2022, Vol., No.57

Digital Technology Environment and Humanities Classics

Jae-Hee Kim | 2022, (57) | pp.5~34 | number of Cited : 1

PDF

An Essay on Digital Classics

Ryu In Tae | 2022, (57) | pp.35~60 | number of Cited : 9

PDF

Analysis of the message of Gam Eung-Story in Taesanggameung-pyeon through text mining

Kim, Sooyoun , Ha Eun ha , SuMin， KIM and 1 other persons | 2022, (57) | pp.61~86 | number of Cited : 2

PDF

A lengthwise comparative study of different versions of Yadam -Based on “Ok So-seon”

Kwon, Ki-sung , Choi, Woonho , Kim Dong Gun | 2022, (57) | pp.87~120 | number of Cited : 7

PDF

This study uses lengthwise measurement of literary text using digital tools to classify various versions of the series ”The Story of Ok So-seon.” Although there have been several attempts at analyzing the development process or variation pattern of “The Story of Ok So-seon,” this study applies a new methodology to compare different versions of Yadam rather than denying earlier results or revealing new aspects. Therefore, the focus was on objectively corroborating existing studies and revealing new possibilities. First, the distances between different versions were measured and visualized as a check on earlier discussion through character unit sequence comparison and comparison of semantic types for each paragraph. As examined, the series classification of “The Story of Ok So-seon” was similar to that previous studies, and the cause of the difference was also a part that could be interpreted in the development process of Yadamsa Temple. However, in terms of disclosure, it was found that this study within the same series was relatively insufficient. This may be because there is no significant difference in narrative, although it was observed that objective and quantitative research of the literary summation series, which occupies a large proportion of Yadam’s history, is needed. If multiple Yadam books are examined, inevitable mistakes and inefficiencies are introduced into human processing capacity. However, until now, most studies of Yadam have been conducted following traditional humanities methods. While acknowledging their strengths, attempts to explore new possibilities should also be made. This can lead to visualizing the actual compartments and relationships of the Yadam enjoyment pattern in the future, and the horizon of research on the different versions of Yadam can be expanded using the research methodology of a new era of digital humanities.

Graphing the King’s Voice: Reconstruction of Kyujangjŏnun through Network Visualization

JAMIE JUNGMIN YOO , Sung， Kiho | 2022, (57) | pp.121~166 | number of Cited : 0

PDF

Public Data Act and humanities data -Applying for open to humanities data held by public institutions

Ba-Ro Kim | 2022, (57) | pp.167~192 | number of Cited : 3

PDF

The Poetic World of Yang-sim-dang Cho Seong

Cho, Yong-ho | 2022, (57) | pp.193~233 | number of Cited : 0

PDF

This study aims to comprehend the poetic world and the historical background of the literature of Cho Seong, a literary scholar in the early Choseon Dynasty from Joongjong to Myeongjong. Before the full-fledged study, I created a framework to categorize his poems according to motive by using the motive for writing the poetry and the subject matter that was key to embodying the subject of the poetry as the reference line for the compartment. Based on this reference line, I created four categories as follows. Type A: The motive of delivery prevails, and the subject matter is about human beings. Type B: The motive of delivery prevails, and the subject matter is about material phenomena. Type C: The motive of expression prevails, and the subject matter is about human beings. Type D: The motive of expression prevails, and the subject matter is about material phenomena. All four categories involved each type, and the poet expressed his intention and emotion similarly in the poems assigned to each. In Type A, poems mainly showed the intention to encourage the recipient to be diligent and wakeful. In Type B, the sentiment of aspiring to intimacy and companionship with the recipient was the main focus. In Type C, the poet's voice was prominent in expressing his hardships and anguish. In Type D, the assurance of self-sufficiency and prudence formed the principal emotion. In his poetry, Cho Seong faithfully represented the reflective human figure living in personal suffering and unhappy times. This aspect was deeply applicable to him, as despite being afflicted with several diseases throughout his life, he devoted his life to academic exploration and student education. Besides producing typical literary works, he wrote poems that were unconventional in terms of form, content, and theme due to his extraordinary personal and historical condition. In particular, epistolary poetry was a disparate and specific style that stands out in his literature. Simply by creating this form, he made a significant contribution to Korean literature.

Brush Talks and Poetry Exchange in Travel Journals by the T’ongsinsa of 1711 and 1719

