2008, Vol., No.65

Synchronic morphology of endings of Pyeonganbuk-do cheolsan dialect -Focused on underlying representation of endings

정의향 | 2008, (65) | pp.27~54 | number of Cited : 3

Changes of /？G/ in the Jeju dialect in apparent time

KO Dongho | 2008, (65) | pp.55~74 | number of Cited : 14

A Study of Syntactic Features of Idiomatic Expression in the New-Style Novel[Sinsoseol]

주경미 | 2008, (65) | pp.75~110 | number of Cited : 3

The Word-initial tensification of Jeollanamdo dialect

위 진 | 2008, (65) | pp.111~136 | number of Cited : 13

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A study on selecting contents of phonological rules of Korean for foreign learners

장향실 | 2008, (65) | pp.137~158 | number of Cited : 30

A Study on Character of Group Literature in Early Pansori

김수중 | 2008, (65) | pp.159~177 | number of Cited : 2

Early Pansori off with Group Literature. Latter Pansori depends on capability and artistry of singers but it's a product of consequence that individual artistic conversion progressed rapidly. However Pansori itself came to a crisis quickly by such a rapid change. This Study aims at the point we should recognize the literary character when the genre itself originated and find a plan of recovery from it, as a plan that Present Pansori gets over the crisis and becomes a future oriented art. The word, Group Literature isn't used as a universal literary term but group and literature are related concepts they have been maintained coherence mutually from the formative period of the original literature. Even though Pansori was a literature originated at the dawning of modern times, it had a character of primitive collectivity. Its character can be understood by unrefined stories and songs, participation of performers and the people, a gambling place they direct together etc. Pansori started off with tale and the stories were at the crude level from the first. In the midst of the plays of wandering group which have repertory of such stories, songs and talents, Pansori, 'Story Song' appeared in the list. But Pansori reorganized to hit the noblemen's fancy passing through the process of artistic refining rapidly and making individual great singers. It's a phenomenon that group literary nature changed into individual artistic nature rapidly. The typical record that shows such a form is <Gwanwooheui>, created by Song Man-jae in the early 19th century. This Chinese poem comprised of 50 pieces makes us analogize process of specialization of performers group to be possible and is very valuable as a work that helps the research of this field. After the group disappeared, singers separated from it changed Pansori into artistic skill-centered art catering to the wealthy's tastes and a great part of audience turned away Pansori. To break through this phenomenon, we should change group literary nature of Early Pansori into modern style and induce sympathy and participation of numbers of groups through media with the re-creation of story that can arouse joint interests. The attitude of culture comprehension and the effort of re-creation through the understanding of group will not only vitalize basic mind of Pansori but light up the future of Pansori and make a nation and the world have cultural life forces.

A Study on The Lineage and Construction of Bosimrok

김진영 | 2008, (65) | pp.179~211 | number of Cited : 9

This thesis is studied about lineage and construction of Bosimrok(報心錄). First it is examined literature aspect of Bosimrok typically, and then studied about structural characteristic. Finally it is generalized constructual method of Bosimrok, and after valued literature merit. This can be summarized as follows. First it is studied about typically literature aspect of Bosimrok. The origin of Bosimrok is Chunchu(春秋), but specially revealing of biography literature is Cosega(趙世家) in Sagi(史記). On the ground of this story Orphan Cho(趙氏孤兒) is made by Gigunsang in Yuan china, and the original story is included in Dongjuyeolkukgi(東周列國志) in Ming china. Internationally it is transmitted Europe in 18c, and in Japanese it would be a repertory of Gabukki(歌舞伎). In korea it is transmitted a novel as Jomujeon(趙武傳) and Bosimrok, Keumnangisan(錦囊二山), Myeongsasipri(明沙十里). In upper transmission, Chunchu and Sagi is a first type text as having historical events, and Seodongjiran, Rehabilitation cho in Dongjuyeolkukgi and drama work in china, and Jjomujeon in korea is a second type text as increase literary embellishment. Bosimrok, Keumnangisan, Myeongsasipri is third type text as turn sharp change. Second it is studied about structural characteristic of Bosimrok. The work in China has no important person Chosak, the plot is so simple and cause and effect of event is missed. But Bosimrok has that subject person’s good deed is worked as a cause, then he took a good deed. So the plot is like that in beginning and expansion good deed is presented variously, so it is worked ground and cause of event transmission. And in crisis and climax good cause is worked, so subject person could be overcome that crisis. Like this, this work has a structure of cause and effect. Third it is studied about formation method and literary value of Bosimrok. In Bosimrok Yangsechung as Josak didn't die, and revenged, so whole story making method should be changed. First dislike in china story, with remaking person it is classified good man and bad man clearly. And stressing the causality, every event are ended cause and effect. And with laying stress on meeting, separating family should be meet again in last part altogether. Finally add a soldier story, story making method of hero novel in the last period of cohseon is used.

