2020, Vol., No.49

A Study on the Representation of Displaced Persons of Ming(明) in the Joseon Dynasty

Kyungmi Kim | 2020, (49) | pp.5~31 | number of Cited : 4

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This article examines how migrants from Ming(明) were treated and represented in Joseon Dynasty through the records of them which had been written by the Joseon intellectuals and the descendants of migrants in that period. Though the number of immigrants who came from other countries like Japan and became naturalized was not small from the beginning of the Joseon Dynasty, it was in the late Joseon Dynasty when immigrants rapidly increased. Most of them were descendants of the Ming soldiers who came to Joseon as supporters during the Imjin War, or people who came because they disobeyed Ching or displaced persons from Yodong area after the fall of Ming. The Joseon people named them Hwangjoin or Hwangjoumin, and treated them with respect based on the theory of Jonjou(尊周). These people were even allowed to serve public service and the Joseon Dynasty left records of them. But the displaced persons from Ming were not recognized by the intellectuals of the Joseon Dynasty and failed to engage in the upper society of the Joseon Dynasty. This article suggests that the representations of Kang Se-jak(康世爵) and Guljeo(屈姐) and the language problems they had faced significantly revealed the location of displaced persons from Ming. Kang Se-jak could not properly communicate in the Korean language, and Guljeo herself was not rightly named. Kang Se-jak could not learn the Korean language while he forgot the Chinese language. Though he was able to write the Chinese, he couldn’t speak any language properly between the old native language and the new language. This situation showed his location at the border of the language, and the life on the border. Considering this, we can't say that Kang Se-jak lived a life as a subject. Guljeo, losing his original name and called by a similar name, also couldn’t live a life as a subject. Some other displaced persons from Ming besides Kang Se-jak and Guljeo were found to be positioned as middle though they were economically needy. In this situation, some descendants of the displaced persons from Ming tried writing records of their forefathers’ stories of immigration and settlement. These records were regarded by Joseon intellectuals as the counter-narrative about the displaced persons from Ming against those which were written by Joseon intellectuals. But ironically, the narrative by the descendants from Ming’s migrants was only to strengthen the boundary between inside and outside by focusing on their own identity.

Portrait of Diaspora in the Era of National Crisis: An experience including national decay · exile in the late 19th and early 20th centuries and a change of portrait panegyrics

Kim Ki-wan | 2020, (49) | pp.33~75 | number of Cited : 3

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A Comparative Study on the Manchurian Exile Gasa <Haedogyogeosa> and <Buntongga> —Focusing on the Perceptional Differences between the Female and Male Authors and Cultural Meaning

KIM YUN HEE | 2020, (49) | pp.77~103 | number of Cited : 3

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Acceptance of 'Munchangseong' into the classic novel and A good-man character with a fusion of ideas on the border between Confucianism and Taoism —Focusing on Cheongjam in <Wanwolhoemaengyeon(玩月會盟宴)>

Kim, Sooyoun | 2020, (49) | pp.105~140 | number of Cited : 4

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This article examines the ideological and narrative origins that make up the characters of Korean long novels. Specifically, with the focus on the family novel series, <Wanwolhoemaengyeon(玩月會盟宴)>, we discussed the process of forming the central figure as a fusion of Confucianism and Taoism by focusing on the aspect of acceptance and the narrative origin. <Wanwolhoemaengyeon> uses the descendants of Cheong Myung-do, who was the initiator of New Confucianism, as the main family. The main character, the male protagonist, is basically a Confucian military figure. Among them, in the case of Cheongjam, which leads the narrative from the beginning to the end of the work, it not only highlights the Taoist image of “Shin Seon(神仙)” in the first appearance, but in the second half, it introduces the past life history, which was the official in the heavens. It is a historical figure, descended from Cheong Myeong-do, and cosmologically set as the successor of Mun Chang-sung. Munchangseong has a narrative that begins with the image of the heavenly celestial body and transforms into a deity called Munchang empire. Munchangseong is the representative deity of Taoism, and is widely accepted by the upper classes of Joseon society, as well as by Ming and Qing. In addition to the image of Sungmun(崇文, Admiring academics), he confirmed the idea of “Chunghyo(loyalty and filial piety)” based on “Hyo(filial piety)”, which was emphasized by the Joseon Dynasty. 'Chunghyo' in the narrative of the Jaedong empire, which is embraced in the process of personalization and deification of Munchangseong, is emphasized. This can be confirmed in the Taoist scriptures containing the narrative of the Changchang empire. The acceptance of Mun Chang-sung's story elements can be said to be a task in which the high-novel Confucian narrative world embraces the Taoist narrative world with great importance. In addition, the Gunja(good man)-type figure is an ideological fusion-type man who made a narration of Confucian values and Taoist imagination, which seems to reflect the desires of the peoples who wished for a transcendental position on moral superiority.

The Weaving Technique of the Discourse and the Meaning of ‘Sipjangga’ in『Chunhyangjeon』－Focused on Wanpan 84 sheets version of Yeoleochunhyangsujeolga

Lee Chae-Eun | 2020, (49) | pp.141~172 | number of Cited : 4

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This article analyzed the weaving technique of the discourse of ‘Sipjanga’, a scene of Chunhyang's punishment, which is one of the highlights in Chunhyang-jeon, and then revealed the functional meaning of it. ‘Sipjanga’, the essential part of Chunhyang-jeon provides an intense description of Chunhyang’s protest against unjust orders of a new magistrate, Byun Hakdo. It depicts scenes in which he orders Chunhyang to be flogged and she voices against him in a fit of rage; and it is a major part of ‘Sipjanga’. At this moment, Chunhyang's speech calls attention as it consists of a unique narrative format; when the commander flogs Chunhyang one by one, she repeatedly asserts her chastity and exposes the injustice of Byun’s compulsion by using the number of floggings as alliteration. This discourse of ‘Sipjanga’ unfolds amid the intersection of two axes of the reason: a metonymic combination of number-related words and a metaphorical choice of body-related concepts. The metonymic discourse method, which develops by using numbers, meets the narrative meaning of Chunhyang's resistance to the situation where the violence of Byun is inflicted; and the metaphorical discourse method, which seeks to understand the extreme pain of flogging and the psychology of that time from the perspective of the ‘body’, seems to be produced in a process of vertical inference hinged on Confucian reasoning systems or value orientation. As these two techniques of discourse intersect, ‘Sipjanga’ makes readers remember the narrative meaning for a long time, revealing Chunhyang's pain in the situation of punishment in objective figures, and at the same time, it makes easier to sympathize with Chunhyang and be immersed in the narrative, expressing her feelings through embodiment. For this reason, it is assumed that the unique technique of "Sipjanga," which maximizes the amusement of Chunhyang-jeon could have remained unchanged despite the variation in the content of many different versions. Therefore, this research is meaningful in that it attempts to explore the context of meaning through linguistic form and content, which has not been actively addressed in the previous study of Chunhyang-jeon.

A study on ‘Seol-Gang’, a jealous male villain in <JoSsiSamDaeRok>

Jeung Sun Hee | 2020, (49) | pp.173~197 | number of Cited : 1

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A study on the research of Pansori and Perception on the History of Joseon Literature of Kim Sam Bul

YOUNGHEE KIM , Kim， Si-yeon | 2020, (49) | pp.199~238 | number of Cited : 1

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KJCKorea
Journal Central

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

2020, Vol., No.49