Haeamgagokjip is not lost, but, in fact, has been reorganized and delivered through the Haeamseonsaengjip as the Haeammunjip. Then, in Chapter 3, some problems of the Sijo of Haeam related to Haeamgagokjip were highlighted. First, it was revealed that the title of Haeam Sijo were not given directly by the author at the time of creation, but were given by later generations during the compilation of documents such as Haeamgagokjip. Therefore, it was considered that these titles cannot be the decisive basis for understanding the work. In particular, I viewed his work <Moonbanjeong(聞反正)> as such a case, and reinterpreted this work from a standpoint irrelevant to 'Restoration(反正)'. In other words, it was interpreted in relation to the political situation at the time of the enthronement of Gwanghaegun and the subsequent expulsion of the Sobuk faction. Among the sijo of Haeam, <Moonbanjeong> is a work with many questions about understanding the meaning. The main significance of this article is that it specifically clarified such a question. Also, it is meaningful in that this article tried for the first time the study of Haeamgagokjip and the title of Haeam Sijo.
  • 4.

    Women’s Voice Appearing in <Nocheonyeoga> and Its Meaning

    Yongchan Kim | 2022, (49) | pp.81~108 | number of Cited : 0
    Abstract PDF
    There is a series of ceremonies, called the rites of passage, that people have each time when they undergo important changes of status. Among them, marriage has been regarded as the most important event in one’s life and hence has been called ‘Illyunjidaesa’, meaning an important event of life. During the Chosun Dynasty, only married people, regardless of sex, were recognized as sound social members. Therefore, Yangbans, the rulling-class people of the Chosun Dynasty, used marriage as the institution to strengthen the solidarity between two families. Owing to various reasons such as economic environment, however, some people could not get married at appropriate age. Because of the social perception regarding the unmarried as ‘defective’ persons, to get married, even if late, was one of the most important goals of life. In particular, ‘old maids’ were treated as if they did not do their share even in family life. Because they were regarded as the objects of relief in those days, the practical desire of old maids may have been the achievement of marriage. During the late Chosun Dynasty, the issue of old maids became a social concern and was mentioned for national policy, forming so-called ‘old-maid discourse’. In the gasa <Nocheonyeoga>, meaning a song of an old maid, a noble old maid who could not get married because of poverty laments her misfortune in the first-person view. In the present article, a review on <Nocheonyeoga> is presented with a focus on women’s voice contained in the work to inspect the social meaning of the images of old maids. In the work, a testimony of an old maid consistently lamenting her misfortune ends up with her resignation stemming from the realization of her circumstance, without any reversals. The narrator expresses her feelings on her circumstance as an old maid, even blaming her parents who are not interested in her marriage. Recognizing difficult household finances in spite of noble family, however, the blaming tone toward her parents is mollified a little. The despaired settlement of the work demonstrates the helplessness of women of the time who could not make their independent living. The hidden side of the cultural system of the Chosun Dynasty, during which a strong patriarchal system was being operated, can be read from the images of old maids.
  • 5.

    A Study on The Expressing Aspect of Meaningful Images in Samdangsi ‘Sunset’- A Focus on Choi Gyeong Chang and Lee Dal

    KimYoungkook | 2022, (49) | pp.109~132 | number of Cited : 0
    Abstract PDF
    Paek Gwang-Hun, Choi Gyeong-Chang and Lee Dal as Samdangsi poets in Mongnengsungseki did not use difficult rhetoric and authentic precedents but used easy words derived from their life. They implicated common poetic words for which emotion is combined into scenery in short phrases through aesthetic arrangements according to rhyme. This study aimed to investigate the aspect and characteristics of rhetoric expression in characteristics phrases of Samdangsi poets for which emotion is combined with scenery as their representative meaning image. Choi Gyeong-Chang investigated the images of sunset such as evening, Mo, setting sun, Man(night), sunset and twilight to express sad feeling such as idleness, loneliness, journey and separation. Lee Dal used Mo, evening, sunset, setting sun and twilight to calmly configure feelings of idleness, loneliness and melancholy. Choi Gyeong-Chang’s sunset image had a something in common with Paek Gwang-Hun’s Munae. All of the Samdangsi poets expressed idleness of rivers and mountains through images of sunset.
  • 6.

    Literature of Soswaewon-Wonlim(瀟灑園園林) and Goam(鼓巖) Yang Ja-jing(梁子澂)

    Kim Dae-Hyun | 2022, (49) | pp.133~159 | number of Cited : 0
    Abstract PDF
    Soswaewon(瀟灑園) is one of the representative private gardens in South Korea established in the 16th century. After the founding of Soswaewon, many descendants took care of the garden. In this article, I will examine the characteristic of literature of Goam(鼓巖) Yang Ja-jing(梁子澂, 1523∼1594), son of SoswaeGong(瀟灑公) Yang San-bo(梁山甫), This thesis is the first to examine the literature of Goam. Goam was a person who was respected by many later students in many ways. Moreover, as we all know, he was the son-in-law of Kim In-Hoo (金麟厚), so there are some related documents. Goam has been engaged in various literary activities in his entire life, and has written works related to various themes. Among the works left by Goam, some poems lyrically express the beauty of nature. As mentioned above, 10 poems and 3 prose works remain in Goam's works. It was possible because of his deep relationship with Haseo(河西) that the remaining works were related to the six poetry, and the “Haengjang(行狀)” about Haseo in prose. All of his remaining literary works are of great significance to each other. In addition, the remaining parts of 「Mudeungsan Kiwoojemun(無等山 祈雨祭文)」 show that his literature was developing in various ways. Although a small number of works remain, it can be inferred that his literature was developed on various themes. Goam was not only a great poet of Soswaewon-Wonlim(瀟灑園園林) literature in the 16th century, but also seems to have played a major role along with his teacher Haseo, so that Honam literature(湖南文學) flourished in the 16th century. In this article, I briefly reviewed Goam's literature focusing on the remaining works of Goam.
  • 7.

