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2007, Vol.15, No.15

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    The tears in ChunHyangJeon춘향전 - the meanings and the traces of variation

    Junkyung Ryu | 2007, 15(15) | pp.51~76 | number of Cited : 7
    Abstract PDF
    The tears in ChunHyangJeon춘향전 - the meanings and the traces of variation Ryu Jun Kyung The aim of this essay is to consider aspects and variations of sorrows represented by tears and to reveal the reason and meaning of those in ChunHyangJeon춘향전. There are three kinds of tears in ChunHyangJeon춘향전 - tears of disobeidence, tears of loneliness and longing, tears of deep emotion. In the history of ChunHyangJeon춘향전, the scenes of tears, especially the scenes of tears of loneliness and longing, had been expanded. And most of all sentimentality is remarkable in these scenes of tears of loneliness and longing. And this states are caused by strengthening of popularity in ChunHyangJeon춘향전.
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    A Tradition of Donggwan(管) and Gender Politics on Daily Lives

    Lee, Kyungha | 2007, 15(15) | pp.77~94 | number of Cited : 6
    Abstract PDF
    A Tradition of Donggwan(彤管) and Gender Politics on Daily Lives Lee, Kyung-Ha One topic of this essay is that women's Haengjang(行狀), records of a dead person's life, and Myojimyong(墓誌銘), a kind of epitaphs, originated from a tradition of Donggwan(彤管). In ancient China, Donggwan originally meant documents that Yeosa(女史), a female historiographer, recorded daily lives of queens, and the meaning changed to 'a history of ideal women' in Joseon Dynasty. In this essay, I regard women's Haengjang and Myojimyong as writing belonged to tradition of Donggwan as well as tradition of 'writing for the dead'. Another topic is to discuss what value women's Haengjang and Myojimyong have as historial materials. Scarcity of materials and historical records is one of big problems in studies of women's classical literary history. In this viewpoint, Haengjang and Myojimyong are very important sources for women's history. Because so many women's Haengjang and and Myojimyong were written during Joseon Dynasty and the documents often contained many kinds of informations about women's daily lives. However, women's daily lives were usually represented as very normative forms, which spoke for gender politics in women's daily lives in the Middle Ages.
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    Sinocentrism of Kerean classical novels

    정길수 | 2007, 15(15) | pp.131~151 | number of Cited : 12
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    Sinocentrism of Kerean classical novels Chung Kil-soo This thesis aims at searching for the movement of self-recognition of Korean classical novels within the framework of the theory of civilization and barbarism華夷論 or the relation between ‘Ego’ and ‘Others’. Choe-go-un-jeon, written before the latter half of the 16th century, is the earliest work that contains the spirit of insubordination against Sinocentrism(China-centerism). On the contrary, in the full-length-novels after the latter half of the 17th century, Choseon(Ego) identifies itself with China(Others) and excludes other countries in East Asia(Others). This mental changeover, found in such Kerean classical novels as Changseon-gamui-rok, So-hyeon- seong-rok, and Wanwol-hoemaeng-yeon for the first time in 17th and 18th century, is connected with the rise of Korean-Sinocentrism朝鮮中華主義. Song Si-Yeol宋時烈, the ideologue of Korean-Sinocentrism, advocated the theory of civilization and barbarism ‘in culture’. It means the barbarians can be a new center of Sinocentrism, if they have the orthodoxy of Chinese culture. There are two ways in front of the cultural theory of civilization and barbarism. One is the cultural relativism, and the other is exclusive absolutism. Song Si-Yeol's Korean-Sinocentrism is the irrational absolutism that Choseon can be the new cultural center of Sinocentrism, but Ching淸 dynasty cannot be that. Korean classical novels, from Koo-woon-mong to Ok-roo-mong, move on to follow the cognition of Korean-Sinocentrism.
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    The Subject and the Others on Modernizing Period's Korean Poetry

    Cho, Haesug | 2007, 15(15) | pp.153~187 | number of Cited : 9
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    The Subject and the Others on Modernizing Period's Korean Poetry Cho, Hae-Sug A Gasa(歌辭) affiliated with <BokSeonHwaEumGa(福善禍淫歌)> is one of the transformational Gyenyeo Gasa(戒女歌辭). It is estimated that women produced many variations to create and enjoy broadly after the latter half of 19th century. The type of this work group is classified into two; 'Gyenyeo' type which emphasizes a normative admonition, and 'Jeongi(傳記)' type which is developed with the speaker's biography as the central figure. And I inquire the change of narrative viewpoint, way to connect inner stories, and telling. The variation from 'Gyenyeo' type to 'Jeongi'' type has new meaning in respects of enjoyer's concept and Gasa's distribution. A Gasa affiliated with <BokSeonHwaEumGa> assumes a modern phase, on the point that it makes 'GoeDdongEoMi(괴똥어미)' who is a minority character appear in Gasa text, and that women who are the objects of 'becoming the other' becomes the subject with including or tolerating another person for themselves. Also, it is important that the work figures the positive role of women who step forward as the core of production and home-management and reveals a desire for 'riches' and a solidarity through 'poverty'. A Gasa affiliated with <BokSeonHwaEumGa> discloses how Gasa can become popularized, by increasing a description or a narrative and letting us hear of various character's polyphonic voice in one text, too.
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    A Study on the Meaning of Desire Mentioned in a Epical Shaman Song Baridegi and Present Myth on an Adopted Child - focusing on the Baridegi by a Shaman Kim Bok-Sun

    Minheui Lee | 2007, 15(15) | pp.237~265 | number of Cited : 7
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    A Study on the Meaning of Desire Mentioned in a Epical Shaman Song Baridegi and Present Myth on an Adopted Child - focusing on the Baridegi by a Shaman Kim Bok-Sun - Lee, Min-Heui Baridegi is one of the most famous epical shaman song in Korea, passing down by shaman of today. Baridegi(=princess Bari) was abandoned by her parents right after her birth. Nevertheless, she forgives her parent, goes through rough adventures and saves her parent’s life by bringing the holy water from the underworld. In a "Bari's story like this, an abandoned Baridegi makes a role as a mediator to realize desire of characters. For example, Baridegi not only realizes parent's dearest desire for life, Dongsuja(holy water keeper)'s desire for children in a internal point of view, but also satisfies prayer's desire for guiding the soul of dead to the underworld, shaman's desire for successful performing ritual in a external point of view. It can be considered these desires of figures in a Baridegi in connection with an adopted children's story today. Especially, it means a success story of an adopted child who comes into the spotlight through the Mass Media. Though Children abandoned by parents, and after that adopted by foreign foster parents, they are able to return to Korea in glory as a hero or heroine like a princess Bari by the commercial interest of the mass media, on that particular occasion for that once they grown up to be a famous public figure in the world. From this view point, myth on Bari sheds light on ageless themes like isolation and abandonment which continue to haunt modern society.
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