2008, Vol., No.66

A study on two characters(將來) in Hyangchal and Idu - a demonstration of the decoding grounded in the meaning and the sound of two characters(將來) -

Yang, Hee-Cheol | 2008, (66) | pp.5~28 | number of Cited : 5

This study, in four aspects, demonstrated the preceding decoding to two character(將來) using the meaning and the sound of two characters(將來) in Hyangchal and Idu. First is the aspect of the meaning and the sound of two characters(將來), second is grammatical aspect, third is the aspect of the context, fourth is the comparative aspect of poetic word to translated poetic word. The result of this study is as follow; 1. The conjunctive ending and the stem(-어/아/여 오-), in the decoding of the Hyangchal/Idu(-將來-), are grounded in the meanings of two characters[將(=而)來]. 2. The linking of the morphemes, in the words involving the Hyangchal/Idu(-將來-), is grammatical, in that the conjunctive ending(-어/아/여) is located at the back of the stems(造-, 爲-, 修-, 煎-) and stem+prefinal-endings(數+於-), in that the long sound mark or the mark confirming the preceding vowel(-어) is located at the back of adverb(只:그저), in that the stem(오-) is located at the forepart of the latter stem(-出-) in a compound stem, prefinal-endings(-臥-, -賜-), and engings(-尸, -呑隱). 3. The conjunctive ending and the stem(-어/아/여 오-), in the decoding of the Hyangchal/Idu(-將來-), are coincident with the contexts of the poems and the article involving the Hyangchal/Idu(-將來-). 4. The conjunctive ending and the stem(-어/아/여 오-), in the decoding of the Hyangchal/Idu[-將(=而)來-) involved in the two characters[造將(=而)來- and 修將(=而)來-], are coincident with the conjunctive ending and the stem(-어/아/여 오-), in the decoding of the words[(= 而)來-) involved in two phrases[成(而)來- and 修(而)來] of the translated poems Putting the above accounts together, it seems incorrect the decoding[-려 (-) or (-)오려(-)], that is decoded or followed by many decoders by now, and it seems correct the decoding(-어/아/여 오-), that was decoded or followed by a few decoders in past, and now is given but scant attention.

The Composition of Teaching Materials of Compound Noun

Shin,Hee-Sam | 2008, (66) | pp.29~53 | number of Cited : 0

A Comparative Study on the Wangochonchukkukchon by Hyecho

Eunkyung Shin | 2008, (66) | pp.55~86 | number of Cited : 12

This article intends to illuminate the characteristics and significance of the Wangochonchukkukchon, the records of experiences of travel to Chonchuk --the old name of India-- by Hyecho(704-780), a Buddhist monk of Silla. As Hyecho's travel to India and its records go, there are two notable points which will be focused on in this article. One is that Hyecho's travel was done at the age of twenty which was young age compared to other monks' cases, and the other is that the Wangochonchukkukchon is differentiated from other travel literatures by Buddhists monks in including some poems within the text. Unlike other studies on the Wangochonchukkukchon which have mainly been established around bibliographical approach, this article is distinctive in employing a comparative method which covers other similar texts by Buddhist monks such as the Pulgukki by Peophyun, the Taedang seoyuk kubeop koseungchon and the Namhaegigwinae peopchon by Uijeong, the Taedang seoyukki by Hyunjang, and the Iptang kubeop sunnye hanggi by Japanese monk Yennin. When we classify travel literature, according to the purpose of the travel such as pilgrimage, sightseeing, and business trip, the Wangochonchukkukchon falls into the category of pilgrimage travel literature. Since Chonchuk was conceived of to be the sacred place by Buddhists which Buddha had been born, achieved Enlightenment, and preached on the four holy truth--birth, aging, illness, death--, it can be characterized by a form of pilgrimage to visit holy places and worship the Buddhist relics in India, It, however, was a risky attempt fraught with a quantity of difficulties and dangers to make a trip to India in the 8th century. The experience of pilgrimage to India, which signified an accomplishment of a holy mission, brought a tremendous changes to Hyecho both in inner and in outer life. On one hand he became to form his self identity as a real Buddhist monk, and on the other hand he could consolidate his religious standing in the Tang period. In other words, it can be said that the pilgrimage to India functioned the rite of passage to him. As for the writing style of the Wangochonchukkukchon, it can be categorized as ‘poem-inserted type’ among various types of the mixed-style texts: those which prose and verse are mixed in a text. This article considers this characteristic of the Wangochonchukkukchon to be one influenced by Uijeong's travel literature.