A Study on chinese writing novel <Byeolgye chaetam(別界採探)> published in Imperial CapitalNews(「皇城新聞」)

조상우 | 2008, (65) | pp.213~237 | number of Cited : 4

The present paper examines a short story titled <Byeolgye chaetam(Exploring the Strange World, 別界採探)> focused on three aspects: the social backdrop of its creation, types of its characters and its significance in the history of Korean novels. First, the social backdrop of the story's creation is considered by examining the theaters at that time as well as articles about Yeonheungsa Theater(演興社) appearing in the Imperial Capital News(「皇城新聞」) and the Korean Daily News(「大韓每日申報」). Second, the story's character patterns are discussed focused on three protagonists--Yi Si-jong(李侍從), Major Bak(朴參領) and the mistress(別室). Finally, it's significance in the history of Korean novels is explored by comparing its characters with those appearing in both the previous and contemporary novels, in the process of which <Byeolgye chaetam> is evaluated to have been a story that attempted to disclose the evil influences of the new waves of thought and things from the perspective of Confucian scholars' ways of thinking. <Byeolgye chaetam> was so titled because the world described in the novel was largely different, in a quite negative way, from that of the contemporary people, especially Confucian scholars. In addition, it is possible to presume a connection between the male protagonist Yi Si-jong and the real-world Yi Jun-yong, the infamous pro-Japanese politician of the time. The author may have created this work as an indirect way to voice his negative opinion of the person when a direct criticism was not possible. The present study concludes that the author of <Byeolgye chaetam> wrote this work to show its reader, especially Confucian scholars, the evil influences of the new waves of thought and things that held sway over Korea during the period of Patriotic Enlightenment Movement. Another significance of this work is that the author attempted to create a new work of literature that reflected the social conditions of his time.

A Study on Six-Stanza Sijo of the 17th Century - Jang Gyeongse's <Ganghoyeongun-ga> and Lee Junggyeong's <Eobu-byeolgok>

이상원 | 2008, (65) | pp.239~265 | number of Cited : 16

The lifestyle and it's meaning of the Middle Class in <Song of Man>

박연호 | 2008, (65) | pp.267~286 | number of Cited : 13

Interrelationship of poetic conversion and movie experience at Korean modern poetry

문혜원 | 2008, (65) | pp.287~307 | number of Cited : 6

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A Study on Closure Method in Modern Korean Poetry

윤의섭 | 2008, (65) | pp.309~340 | number of Cited : 2

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The Method leading to Lyrical Identity in Hyun-seung Kim's Poems

최승호 | 2008, (65) | pp.341~368 | number of Cited : 6

The Imagination of Foreshore Connected to Roads and Shadow - Centering on mallang mallang han him of Ham Minbok

노용무 | 2008, (65) | pp.369~394 | number of Cited : 2

'Story telling' as a way of catharsis - The similarity and difference in 「A wish」and 「My latest possession」-