Jinyoup Jang | 2022, (57) | pp.235~287 | number of Cited : 0

PDF

This study aims to review the brush talks and poetry exchanges included in the 18th century travel journals produced by the T’ongsinsa (通信使, the Chosŏn envoy to Tokugawa Japan) of 1711 and 1719. First, the brush talks from the T’ongsinsa travel journals of each era were examined. The T’ongsinsa of 1711 produced three different records. Cho Tae’ŏk’s Tongsarok includes exchanged poetry—95 verses under 74 titles. Im Sukwan’s Tongsailgi contains an independent account of brush talk titled Kangguanp’iltam, while Kim Hyŏnmun’s Tongsarok only documented significant episodes from the brush talks and poetry exchanges. Regarding the T’ongsinsa of 1719, the letters exchanged while negotiating diplomatic procedures were included in Haesaillok by Hong Ch’ijung. Chung Hukyo‘s Pusanggihaeng, in its diary portion, provided summarized accounts of the brush talks and poetry exchanges that took place in each era, and then provided 74 verses of exchanged poetry and 11 verses of original rhymes written by the Japanese. Sin Yuhan’s Haeyurok contains nearly 70 entries in diary, and Munkyŏnjapnok provides 36 accounts of brush talks and poetry exchange, showing a clear difference from the records produced in the previous era. Three aspects of the inclusion of the brush talk in these travel journals—produced by the T’ongsinsa of 1711 and 1719—are noteworthy. First, the T’ongsinsa travel journals of this period include more accounts of brush talks, as more such talks were held then. Second, people were becoming more open to the idea of leaving records of the brush talks. The term “brush talk” (筆談) appears frequently in the travel journals of this era, implying its increased recognition as a mode of communication that could be distinguished from the spoken word. Such notion led to a greater focus on “what was being said” in the brush talks than the mere fact that they occurred. The third aspect relates to the characteristics of narrative style. There are two stylistic characteristics apparent in 18th century brush talks in T’ongsinsa travel journals: recapitulation and reproduction of conversation. The former was widely used in T’ongsinsa travel journals of this era, while the latter was partly employed in Pusanggihaeng, and openly utilized in Haeyurok. Haeyurok in particular strategically employed the records of the brush talks in relations to the purpose of writing his travel journal—an important characteristic succeeded by the travel journals of later eras, including Wŏn Chunggŏ’s Sŭingsarok. The most crucial trait of the records of brush talks in 18th century T’ongsinsa travel journals is that an active consciousness formed regarding the utility of “brush talks” as a means of communication, and that its end product came to be employed as an object “worth documenting.” These findings may well be given consideration when examining the accounts of brush talks from Chosŏn envoys’ travel journals produced in later periods.

A Study on the Narrative Characteristics of Park Woo-hyeon’s Exile Diary Jasanrok(玆山錄)

Cho, Su mi | 2022, (57) | pp.289~313 | number of Cited : 0

PDF

A Study on the Characteristics of Peony and the Garden of Flowers in “Anbingmongyurok”

Nam Hyekyoung | 2022, (57) | pp.315~342 | number of Cited : 1

PDF

This study examines the theme of “Anbingmongyurok” (安憑夢遊錄) by comparing similar texts such as Shin Kwanghan’s collection of writings, “Gijaejip” (企齋集), and “Choi Hyunmi” (崔玄微) in Taepyeonggwanggi (太平廣記). Existing discussions have often described the flower garden kingdom as a corrupted space, and have stated that there was a confrontation between the female and male groups. However, if there is a confrontational structure in this work, there is room for it to be thought of as being between plants and rainstorm, as in 〈Choi Hyun-mi〉 of Taepyeonggwanggi. This is because there are many poems written by anthropomorphic plants related to rainstorm, as in 〈Choi Hyun-mi〉. In “Anbingmongyurok,” Shin Kwang-han mixes the images of Donghwang, Rainstorm, King, and husband. Thus, the female character’s melancholic sentiment toward her husband may also be understood as political rhetoric. In Shin Kwanghan’s collection of writings, “Gijaejip,” the spring day symbolizes the grace of the king, not a space of corruption. In addition, like the female characters of the flower garden kingdom, he left numerous poems that expressed regret over the fall of flowers and the aging of his body. The speaker of “Hwaisogyeong” (和離騷經) decorated himself like a peony and kept his manners and laws, but died after a long time without gaining the king’s trust. In conclusion, the flower garden kingdom and the Peony Queen were not objects to be overcome, but rather objects that reflected Shin Kwang-han’s inner self. The significance of this study is that Shin Kwang-han’s “Gijaejip,” which has been neglected until now in the study of “Anbingmongyurok,” served as principal reference material. It is expected that the author’s values will reveal the truth of the flower garden kingdom full of metaphors and symbols.

The study on figuration of the son-in-law in the series Sohyeonseong-rok

Jeung Sun Hee | 2022, (57) | pp.343~367 | number of Cited : 2

PDF

Management Strategies of Tragic Situations in Pansori Literature

Haejin Lee | 2022, (57) | pp.369~395 | number of Cited : 0

PDF

A Study of the Funeral Rites Characteristics of “Gulbongjeongchwalto” in “Garakgukgi”

Seung-Hwan Hyun , Byeon Sook Ja | 2022, (57) | pp.397~430 | number of Cited : 0

PDF

A Study on the Grotesque Features Represented in the ‘Fox Sister’ Folktale

JUNHEE KIM | 2022, (57) | pp.431~457 | number of Cited : 2

PDF

This study investigates the “inconvenience” and “uncertainty” of the Fox Sister folktale through the concept of “the grotesque.” Beyond the visual grotesque of a specific scene, I tried to examine the grotesque in the mere existence of the fox sister and the grotesque that occurs in the tale itself. First, the parents’ wish for a daughter makes things coexist that cannot coexist, given that it is already a wish that defies the society in the story and the “common sense” of the transmitters. The parents’ wish for a daughter eventually becomes a curse that ruins the family, resulting in a conflict between the wish and the curse, as conveyed in the discourse. In addition, as the fox sister is an unnatural being, a hybrid of two heterogeneous species, she is a grotesque being that amplifies collisions with the human world in a state of incongruity rather than converging them, which leads to disharmony. The fox sister’s livestock predation embodies a grotesque in which familiar targets cause confusion. Distrustful of their grown-up sons, the parents also reveal their confusion between uncanniness and familiarity, and the fox sister’s brutal predation also reveals the clash of appearance and behavior and the grotesque of physical immoderation. The fox sister’s grotesque status reflects the character’s lack of specific aims. These grotesque interests and pleasures are related to “liminality” in that they do not pursue any value or high-level aesthetic consciousness. Furthermore, in the scene where the fox sister chases after her brother and is eliminated, the contradictory utterance of eating an inedible object (a person who is called “brother”) is repeated, and the grotesque of disharmony appears. Even if the fox sister is killed, the unresolved state remains in that the complete family cannot be recovered, which shows the “unresolved” in the grotesque.

KJCKorea
Journal Central

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

2022, Vol., No.57