    The Characteristics and Meaning of Translating Chinese Poem to Sijo(時調) in the Early 20th Century.

    Yu JeongRan | 2022, (49) | pp.161~187 | number of Cited : 0
    Abstract PDF
    This paper examines the aspects and characteristics of Lee Eun-sang's translating works of Chinese poem to Sijo(時調) in the early 20th century. In order to reveal the characteristics of the translation attempted by Lee Eun-sang, this article firstly considered his poetry theory and perspectives of Sijo. After submitting lyrical poetry representing Sijo, he showed special interest in lyrical sentiment rather than the idea of Sijo. In addition, he predicted that the Sijo could be developed into modern poetry literature. To do this, he also even considered the style, rhetoric, and popular characteristics of Chinese literature. He struggled in various ways to find a way out for the Sijo to proceed to the literary world. Without exception, the poetry of Tang Dynasty was selected as the original, and the Sijo was made in a way that emphasized the structural unity of the Sijo more than its form. Besides, it was characterized by the fact that the Chinese poetry's meanings and themes were accepted but actively changed in terms of expression and emotion. Lee Eun-sang did not remain in the process of translating the original poems, but focused more on improving their completeness in consideration of the aesthetics of the Sijo. Through this study, it can be seen that Lee Eun-sang attempted to translate Chinese poem to Sijo in order to establish the modern lyrical poems and expand them to the literary world in the early 20th century.
  • 8.

    The relationship between gasa and pansori in the 18th century: Lee Un-young’s work Sunchangga

    SHIN, HYUN WOONG | 2022, (49) | pp.189~214 | number of Cited : 0
    Abstract PDF
    This paper examined the relationship between gasa(歌辭) and pansori in the 18th century: Lee Un-young(李運永, 1722-1794)’s work Sunchangga(淳昌歌). He wrote Sunchangga(淳昌歌) at Sunchang-gun(淳昌郡) in Jeollabuk-do Province(全羅北道) around 1760 CE. The theme on the work is the lawsuit between the government employee, Choi Yoonjae and four gisaengs. First, judicial process in the work is deviated from the legalized trial proceedings of local government offices in the Joseon Dynasty. The anomalies of the procedure are caused by omission and modification of the procedure. As a result, the lawsuit in the work, which took place over time, is stated in Sunchangga as a song that took place in one place for a day. Second, due to the omission and modification of the litigation procedure during the work, statements about the development or scene of the case are minimized, and the case is presented against the utterance of the person in the work. In addition, scene-changing statements, which are mainly found in the drama style, were found with the ignition site fixed. Lastly, the characteristics of statements found in Chapter 3 were related to the customary genre of statements called pansori enjoyed in Honam(湖南) in the mid-18th century of the time. The part of the birthday party in Damyang(潭陽) and Gisaeng's excuses in the work show similar characteristics to the uniqueness of the part in pansori. In addition to these characteristics, considering the background of Damyang(潭陽) and Sunchang(淳昌), the sanctions of lawsuit of the lower class, and the comical and humorous aesthetics dealing with them, it is reasonable to infer that Sunchangga is in the middle of the 18th century. This means that the extension of the Gasa in Sunchangga was carried out in the recognition of the pansori singing the narrative or the equivalent style of song literature. As a result, among the six works created by Lee Un-young, the number of works influenced by performance literature, including songs, will be expanded from four to five.
  • 9.

    Enlightenment and Practice in Myeonghyo's Gathas of Haeinsammaeron

    Seo, Cheolwon | 2022, (49) | pp.215~243 | number of Cited : 0
    Abstract PDF
    Gathas of Haeinsammaeron is worth showing the achievement of Hwaeom Poetry between Uisang and Gyunyo. The contents of this work are as follows. In the beginning poem, the practice of mercy was put forward to publicize to all people that the journey back to the foundation was a process of enlightenment. In the main text, life, death, and anguish were said to be the causes of nirvana and enlightenment. This is because human beings in reality must experience reincarnation and anguish to gain nirvana and enlightenment. To explain this process, you must understand the part and the whole, the diversity of various worlds, equality of all beings, and awareness of time. This also included equality and harmony in Hwaeom thought. The editorial added to the text also said not to be arrogant and to always repent. Realistic practice and performance were more important. He affirmed his attempt to share his enlightenment with others, and said that penance was important as a way to perform. The future task is to compare this work with the works of other Hwaeom thinkers. Compared to Uisang's Beopsongge, several topics are dependent on each other and independent. In addition, the possibility of comparing Gyunyeo's Bohyunsiwona with the method of penance was opened.