<Cheong San Byeol Gog> Bird and Crane Dance of 3 stanza

Chan Min | 2008, (66) | pp.87~110 | number of Cited : 6

The formation of “Sijoeumyul(時調音律)" and Gagok(歌曲)'s characteristics

Kwon Soonhoi | 2008, (66) | pp.111~125 | number of Cited : 12

In this thesis, I introduced Sijoeumyul, the anthology of gagok-chang(歌曲唱) and researched the characteristics of gagok in this anthology. Sijoeumyul is a relatively small because it collects just 99 poems. However the hanbatang(篇歌) of Sijoeumyul shows various aspects of gagok’s performances in the early 20th century. The hanbatang of Sijoeumyul excluded Jungdaeyeop(中大葉) and possessed the formation of man’s song, woman’s song and Ujo(羽調) and Gyemyeonjo(界面調) which are well organized. Especially it prominently shows form-oriented traits because it tried to balance Ujo and Gyemyeonjo. This is very important aspect of gagok hanbatnag in the early 20th century. We grasped the concrete condition through the existence of ‘Gyesoyong(계소용)’ which is located between man’s song, ‘Yuldangsakdaeyeop(율당삭대엽)’, ugyemyeon(羽界面) and sogagok(小歌曲). Man’s song, ‘Gyesoyong’ had not been used in most of anthologies like “Gagokwonryu(歌曲源流)”. It is related to gagok’s form-oriented traits that ‘Gyesoyong’ appeared in hanbatang since the 20th century. ‘Yuldangsakdaeyeop’ was arranged between ugyemyeon and sogagok is for such reasons as I mentioned. Therefore we need to pay attention to the location of ‘Joeunjajeunhanip (조은자즌한입)-duggeo(두거)’ in Sijoeumyul. In hanbatang of Sijoeumyul, ‘Joeunjajeunhanip(duggeo)’ is arranged after ‘Samsakdaeyeop(三數大葉)’. And alos ‘Jungeo(中擧)’ and ‘Pyeonggeo(平擧)’ are omitted in the appendix. It is impled that the original text of Sijoeumyul hanbatang might be existed before ‘Pyeongeo’ and ‘Junggeo’ were derived. After all, I assumed that it could be recompiled the anthology which showed the musical characteristics prior to “Gagokwonryu”. And it was reflected that the characteristics of gagok's performance like 'Whangyerak(環界樂' in the early 20th century. As above, it is certain that Sijoeumyul was compiled for textbook or script of performance. It is reflected in this book that the actual condition in the early 20th century. We can confirm this through the collected saseol(lylic). It was collected in the hanbatang of Sijoeumyul that 64 pieces of man’s song, 24 pieces of woman’s song, for a total 88 pieces of saseol. Sijoeumyul recorded the representative saseol about 1~4 pieces unlike the collection of saseol which arranged dozens of saseols. These have been recognized as the representative saseol of those tunes since then.

Descriptive intention of the Dream motive which appears in Sijo

SON SIEUN | 2008, (66) | pp.127~148 | number of Cited : 5

The Position and Stratification of Korean Classic Poetry in the Korean Language Art

Ryu Su-yeol | 2008, (66) | pp.149~171 | number of Cited : 3

Choicheokjeon(崔陟傳) that appears in the Chinese element and the Writers intention

민영대 | 2008, (66) | pp.173~203 | number of Cited : 6

Jo Wihan(趙緯韓) is the author of a Choicheokjeon(崔陟傳) which creative as a Chinese writing novel. When we talk about our descriptive literature, from narrative literature until being early in Korea the influence about Chinese literature will be matter of great intention. When we judged from our history of novel, it is quite early built in 1621(Gwanghaegun 13 years) it could be ahead of other novels(Kim Siseup’s short novel or Sin Kwanghan’s short story, Heo Gyun’s Honggildongjeon etc.) differently with effect of Chinese literature it is unrelated. Choicheokjeon was novelized during the Japanese invasion period and it based on the real person whose name was Choicheok who lives in Namwon(南原) and it novelized. Event at the time of the Japanese invasion of Korea in 1592 Namwon, also geographic background is center of Namwon. However, the heroes are leaves their home land because of warfare from the latter half. And the talk is developed China and Japan with background but finally the talk ties and end at Namwon. In other words, The work which tries to say again at that time Koreans is actual most with subject matter comes to life is Korean and boils, is a talk which is originative. Despite of that, from talk development process people or consideration etc it will be able to confirm a numerous Chinese element. This is rather than the effect of the Chinese literature, it includes Jo Wihan’s higher interest about China. Writer was improve his knowledge from childhood through Chinese literature. At the time of the Japanese invasion of Korea, only a short period, he was associated with troops of Ming dynasty when he participated in troop. Also he was admire about China when he was young. It reached to the middle-aged age had actually traveled to China several month. This is reveal from his other work, Chagwigeoraesa(次歸去來辭) and Jemangjayimoon(祭亡子倚文). Especially, the Chinese element which comes from Choicheokjeon. It meant to amuse to raise some awareness, and it can take measure of heroes that are different between ordinary people. Appears it follow the quotation of ancient history, it represent hero’s word and action and it refers to speaks and the circumstance where the heroes are difficult it will be able to maintain the life which pastes to develop a talk. The Chinese element show the work technique of writer excelling, the namely author sees a talk effectively to deliver, character of the people angle of depression at the time of height should have been boiled is not the effect of the thing intellectual Chinese literature which it uses intentionally.

