Learning ‘tone’ is important works in secondary school curriculum because it is closely related to the situation of the narrator or mood of the poem. In particular, categorizing the tone according to gender, such as ‘male-tone’ and ‘feminine-tone’, used continuously for analyzing poetry. This study attempts to raise the issue of masculine and feminine tone that we have used customarily. We specifically analyzed the above problems through practical questions from students, and also analyzed textbooks and instructional textbooks for teachers. Furthermore, We deviated from a fixed understanding of gender, proposed a realistic method to students to learning literature more actively and effectively. Distinction between the two tones through cultural gender attributes is issue for current middle and high school students. This is because they are no longer able to accept male and female attributes against cultural tradition. Even now, many textbooks analyze poetry that should be basically learned in our literature according to gender attributes. For example, the feminine tone is soft and delicate, and lt used mourning or longing stand out, and the masculine tone is used harsh strong poetry or the intense feelings appear. This distinction has limitations that it is not possible to answer whether gender itself and emotional characteristics correspond. It is not the way it has been used before. Decisively, the effectiveness of this method is also weak, because students should be given additional explanations of ‘what is masculine?’, ‘what is feminine?’. If this method continues, can also have negative influence for students to internalize stereotypes by gender during they grow. Therefore, instead of the distinction between masculine and feminine tones, Expressions that evaluate the Narrator’s ‘emotion’ should be recommended, such as a soft tone and rigid tone.

Disorder and cheating of 18~9th century’s Gwageo(the highest-level state examination to recruit ranking officials) – focused on 『Mumyungjajip』-

Gyupil Lee | 2013, 27(1) | pp.165~202 | number of Cited : 13 | number of Views : 1178

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This study considers disorder and cheating of 18~9th century’s Gwageo(the highest-level state examination to recruit ranking officials) by types according to a time order, and approaches the actual circumstances. At the time, the class of Yangban(gentry) was expanded and earthy. This phenomenon was interlinked with the rise in competition rate of Gwageo, so the Gwageo system became disorder disorderly and officer’s qualification was lowered. Bribe and request was rampant, there was the leaking of test questions before the examination or successful candidate had already been nominated. There were all kinds of cheating on an examination, for example, fight over a position, cheating, proxy examination, team examination paper writing, change of examination site, exchange of examination papers, making and submission out of examination site. On the way of examination paper’s submission, conspiring with Proctors, many candidates exchanged secret codes suggested the pass by make requester’s name known, intercepted others’ success by changing test papers. After th test time they bribed Proctors, exchanged the examining papers by the bundle and fabricated grades and readjusted success or failure outflowing the results. These illegalities were involved with not only Proctor, but also people of every class, such as poor literary persons, government officials and soldiers, administrations bond servants. To sum up, the field of 18~9th century’s Gwageo(the highest-level state examination to recruit ranking officials) was connected with people of every class, across the whole course form notification of examination to announcement of a successful candidate. Yunki’s documentary on Gwageo’s disorder and cheating is not only vivid field report, but also window which foresee bureaucratic society’s contradictions of 19th century.

Focusing on the Development of Seohakjungwonron (西學中源論) and Its Implications

Ham Young Dae | 2020, 40(1) | pp.243~267 | number of Cited : 1 | number of Views : 1150

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Seohak is the West’s sciences handed down by Chosun envoys that came and went between Chosun and China after the 17th century, late Ming the early Qing. In fact, Chosun scholars’ logic to cope with Seohak is still equipped with present meaning because it is intellects’ logic to recognize new civilization. In the academic circles of Chosun at that time, there was Dogi(道器) Divided Acceptance Theory intensely supported. It means that they had to follow the logic of acquiring superior scientific technology even if it was from Western civilization but would never accept heretical ideas associated with social order or moral practice unlike advanced technology. The layers of coping with Western civilization were, in fact, very diverse then. One of the interesting points about the coping logic is Seohakjungwonron(西學中源論). Seohakjungwonron was insisted by Chinese scholars during late Ming and early Qing, and it means that the advanced West’s science originated from China’s ancient civilization. It was not just about ethnocentrism but what was developed into logic to accept new civilization. Of course, considering the historical development, transmission, and acceptance of scientific technology in the holistic viewpoint, we can find Seohakjungwonron is hardly equipped with historical authenticity and can never disregard its logical absurdity. Despite that, in the process of acculturation, the logic of Seohakjungwon was maintained for more than about 150 years. This is not simply because of their stubbornness about knowledge and recognition but because of the difference of viewpoints over science and civilization which headed for different directions. Through that, we can examine recognition logic as an object of sciences, problems in the goals and methodology of sciences, and the matter of cultural identity. Yet, what is obvious is that exact recognition on heterogeneous civilization and desirable attitudes to cope with changes should be grounded on righteous understanding as well as thorough analysis on new civilization and the counterpart preferentially. Although establishment of the subject is what is demanded all the time, that subject becomes mature not from an isolated subject but from that being able to receive the aspects of change in its entirety.