신영미 | 2008, (65) | pp.395~417 | number of Cited : 0

Through this essay, the characteristic of 'story telling' is examined with the works Chae Mansik's 「A wish」and Park Wansuh's 「My latest possession」. As a result, it was found that there were similarity and difference between two works, in terms of solution of oppression, accomplishment of desire, structure of communication, catharsis process. 'Story telling' gives the speaker some solution for psychological oppression, and that is related to desire for achievement, and there are some treatment effect by the forming of sympathy to the hearer. Furthermore, social aspect that no person can contact with surroundings makes readers more intimate with the work. And the confession style for dramatic effect played an important role for intimacy. This 'story telling' is a creative reappearance through the talk of the speaker, which composed of one way talking. And it's a kind of communication structure, in which 'I' in 「A wish」speaks for her husband's will and feeling to her supporting sister. In 「My latest possession」, there are sender and receiver who are sisters in law, the writer describes the grief of 'I' who lost her son, and the process of her gaining sympathy of her sister in law. Here, 'wife' the speaker 'I' is a spokesman for her husband, who wants to recover ordinary life, at the same time, ‘I' becomes a character that get to obtain positive life through straightforward of the grief. The catharsis which is attained in the process of story telling is a share of the speaker. 'I' in 「A wish」speaks for her husband who felt catharsis through insanity or mental excretion, there are some weak points that his insanity bears another psychological oppression. But considering the last stage of Japanese imperialism, it can surely be apprehended; it is not simple madness but appearance of oppressed self-conscious of a colonial intellectual. In「My latest possession」, 'made-up I' who couldn't face the sadness and indulged in nihilistic falsehood, through the sorrowful tears, found out real feeling and can get sense of freedom. Here, it is certain that the tear is the same cause of catharsis, but there must be placed jealousy and envy on the basis of that.

A Study on the 'Animal consciousness' in Shin Sukjung's Poetry

박태건 | 2008, (65) | pp.419~438 | number of Cited : 1

A Study on Changes in Writing Methods According to Media

Zhang, Eujeong | 2008, (65) | pp.439~466 | number of Cited : 8

The Genre Characteristics and Literary Status of Kim Eok's Popular Song Lyrics - Focusingon the Femininity with Exoteric Sentiment

김진희 | 2008, (65) | pp.467~491 | number of Cited : 6

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Arguing that the lyrics of Eok Kim's popular songs in the 1930s are based on the emotion and format that he pursued from the outset of his poems, this research examines whether these characteristics were further developed in the lyrics of popular songs. In addition, it investigates how the femininity excited by these sentiments functions in popular culture, and how significant these characteristics are in the history of modern poetry. Kim considered "Gyeokjosi" (swing verse) to be the most appropriate for showing the sentiment of the Korean race, viz., Joseon sentiment. He thus writes popular songs based on this format. "Gyeokjosi" is the form fit into reciting and singing. It is one of the regular rules of versification which can effectively realize the ideal of poems that Kim thought of as songs. By dint of this, Kim hoped that the modern poems could be created which the whole nation could enjoy. This paper approaches the lyrics of popular songs, i.e., ballad poems as a branch of popular literature. It can be conjectured that the lyrics of popular songs served as popular poems when popular novels, particularly lowbrow novels, were in vogue in the mid- and late-1930s. Therefore, the lyrics of popular songs in the 1930s showed the origin of the genre of popular poems, in which sense they can be evaluated to have expanded the field of modern poetry. What calls for attention, among others, is that Kim focuses on sadness, rather than gladness, and he gives elegiac feeling which awakens the femininity. These sensitivity and femininity are apt for the fundamental sentiment of popular songs, which can get supported by the populace. Kim's lyrics of popular songs in the 1930s plays a role of popular poems well enough in that they effectively reveal the public sentiment in those days, grounded upon the feelings of sorrows and pathos which Kim himself sought after. Furthermore, the femininity suggested by sorrow and grief plays an important part in appealingly expressing the sense of loss and helplessness felt by the general public who were living in the critical reality of colonial modern times. These facts confirms that the role of contemporary poets was crucial in the process in which the femininity, sentimentalism, and elegiac sense were incorporated into the popular ballad poems of the literary circles where they had been estranged while the elite being in the main. In this light, Eok Kim and his works of popular song lyrics can called a significant trailblazer for the history of modern poetry.

KJCKorea
Journal Central

Korean Language & Literature 2023 KCI Impact Factor : 0.63

2008, Vol., No.65