2022, Vol.58, No.

인문논총 2023 KCI Impact Factor : 0.42

pISSN : 2005-6222 / eISSN : 2713-7511
https://journal.kci.go.kr/ifhs

This thesis is aimed to analyze the meaning of Crown Prince Iphakryeo procedure and rite for crown prince Hyomyeong held in 1817 (Sunjo 17). Unlike other rites of passage, Iphakryeo was performed not in the palace but in Seonggyungwan, and with his walk from the palace to Seonggyungwan, they could show the status of a crown prince externally. Crown prince Hyomyeong, too, showed how he had grown academically to all of his subjects through Iphakryeo and revealed his presence through the walk. Iphakryeo for crown prince Hyomyeong is characterized with the fact that it was conducted by observing the rules of Crown Prince Iphakryeo arranged in late Chosun and also by complementing insufficient parts in Crown Prince Iphakryeo established in 『Gukjooryeoui (國朝五禮儀)』. This is the point to follow the process of maintaining Crown Prince Iphakryeo in late Chosun just as it was and hand down the tradition. For crown prince Hyomyeong’s Iphakryeo, Sunjo (純祖) ordered them to take as a model the Iphakryeo for crown prince Jeongjo (正祖) who was the eldest son of the crown prince at the time of 1761 (Yeongjo 37) that it was held. Appointing Nam Gong-cheol as Baksa to teach crown prince Hyomyeong, he asked him to keep the tie as his father, Nam Yu-yong, did as taking Baksa’s position in Jeongjo’s Iphakryeo to teach him. In addition, making his close subjects engaged in the project to arrange and compile 『Sohak (小學)』 with Yeongjo and Jeongjo join in education for crown prince Hyomyeong, Sunjo allowed the practice and importance of 『Sohak』 to be handed down from Jeongjo to crown prince Hyomyeong. Accordingly, with the example of Iphakryeo for crown prince Hyomyeong, we can see that Jewanghak in the 18th century was led to education for crown prince Hyomyeong in the 19th century.

If the systematic structure inherent in a language is defined as grammar of the language, the grammatical aspects of a language should be seriously considered in understanding poetry. When certain grammatical deviations known as poetic license are found in a poem, it is really hard to translate the poem retaining literary subtleties. In reviewing a variety of English translations of Korean poetry, it has been argued in this paper that grammatical consideration is necessary to translate poetry properly and accurately. In other words, we reconfirm that for better translation of a poem, some grammatical aspects of the poem should be taken into consideration. The grammatical aspects of Korean poetry analyzed in this paper include five grammatical phenomena: linguistic empathy, case markers, plurality, dialect, language-proper expressive way of thinking. First, the previous English translations do not pay much attention to the use of the prefinal ending ‘- -’ However, the proper translation of the suffix ‘- -’ appearing in a poem is necessary to show the emotional change of a poet’s point of view. Second, the discourse-based grammatical difference between the two particles ‘-i/-ga’ and ‘-en/neun’ should be properly reflected in translating poetry in depth. Furthermore, the particle ‘-eul/leul’ occurring with an intransitive verb can be treated as a poet’s intention aiming for dynamic expression. Third, with relation to plurality, both the use of the unmarked plural form and the repetitive use of the same diction should be reflected in translation. Fourth, in translating poetry, we should give attention to the poetic effect of dialectal vocabularies intentionally selected by poets. Finally, we should note that each of language-proper expressions indicates its own way of thinking and its color. In general, poetic license found in the poetry of a language cannot be separated from grammatical aspects of the language. Poets often use some unusual but refreshing features of grammar in order to break their stereotyped languages. This peripheral or marginal use of grammar can be regarded as poetic license.

In this study, the typology of folktale characters and their modern transformation were studied for the construction of a transmedia storytelling model. In Chapter 2, DISC behavioral patterns were applied to systematize the types of archetypal characters in the folktales about ‘a virgin ignorant of sex’. In this study, the DISC behavior type was applied to analyze the attributes of each character's attitude at major branching points to categorize the characters. In Chapter 3, the modern transformation of the archetypal characters in folktales that appeared in the Netflix drama <Bridgerton>(2020) were studied. How the combination of archetypal characters is being transformed in modern video media, and analyzed the meaning of the change and the value of the newly created narrative were explored. Furthermore, it was possible to confirm the possibility of transmedia storytelling based on the archetypal characters in folktales.