Hwaseo School's perception and criticism of Su Dongpo

Kim Geun-tai | 2016, 33(1) | pp.351~382 | number of Cited : 1 | number of Views : 1066

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The purpose of this study is to examine a craze for Su Dongpo among the literati of Joseon in the 19th century and the perception of him by Hwaseo School. For the literati of Joseon in the 19th century, Su Dongpo was more than an excellent writer or poet. The literati tried to learn and follow everything about Su Dongpo beyond his poetry and prose. Especially, Gyenghwasejok(京華世族) who played an active part in Seoul regarded Su Dongpo as a paragon of ideal life. It can be said that their role model of life was changed from Zhuzi to Su Dongpo. However, the writers of Hwaseo School still adhered to the consciousness of the existing Neo-confucian scholars. Their scholastic mantle linked from Yulgok, through Wooam, to Hwaseo reflected the perception of Su Dongpo. The Hwaseo School thought that Su Dongpo was nothing but a troublemaker who disturbed the order of nature and threw the people into chaos, based on the historical event in which Su Dongpo had a political conflict with Cheng Yi. The negative perception of Su Dongpo was obviously displayed in a history book, Songwonhwadongsahabpyeongangmok(宋元華東史合編綱目), compiled to rectify orthodoxy and to make the sharp Sino-barbarian Dichotomy(華夷). Hwaseo School accepted the record of Su Dongpo described in the existing history, but modified it to emphasize negative side of him. Moreover, they just commented on Su Dongpo's death instead of writing a separate article about it, because he had committed a very great evil. The reason why Hwaseo School maintained the negative perception and exclusive attitude toward Su Dongpo is in line with the ideas of moral philosophy scholars of the Song Dynasty such as Zhuzi, and the Neo-confucian scholars in the mid-Joseon period. In other words, Su Dongpo was not bound by any particular idea, so he had a wide range of thoughts including Confucianism, Buddhism and Taoism. And he freely made sentences based on his innate literary ability. For these reasons, there were many people who were fascinated by Su Dongpo's sentences during his lifetime and even after he died. Under these circumstances, it was clear that the moral philosophy(道學) claimed by the Neo-confucian scholars would not get much response. Therefore they actively stood up to block the Su Dongpo's influence, fearing that such a situation would occur.

A study on aesthetic consciousness of 「Grass and insect painting」 by Shin Saimdang

Yu Jeong Eun | 2011, 23(1) | pp.69~96 | number of Cited : 3 | number of Views : 918

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The purpose of this thesis is to study aesthetic consciousness of 「Grass and insect painting」by Shin Saimdang. Beauty is our harmonious feeling about some object and respectful, valuable things as a substantial phenomenon not abstract idea going beyond our daily life, which makes us be happy. Accordingly, feelings welled up in our life are all essences of the arts, and nature and things around us are beauty itself respectively. Shin Saimdang was born in Chosun dynasty, the rigid Confucian society some 500 years ago. She not only held up as a model of Confucian ideals for a good wife but also was a respected artist who was excellent in poetry, calligraphy, and paintings. Especially, 「Grass and insect painting」is works created from benevolence and virtue of Shin Saimdang. Objects of 「Grass and insect painting」are small things which can be easily seen in a daily life and she gave a tender and warm mind to them, which makes the painting vivid. This study dealt with then background, introduction of 「Grass and insect painting」, aesthetic consciousness of 「Grass and insect painting」such as natural beauty; simple beauty, and emptiness beauty; Confucian aesthetic consciousness; cultivation of aesthetic consciousness. Her paintings show Korean beauty that is simple and frank. In 「Grass and insect painting」, very small creatures and worthless, ugly ones appear - too small to see or not aesthetic objects. This reflects her ‘mind of benevolence’ - unusual love extended to small and insignificant creatures. ‘mind of benevolence’ is a main body of Four clues mind which embrace and considerate for all beings, and is a principle of love. Therefore, The author would like to say that source of beauty starts with ‘benevolence’. Thus these are alive in 「Grass and insect painting」- alarming life, simple beauty, and woman elaborateness - and shows high completeness as a work, which allowed the painting special artistic value. She painted her own unique works and developed Korean painting to independent painting style with Korean characteristics. As a result, her paintings have a large meaning that her paintings were free from China’s influences. Her works represent Korean aesthetic beauty in the fact that she harmoniously arranged simple and worthless materials and sublimated them to noble arts painting on a canvas noiselessly.

