2016, Vol., No.33

A study of the structuralization of moral anxiety and emotions in the ‘dispensation of sexual relationship (sexual intercourse with compassion)’ motif of Korean folktales.

HONG NARAE | 2016, (33) | pp.5~40 | number of Cited : 8

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As reinforcing patriarchal gender politics in late Joseon Dynasty, a single woman who can’t marriage is the typical symbol of a miserable person. People believe a single woman harbors a grudge and it causes plague and drought, or a poor catch of fish and so on. The presence of these women warns the situation that the community does not guarantee the basic rights of human beings. So the main agent of the society always concerns about it. In this thesis, I have studied the ‘dispensation of sexual relationship’(the man has sex with a widow for compassion) themed narrative focusing on two stories which had formed in late Joseon Dynasty, containing a young widow character who has no sexual experience. Though these stories, I pay attention to the narrative structure how it accepts women’s desire and how it makes the gift relationship between man and woman. In the Korean folk narrative, sexual relationship can be an essential mechanism which poor women overcome her situation. But in the case of young widow, their remarriage was prohibited by the system and norms, so even in these stories sexual intercourse motif could not change their life dramatically. On the other side the characters in these stories claim that sexual intercourse and sexual pleasure are the most important thing in the life, consequently these stories interpret the young widow’s desire to sexual stuff only. As the stories arranged the widow’s emotion simply, it is easy to handle her resentment. The man who has sexual relationship with this young widow was valued as a donator who gives her sexual knowledge and pleasure. The narrative transmission group intended to eliminate the moral anxiety easily even structuralize the gift relationship system, disregarding the social responsibility. But these stories was concluded the widow’s suicide, this point ruminates on the purpose of the menfolk and doubts their morality. It is instructed that the leadership class of late Joseon Dynasty was powerless to change the society but aggressive to make a ruling discourses. This kind of narrative are also full of suggestions to understand the contemporary cultural discourse.

Characteristic of the SaSeolSiJo(辭說時調) the appearance of ‘SoDae Nampyen(소대남편, A paramour)’

Yi Su Gon | 2016, (33) | pp.41~65 | number of Cited : 6

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A male writer's betrayed: uncovering a ginyeo's inner life

Jin-kyun Kim | 2016, (33) | pp.67~95 | number of Cited : 1

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Ok Yi’s Buk-gwan-gi-ya-gok-ron (A treatise on a Gisaeng from Hamkyungdo lamenting in the middle of night) and Young-man Byeon’s Baek Wun-Seon both have something in common in that they deal with the episodes of well-known gisaengs’ lives in their contemporary era. It is notable that both of the works describe the stories of ginyeos from the perspective of a male writer, trying to gingerly get access to the interior or psychological scene of the feminine lives. Yi portrays a gisaeng named Ka-Ryeon who is full of confidence, only to face the frustrating situation in making her serious effort to have sex with a beautiful young man with whom she madly falls in love. With this story, the writer strives to explicate the implications of Ka-Ryeon’s desire in terms of relationship between a king and his subject. Byeon recollects a story of a gisaeng named Baek Wun-Seon who seeks to run away abroad with her beloved man, but only to fail in the end. The writer’s primary concern with this episode lies in exploring an absolute value of love and passion. However, when Yi employs the narrative voice of Ka-Ryeon to lead the story in Buk-gwan-gi-ya-gok-ron, the strategic choice ironically betrays the author’s male-oriented perspective and discloses the rather natural scope of the gisaeng’s desire. In so doing, the text formulates fragmented and yet authentic quality of the female voice. The literary engagement of Byeon who is eager to uncover the authenticity of his literary object betrays his initial intention in Baek-Wun-Seon. By focusing on the psychological dimension of gisaengs’ lives, the two male writers initially intend to capture the heart of their feminine lives with their masculine voice. But the strategy is miscarried only to reveal the authenticity or rather genuine quality of ginyeos’ inner lives which often remain undisclosed in common literary discourse. It is notable how this whole process ironically exposes the full scope of gisaengs’ silenced voices in the early modern literary discourse.

Characters and Meanings on the Painting for Cold Diminution, Gugusohwan-do -Based on the Collection of the Woodblock Prints Museum in the Myungjusa Temple-

JANG, JANG-SIK , 정부용 | 2016, (33) | pp.97~145 | number of Cited : 0

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The painting for cold diminution, gugusohwan-do originated from the folk custom of the northern Asia that represents eighty one days which nine days as a unit repeat nine times from dongji(winter solstice). People believed that spring comes after passing eighty one days. The custom called 'sugu' starts from 19 end in 99, which reflects on 'song of eighty one days, gugu-ga' and 'painting for cold diminution, gugusohwan-do'. The song was already popular among peoples in various areas before Tang(唐) and Song(宋) dynasties. In some places, the lyric of the song was modified pursuant to the climate condition and ecological environment. It has been presumed that it was passed down from the northen Asian custom in that the song reflected on the hydraulic system and climate condition of the northern nomads in its forms and contents. The song, gugu-ga, based on the 'sugu' custom, had developed into the 'hwagu, drawing the number nine, and the 'sagu', copying the number nine' throughout Ming and Qing(明淸) dynasties and had produced the painting, 'gugusohwan-do' later on. It can be categorized into the painting with Japanese apricot flowers, the chart pattern of painting and the number nine character style of the painting. In the other way, different types of poetry have evolved on the concept of nine times nine. Also, the form of printing has been varied with an arbitrary transforming. The painting is a visual culture medium of folk knowledge converged with the psychiatric evaluation on solar term, calendar, geography and object. Even though it began from the extravagance, it is basically based on dongji(winter solstice) of lunar calendar. The painting is not only for the way of counting number but also for seasonal custom reflecting the perspective of calendar and climate culture implicating nature meterological phenomena. It has effect on both seasonal magical and extravagance, which is correspondent to climate prediction based on experience and interpretation as well as augural practice. In this sense, the painting was used and circulated widely by manufacturing painting blocks. What it was commercially circulated means that it characterized as annual painting on dongji(winter solstice) custom. It was popularized regardless of status to achieve human wishes. Therefore, it still, although partially, continues as one of seasonal customs in both royal court and commoners.

