2009, Vol., No.20

The Character as Popular Art of the ‘Commoners' Poetry’ in the Late Joseon Period

Ho-Gyong Seong | 2009, (20) | pp.5~37 | number of Cited : 7

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The Difference between the Pictorial Scenery and the Poetic Scenery, and Its Generated Foundation -With reference to the Contrast between "Kum Si Dang Pavilion twelve poems" and "Kum Si Dang Pavilion twelve pictures"-

Choi,Kyung-Hwan | 2009, (20) | pp.39~72 | number of Cited : 10

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The Characteristics of a Death in Hyeop-Chang-Ki-Mun(俠娼奇聞)

조혜란 | 2009, (20) | pp.73~107 | number of Cited : 10

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This paper aims to analyze the features of a death in Hyeop-Chang- Ki-Mun(俠娼奇聞) written by Lee-Ok(李鈺). Hyeop-Chang-Ki-Mun(俠娼奇聞) is the story of a famous gisaeng(妓生: Korean geisha)of the days in Seoul. She committed suicide with a customer of her 'kibang'(妓房 gisaeng's entertaining place) and it gave a great shock to her acquain -tances because he was a man who had fallen suddenly. He had became enmeshed in political matters in 1775(乙亥獄事), so degraded to a male servant at Je-Ju provincial government office. She had followed him to Je-Ju and committed a joint suicide. This story is worthy of notice because it describes a joint suicide, which was very unusual manner of death in the proses of the Joseon Dynasty period. Most of the novels of the days had been dealt with the death within the four corners of Confucian morality. Compared with them, Hyeop-Chang- Ki-Mun dealt with a hedonic and decadent death, in which lovers died from abandoning themselves to sex with hard liquor. It is interesting that the stories in Cheong-Seong-Jap-Ki(淸城雜記)and Yang-Eun-Cheon-Mi(楊隱闡微) are brothers to Hyeop-Chang-Ki-Mun's. This paper draws a comparison among these three stories in terms of the source of stories, guesses a real character and an actual event as a model of these stories and considers the features of Hyeop-Chang-Ki-Mun's narrative. The death in Hyeop-Chang-Ki-Mun is not the result by Confucian morality, and not the result of the thing they can't control. It is a kind of desire, which voluntarily chose a death for being no way out in their lives. Hyeop-Chang-Ki-Mun made a description of the pleasures of the moment, the decadent atmosphere, and the death as a voluntary choice. Lee-Ok regarded the gisaeng's choice as a kind of chivalry. But it is remarkable for her to commit suicide by a desire beyond Confucian morality.

Realities and hope of kisaengs in the early 20th century -The using with the concept of cognitive linguistic metaphor-

강소영 | 2009, (20) | pp.109~139 | number of Cited : 5

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The objective of this study is to find metaphorical expressions related to kisaengs in Janghan and, based on them, to examine how kisaengs were perceived in those days. As a result of change in the kisaeng system, kisaengs in the early 20th century were different from those in the previous ages. With the emergence of the concept of material ownership under capitalism, kisaengs began to regard their entertainment service as a job and to defend their labor activities actively against people’s contempt and branding them as immoral. This is evidenced clearly by kisaengs’ writings published in Magazine Janghan, which represented their own voices, rather than by the images of kisaengs represented by others’ voice as in individuals’ collections or literary works. In this study, we classified metaphorical expressions on kisaengs in the magazine, and compared them with metaphorical expressions describing kisaengs in other magazines and newspapers in those days. According to the results of this study, kisaengs were expressed as flowers, toys, lowly people or animals in both groups, and these perceptions were a natural consequence of the history of kisaengs, who were no more than a sport and slave to literati. In the language used in daily life, however, kisaengs raised their own voice, asserting that those who called kisaengs devils were actually the devils and grieving that they were dragged like livestock by those who criticized kisaengs as noxious insects. In addition, through the metaphor [A kisaeng is an incomplete human], they clarified directly that what kisaengs desired earnestly was being recognized as a human equal to others, and maintained through the metaphor [Kisaengs’ life is a war] that they would fight for winning it. To know is one thing and to show that the knowledge has been settled in our language as a customary metaphor is another. When we analyze how kisaengs are described in customary metaphors, in particular, predicates, we can see that their voices hidden under locutionary meanings are leaking unceasingly between the lines. This may be what kisaengs wanted to say to people through Janghan and, accordingly, this is the meaning of analyzing texts with the concept of cognitive linguistic metaphor.