An Essay on the Social Guidance and Popularization of Four-Character Idiom

Kim,Il-Hwan | 2008, 16(1) | pp.387~410 | number of Cited : 5 | number of Views : 867

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The Correlation of the Publications Produced in the Reign of King Sejong

Kim, Seung-u | 2018, 37(1) | pp.65~101 | number of Cited : 2 | number of Views : 832

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Yongbieocheonga, which was produced to Justify the establishment of Joseon dynasty, did not have any relation with Samganghaengsildo or Myeonghwanggyegam in the beginning when only its lyrics existed. However, King Sejong promptly instructed Choe Hang to give a commentary on each verse of the lyrics. Through this reorganization, in the place where the pictures occupied in Samganghaengsildo and Myeonghwanggyegam, lyrics were substituted in Yongbieocheonga. Seokbosangjeol(釋譜詳節), compiled to commemorate Queen Soheon(昭憲王后), is a document related to the internal problem of the royal family as well as Myeonghwanggyegam, so Prince Suyang also played an active role in its composition. In context, Myeonghwanggyegam and Seokbosangjeol are also similar to each other in that they deal with a single character: Emperor Xuanzong of Tang and Shakyamuni. Yongbieocheonga served as an opportunity for the above-mentioned compilations to be increased or new ones to be produced. Based on the contents of Myeonghwanggyegam, King Sejong composed 168-verse lyrics, using the form of the lyrics in Chinese characters of Yongbieocheonga. Similarly, based on the contents of Seokbosangjeol, he also composed 583-verse lyrics named Wolincheongangjigok, using the form of the lyrics in Korean vernacular of Yongbieocheonga. These lyrics, which had existed separately until the reign of King Sejong, were integrated into the original texts in the reign of King Sejo. Such reorganizations resulted in a pattern of reproducing the style of Yongbieocheonga, leading to the result that the formats of Yongbieocheonga, Myeonghwanggyegam and Wolinseokbo are basically the same. King Sejo intended to reveal the meaning of his father King Sejong’s continuity to himself by combining his work with that of his father’s. Besides, King Sejo made extra efforts to translate all the combined works into Korean vernacular as well. He was confident that satisfactory documents could be made in Korean vernacular as in the case of Seokbosangjeol and Wolincheongangjigok. It is also understood that he actively used Korean vernacular to praise King Sejong’s intention to newly create the Hunminjeongeum(訓民正音).

Matter of practical use of adding Korean endings to classical Chinese phrases in Korean Chinese Classic Translation and Marking - focused on ‘~handae(한대)’ and ‘~(i)aneul(이어늘)’

Gyupil Lee | 2015, 30(1) | pp.7~38 | number of Cited : 6 | number of Views : 825

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Educational Method and Modern Significance in Seodang(書堂)

Choi, Yun-yong | 2008, 17(1) | pp.341~366 | number of Cited : 17 | number of Views : 812