A Research on the Confucian Gentlemen type characters in the Classical Novels of Chosun Dynasty

Hae Ran Cho | 2016, (33) | pp.147~178 | number of Cited : 8

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Confucian sacred texts had presented the Confucian gentleman(君子, jun zi) as the most exemplary person. In the period of Ha-eun-ju(夏殷周),), the word ‘君子’ had been used to indicate the nobleman. Since Confucius, Confucian gentleman referred to the intellectuals who tried to attain the perfection of their personality and to practice their ideals in reality through study and self-discipline. This paper aims to examine how the Confucian gentleman type characters were represented in the classical novels of Chosun dynasty and interpret the meaning of it. For this purpose, firstly the concepts of the Confucian gentleman were explored. In Chosun dynasty, those words such as seonbi(선비) which means a man of virtue, eunsa(隱士) which means a retired scholar, and chuhsa(處士) which means a retired scholar were similarly used to refer to the Confucian gentleman. The Confucian gentleman type character appeared in Sohyunseongrok, a long piece novel written in Korean in the 17th century. It is notable that in the novels of Chosun dynasty, the Confucian gentleman type characters became to turn into the hero characters. This remarkable change might be caused by the tendency that Chosun dynasty preferred the characters who were loyal to their own desires to the Confucian gentleman characters who focussed on cultivation of their personality and the commitment in reality. For women, it is worth noting that while those females called the Confucian gentlewoman(女中君子) who had attained both knowledge and virtue really existed in Chosun dynasty, novels did not represent those kind of women. This absence of the Confucian gentlewoman character in the novels of those times might result from the tendency that female characters acted not through fulfilling their own ethical choice but through the obedience to the Confucian ideals and their discipline.

Figures of old age in Classical Narrative and their modern meanings

Jeung Sun Hee | 2016, (33) | pp.179~207 | number of Cited : 10

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The Interaction of Orality and Literacy, Tradition and Modern in Chosungidam[朝鮮奇談]

Ryu Jeong Wol | 2016, (33) | pp.209~240 | number of Cited : 1

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The life and literary world of Haeam Kim Eung-Jung

JUNG, Kisun | 2016, (33) | pp.241~274 | number of Cited : 2

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A study on five text in <Ganghoguga> -a probability of desorption type through unity, closure, structure, and subject in each text-

Yang, Hee-Cheol | 2016, (33) | pp.275~309 | number of Cited : 0

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Transformation of the Music and Aspects of the Compilation of Collections of Gagok from the early 19th century to middle 19th century -focused on Yeongun of Gyujanggak

Kim, Tai-woong | 2016, (33) | pp.311~340 | number of Cited : 1

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Female travel gasa of 1930s and travel experience of Old women -focused on <Gyeonseong Itinerary Rickshaw>

Jeong-Sun Yu | 2016, (33) | pp.341~376 | number of Cited : 3

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The Creative Thinking and Its Meaning in Jiwon Park’s Literature

park su mil | 2016, (33) | pp.377~409 | number of Cited : 2

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This study intends to trace the new thinking of Yeon Am, Park Jiwon. It proves the sources of his creative thinking and writing and tells the several aspects connected with his new thinking. Firstly, Yeon Am thought that existing knowledge and letters did not contain the truth and criticized that the letters hided the reality. He insisted that literature is not just a tool to deliver past ethics and existing knowledge, but it should reveal the changeable things and reality. Things and reality are not just shadow of main body, but the best writings to show the truth. In his creative thinking, the centralization of surroundings is distinguished. Yeon Am left the center place and investigated into the invisible spaces and isolated conners. Superficially he seemed to insist looking into the both sides, in reality he urged to watch the invisible spaces, the place opposite to the common place agreed in a society. He provided surroundings toward the centeral place, sided for the value and existence isolated from the center. Finally, he wished that center and surrounding, valuable and humble things, all would have lived in a harmony. Secondly, this study explores his new understanding of light and color with his comparison of the blind. In his “NeungYangShiJeapSeo” the comparison of raven wings is not just problematic suggestion for the limitation of human sensory organ, but closely related with the theory of modern impressionist. This writing proves the high level of his creative thinking. He thought that the world is full of disorders and confusion, so nobody can see the world with superficial eyes. In his thinking, viewer deludes himself, so he should keep correct eyes to see the truth. His creative thinking overcame the paradigm and order of Middle Age and still today offers the present aspects and meaning with new critical mind. Yeon Am is to be considered as the marginal man who tried to create the true world.

Study on the strategies for writing an sangsomoon(上疏文) and apply it in an article of argument

Kim Girim | 2016, (33) | pp.411~440 | number of Cited : 4

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

2016, Vol., No.33