A study on the being aspects of the Ahnyongbok culturecontents and the historical meaning corresponding with the trouble involved in Dokdo dominium Kwon

DO KYUNG KWON | 2008, (66) | pp.205~233 | number of Cited : 1

The Study of Religious features in Poetic language -In the case of Oh Jang Whan, Han Yong Woon and Kim So Weol

김윤정 | 2008, (66) | pp.235~258 | number of Cited : 2

Literary Configuration of the Democratic Movement in Kwangju. - Focused on “The Flag” written by Hong Hee Dam

Mounkwo Jeong , Lee Nae-kwan | 2008, (66) | pp.259~278 | number of Cited : 2

A Study on the Patterns and Imagination about the Poetic Language of Jo Tae-il

Lee dong soon | 2008, (66) | pp.279~301 | number of Cited : 0

A Study on the Critical Methods of Creative Writing Theories -Focused on Plotting-

Lee, Mi-ran | 2008, (66) | pp.303~327 | number of Cited : 3

This paper aims at providing a framework for evaluating plotting from the standpoint of creative writing theory, and at analysing works using this framework. Reading works by a critical method based on creative writing theory is a reading including both synthetic reading as a reader and analytic reading as a writer. The synthetic evaluating standard is ‘Unity.' And the analytic evaluating standards are ‘precision', ‘congruty' and ‘affinity'. In terms of unity, ‘Is there a dramatic tension?,' and ‘Is the theme well exposed?' must be investigated. The analaytic evaluating elements of the former can be ‘Is the plot point appropriate?', ‘Are the stakes rising?', ‘Is the flashback effective?' (precision), ‘Is the lead's objective dominant?’, ‘Are obstacles powerful?', ‘Do the circumstances and situations give feeling of tension?’(congruty), ‘Is the ending logical?’, ‘Does the ending has a fresh impact?', ‘Are the story's important knots unreveled?’(affinity). The analaytic evaluating elements of the latter can be ‘Is there a character arc?’(precision), ‘Is the motive of inner conflict clear?’, ‘Is the opposing character’s temperament considered?’, ‘Are symbols and motifs effectively used?’(congruty), ‘Does a character take a action based on realization?’, ‘Does the ending give a feeling of resonance?’(affinity). With the framework above, the plotting in “Believing Love” written by Kwon Yeo-sun is analysed. This work is plotting with dramatic tension, designed three layers of story structure. There are various plot points and powerful obstacles, tense circumstances and situations, and a impactive and logical ending. Also, this work is plotting with two layers of theme; ‘the triviality of love’ and ‘the value of trivial love’, through good character arc. There are profound journeys, and intensive motivated characters, effective aphoristic sentences, and taking action. “Believing Love” is a good work with effective plotting. This study can be useful for fiction writing lessons. For student-writers it can be a standard for evaluating and revising their own writing. Furthermore this study may be a step toward developing fiction writing theories.

A Study on the Children's Literary Cultivation of North Korea in the 1950s -focused on Children’s Literature of the Central Committee of Chosun Writers' Association

이영미 | 2008, (66) | pp.329~358 | number of Cited : 15

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A study on Lee Gangbaek's plays in the late 1990s

Il-Soo Yoon | 2008, (66) | pp.359~384 | number of Cited : 0

Lee Kangbaek has written some qualified plays which can be put into a group by periods. The plays written in the late 19th picture his idealistic society which he tries to attain by his plays. His ideal society is that an individual can grow even in society, and an individual has an much value as society. This subject is presented through space overlapping time, the story that the first and the end overlap, characters whose former life and next life are overlapped. In case of A diary of Journey to Youngwoel, comparing the appearance of Sejo vs Shin Sukju vs Han Myunghee holding a council in the Royal presence with the appearance of Yeom Munji vs Bu Cheonpil vs Lee Donggi holding a meeting in a study of Cho Dangjun, despite the difference of time and space, Chosun times vs present times, palace vs Cho Dangjun, each role is mixed up. In case of Flesh and Bone, the effort of Munshin's grandfather who stops the killing by his offspring is eventually embodied into the succeeding of the Choi family's lineage, jumping the difference of time and space. In case of Feeling, so Heavenly, Dongyeon seeks for the shape and Seoyeon seeks for the heart are unified into feeling by Ham Yijung. In this work, the life and death are united through the characters who appear after death and even before birth. It functions as a device to picture the unification of shape and content, human and nature. It is pointed out in this work that the compulsory possession oppresses the people. It is represented through the husband of Choi Sihwang, the Choi’s wife who attaches importance to the family, Munshin who stress on thr purity of extraction, and Dongyeon who seeks for a perfect shape. The malady of the collective society can be cured only with the some sacrifices, for example, Shin Sukju’s servant who is killed by his cryout that every man has a right to live with a bright face, Youngja who is blamed for extramarital affairs by her own sympathetic feeling, Ham Yijung who runs away from home.

Cultural identity of Nan Yongqian’s Totemic Poems and the Imagination of eco-literature

정봉희 | 2008, (66) | pp.385~403 | number of Cited : 3

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2008, Vol., No.66