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The educational method in Seodang(書堂-private village school) during Joseon Dynasty assumed the one-on-one perfect learning model in line with the eye level according to an individual's ability in students. This implies that Seodang played a role of a leading star, adviser, and guide in learners while making a place of experience that the potentiality of each individual in students can be exerted. In the reality that the faith in public education is being collapsed, even the application of educational method to reality in Seodang has the educational significance. Seodang is the private educational institution in the elementary and secondary stages, which was established in units of Myeon(面) · Dong(洞) · Ri(里) by being become the main body in noble family(士族) and the people, which did put the living ground in the country-village society. This Seodang has been followed with having educational viability from the period of the Three States to the present. Seodang(書堂-private village school) is composed of village schoolmaster(訓長), Jeopjang(接長), and schoolchildren(學童). And, the learning was performed mainly by the individual teaching method with deciding on scope in line with learners' personal difference and its ability. Accordingly, even if having entered Seodang equally, the educational contents and the progress rate were varied according to its ability, thus the non-school year system was operated by level. The educational contents in Seodang comprise three courses(三敎科) that are Gangdok(講讀-reading with comments) of grasping the meaning in sentence by reading and reciting, Jesul(製述), which is activity of composing poems, and calligraphy(習字) in writing. And, even other than this, the field except reading with comments was taught through a play. The teaching-learning methods in Seodang include lecture(講), Gaengshingobeop(更辛苦法), Sunseungcheopbeop(循繩尺法), and educational method through a play. Lecture(講) is a method of question and answer. Gaengshingobeop(更辛苦法) is a method that allows a context to be learnt oneself with instruction by level. And, Sunseungcheopbeop(循繩尺法) is a perfect learning method through repetition. In addition to this, a play led to understanding about a systematic conception and grade on a government post, correlation in titles, rank, scenic spots and places of historic interest, climate and products, and figures. And, a play led to fostering the expressive power, a belonging sense to group, cooperative mind, combination power, law-abiding property, and local patriotism. The current educational structure is the monolithic educational method or the education of excessively centering on entrance examination, in which an individual's level is ignored. In this situation, one method, which draws students to a place of teaching, might be probably the educational method in Seodang. Even given examining theses on teaching-learning that were reported in academic circles, those are researches that focused mainly on efficiency in teaching. Thus, it is rare in the teaching-learning method by individual that focused on eye level in knowledge and human nature. Accordingly, even the integration in the educational method in Seodang and the teaching-learning method, which was reported to be efficient in modern times, can be said to have educational significance. There is no royal road to teaching. Still, there is just effort by doing the best for going to the royal road.

A study on the Companionship Among Jip-hyun-jeon[集賢殿] Scholars During the Sejong[世宗] Era

Son Yoo Kyung | 2018, 37(1) | pp.103~142 | number of Cited : 3 | number of Views : 784

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The 15th century was the era during which the Chosen[朝鮮] dynasty developed its cultural capacity through creating Hangul, compiling various books and organizing court music. At the center of these diverse achievements lied King Sejong[世宗] (1397-1450) and Jip-hyun-jeon[集賢殿], the royal academic institute, by whom the super structure of early Chosen such as politics, systems and culture were framed. As Munjong[文宗], the successor of Sejong, died from illness in the 2nd year of reign with young crown prince Danjong[端宗] enthroned, however, Jip-hyun-jeon became the center place of power struggle. This made the precedent studies only highlight the division and differences among Jip-hyun-jeon scholars based on their relationship with Sejo[世祖] reign, resulting in the lack of attention to the early form of exchanges among them. The purpose of this study is to look at the companionship of the following 6 Jip-hyun-jeon scholars, all of who participated in Saga-dok-seo[賜暇讀書] (a leave program allowed to young scholars to foster talents and encourage academic study) which took place at Samgak[三角] mountain’s Jinkwan[津寬] temple upon the order of King Sejong in 1942; Park Paeng-nyun(朴彭年; 1417~1456), Lee Gae(李塏; 1417~1456), Sung Sam-moon(成三問; 1418~1456), Ha Weeji(河緯地; 1412~1456), Shin Sook-joo (申叔舟; 1417~1475), Lee Suk-hyung(李石亨; 1415~1477). For an in-depth analysis, the era and figures were limited to the elite group of early Chosen, through whom the political philosophy and ideology of Sejong can be revealed best. From the poems the scholars read to each other staying at Jinkwan and Jangeui(藏義)temples, we can detect their urgency for not being able to take a chance to participate in the real politics while they expressed their gratitude to the King’s grace for the leave. However, as opposed to their worry, after finishing Saga-dok-seo, they ended up monopolizing various national book compilation projects with their outstanding talents, and continued the companionship among them. Considering that, the existing four Yeon-gu(聯句) poems (Yeon-gu poem: a type of poem a number of writers compose together by dividing the stanzas) are noteworthy in that they intensively show the aspiration and writer consciousness of these young 6 scholars as bureaucrat writers. It is not an easy task to discuss their fellowship exchange based on scarce material. Nevertheless, considering that the interaction circumstance of these 6 scholars were relatively clear despite the limited data, we found it necessary to organize it. However, due to the limited space and capability, we couldn’t discuss their public exchanges in depth such as the poet reading with the Chinese envoys and couldn’t describe the poem meetings with the prince Anpyung-daegoon(安平大君) or their relationship with Monk Ilam. We believe the companionship aspect of these 6 scholars will come into view with more dimensions if a further study on these takes place.

KJCKorea
Journal Central

Journal of Korean Classical Chinese Literature 2023 KCI Impact Factor : 0.39

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