A Study on the Images in Oryunhaengsildo(五倫行實圖)

Cho, Hyun Woo | 2009, (20) | pp.141~168 | number of Cited : 12

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A Study on Kimbujajeon written by Lee Gyusang

Seo, Shinhye | 2009, (20) | pp.169~195 | number of Cited : 7

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The Interaction of pleasure and moral in Chondamhaey[村談解頤]

Ryu Jeong Wol | 2009, (20) | pp.197~223 | number of Cited : 8

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Consciousness Revealed in Regional Traditional Men's and Women's Work Songs and Differences between Them -Based on experimental discussions about men's and women's consciousness focusing on traditional folk work songs for weeding rice paddy and spinning hemp in Gyeongbuk provincial area-

Jungar Lee | 2009, (20) | pp.225~248 | number of Cited : 1

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A Study on the Meaning Changes of Chunhyang's Resistance in ‘sipjangga’

Seo, Youseok | 2009, (20) | pp.249~282 | number of Cited : 11

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This article focuses on ‘sipjangga’ which is considered the highlight of ChunHyangjeon and examines the aspect of existence by version and attempts to examine the aspect of changes in the meaning of ChunHyang’s resistance embodied in the ‘sipjangga.’ The ‘sipjangga’ in the category of ‘namwongosa’ sometimes showed the aspect of being contracted or deleted for commercial purposes and, at the sametime, of being expanded for the purpose of standardization of the literary work. This is also due to commercial purposes contained in sechekbon and bangakbon. The ‘sipjangga’ appeared in wanpan versions show the meaning of the resistance being expended from personal aspect to social aspect. So it can be said that the version in which Chunhyang’s resistance is best represented through the ‘sipjangga’ is wanpan 84jang version. Okjunghwa type versions shows a new aspect of trying to secure the rights of the individual in the public framework of law through describing the appeal hearing and trial procedures in the daejeontong -pyeon The meaning of Chunhyang’s resistance represented in the ‘sipjangga’ begins with hopless love between gisaeng ChunHyang and yangban young bachelor and the woman’s struggle to attain the love and the resultant issue of chastity. However, Chunhyang’s status as gisaeng acted as an important issue that' separated the pair of lovers and, under these circumstances, ChunHyang’s resistance appears to obtain the new social meaning to denounce the contradiction of the social status. Such aspects are represented in changes in wanpan version in detail in that the wanpan version raises the status of ChunHyang, thereby showing that ChunHyang’s resistance is not a personal issue of gisaeng ChunHyang but can be an issue of a commoner ChunHyang i.e. of all the general public’s issue. And such changes obtain civilrights consciousness and the new meaning of resistance to have the rights of the individual protected legally, but such new consciousness of the rights of the individual weakens the social meaning of the love of the two lovers and their suffering of their struggle to attain their love, resulting in returning again to the issue of personal love between ChunHyang and Idoryeong. And it goes without saying that the ‘sipjangga’ lies in the center of changes in the meaning of ChunHyang’s such resistance.

The Study on the Performance of the oral-narrative of the faithful son transformed into tiger(‘효자호랑이’) Producing the Gendered Subject

YOUNGHEE KIM | 2009, (20) | pp.283~334 | number of Cited : 4

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The oral-narrative of the faithful son transformed into tiger(‘효자호랑이’) is the story about a man that failed to transform into tiger because his wife had burnt the book to make the transformation possible. Tragic plot of the story includes a narrative kernel that the sacred ‘male’ runs into pathos because of hamartia(tragic flaw) representing female’s faults depending on tragic logical necessity. The hierarchical-contrastive structure of the sacred and the profane is exhibited in components of the narrative. It's important to note that the image of ‘male’ represents the sacred and the image of ‘female’ the profane, through which the categories of the gender as ‘male’ and ‘female’ are naturalized and distinguished. This strategy has made us to regard the primordial nature of the sacred ‘male’ as superior to the profane ‘female’, to justify and inscribe it in his and her identity unconsciously as well. The performance of oral-narratives such as the faithful son transformed into tiger(‘효자호랑이’) is the processes of enacting the gender-identity of male or female and the performative mechanism is the matrix which produces the gendered subject. Furthermore, when the performance of the story presents the structure having an effect of initiation into a society, it works on individual performers as a normalization system based on the criterion and standard of social homogenization. But the symptoms of cleavage and escape are revealed as logical defects which necessarily exist in the project of the gendered. The gender-border of the male which is made by objectifying the female exclusively, depends on the gender-border of the female logically, since its category cannot be constructed without establishing the boundary of ‘female’. And the male-subject who is an unstable being cannot but call for the female-images to make an alibi to deny melancholy and psychic lack. So the analysis of narrative and performance of the oral-narrative, "the faithful son transformed into tiger", makes it possible to discover that the gendered project connotes a contradiction and cracking in itself.

A study on the Diaspora and Identity in Kim Taek-Young's literature

guomeishan | 2009, (20) | pp.335~367 | number of Cited : 11

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The Research of the Korean Classic 2023 KCI Impact Factor : 0.9

2009, Vol., No.20