2012, Vol., No.83

A Study on the Establishment of the Basic Sentence Pattern in Current Korean School Grammar

Park, Jeong Gyu | 2012, (83) | pp.5~36 | number of Cited : 4

Study of the Uses of Names of Places Appearing in the Korean Old Vernacular Letters in the Joseon Period

Lee Raeho | 2012, (83) | pp.37~68 | number of Cited : 8

A Historical Study on the ‘Geomnage’ in Jeolla Dialect

Lee Tae Yeong | 2012, (83) | pp.69~90 | number of Cited : 9

A Study on the Nuclear Tones in Jeonbuk Dialect－focusing on Narratives－

Seungick Jang | 2012, (83) | pp.91~116 | number of Cited : 1

A New Discovered of <Gwanhaerok> and Comparing It to <Gwandonghaega>

SA WHAE, KOO , Kim Young | 2012, (83) | pp.117~143 | number of Cited : 2

PDF

Sujang Kim’s Acceptance of Cheontaek Kim’s Sijo

Kim,Sun-Ki | 2012, (83) | pp.145~179 | number of Cited : 3

Cheontaek Kim and Sujang Kim were in a senior-junior relationship, walking the same path during a similar period in the Korean sijo (three-verse Korean poem) literature history. Cheontaek Kim published ‘Cheong-Gu- Young-Ean’ by compiling his sijos and passed-down sijos in 1728. From his own works, he carefully selected and included 30 sijos that intensively show his life. Sujang Kim carefully selected already existing sijos and his own sijos, and published a collection of sijos called ‘Hae-Dong-Ga-Yo’ over two times. In ‘Hae-Bak’ in 1755, he assigned a certain number of works of each artist to be included, however, in 1767 in ‘Hae-Ju', he did not put limits on the number of works to include. Sujang Kim exhibited his desire to exceed the achievements of Cheontaek Kim by publishing ‘Hae-Ju'. As a result of deleting unnecessary parts from Cheontaek Kim’s works in ‘Cheong-Gu- Young-Ean’ and publishing such works in ‘Hae-Ju', 16 sijos were exchanged to new sijos, and Sujang Kim did not hesitate on criticizing Cheontaek Kim’s sijos. In addition, Sujang Kim showed confidence by including 117 of his own sijos in ‘Hae-Ju', which is a significantly higher number than the 57 sijos of Cheontaek Kim. In addition, by drastically revising Cheontaek Kim’s sijos when accepting the works, he expected to lower Cheontaek Kim’s status while enhancing his own. Sujang Kim’s insight in selecting sijos shown when selecting Choentaek Kim’s sijos receive a positive response from compilers, as shown by the frequency of citation in future poet compilations. However, including a significantly higher number of one’s own works in a book published by oneself while arbitrarily fixing another’s works fitting to one’s own taste will not be able to evade the criticism that such act was an excessive overstep of one’s authority.

A Study on Discourse Characteristics of “Wang-O-Chunchookgook-Jun”(『往五天竺國傳』)

Park, Sang-Young | 2012, (83) | pp.181~216 | number of Cited : 1

The purpose of this study is to reveal about discourse characteristics of “Wang-O-Chunchookgook-Jun”(往五天竺國傳), which is the first Korean travelogue essay on India and some other countries nearby written by the monk Hyecho(704~780) at around 1300years ago, and its literary meanings. This document is conveyed as the form off the back and forth and plus, it is housed in French National Museum. This had been the starting point for the formation of the new school so-called “Dunhwang” since it dramatically discovered by P. Pelliot Pelliot(French scholar) in 1908. This document shows the circumstances of the 8th century's India and its surrounding area very well, as one of travelogue essay of the four pilgrimage period with “Bulgukgi”(佛國記), “Daedangseoyeokgi”(大唐西域記), “Daedanggubeobgosengjeon”(大唐西域求法高僧傳). Therefore this has received considerable attention in various angles from many scholars of the Eastern and Western academics such as historical research about a author, types of documents, characteristics, narrative aspects, translation, etc. A summary of this study is as follows：“Wang-O-Chunchookgook-Jun”(往五天竺國傳) shows the various aspects on discourse characteristics by “separation of Subject”, travelling Subject and narrative Subject. Travelling Subject is a “text speaker”, “Subject of contents” and “shown Subject”. Narrative Subject however is a “Subject who is writing” “travelling experiences", “Subject of acting”, and “seeing Subject”. In the discourse that “Travelling Subject” becomes centered, it is discovered that “other-discourse”, “objective form”, “epistemological landscape” and “Prose- centered discourse”, etc. On the other hand, in the discourse that “Narrative Subject” becomes centered, it is discovered that “coexistence of self-discourse and other-discourse”, “Subjective form”, “ontological landscape”, “the bargaining of prose-poetry”, etc. These discourse characteristics have significant literary implications, the author as the public self and the one as the private self. The former has the meaning of ‘journey for purpose’ to deliver information to people with a position of monk and political point of view in Buddhism, the latter has the meaning of “inner journey” to look for the author himself and to show the maturation process of human.

Aspects of Recreation of Character Forms of 「Sounjeon(蘇雲傳)」

Shin, Tae-soo | 2012, (83) | pp.217~250 | number of Cited : 1

The Aspects of Mentor Toegye Shown in 『Samunsugan』

Jeong Si-Youl | 2012, (83) | pp.251~279 | number of Cited : 1

This study aims to consider various aspects of Toegye Lee Hwang shown in 『Samunsugan』. 『Samunsugan』 is collection of letters combined in eight books of 113 letters sent from Toegye to his best pupil, Wolcheon Jo Mok, from 1550 till 1570, and Wolcheon made it himself at the age of 65. In terms of material value, this collection of letters is full of contents showing intimate relationship between Toegye and Wolcheon which we can hardly find from any other place. And it contains various information about socio-cultural circumstances around the mid-16th century when the letters were written. The discussion of this article focusing on the value of 『Samunsugan』 concentrates on the figure of Toegye, the writer of the collection of letters unlike what has been investigated in previous researches. Therefore, this article focuses on examining how Toegye as a mentor appears in 『Samunsugan』 to figure out the aspects of his. Analyzing 『Samunsugan』 with the focus on this point, we can summarize Toegye’s aspects largely into four parts. First, he seems very close to his disciple sharing even ordinary things with him. Toegye and Wolcheon were not just in general teacher-student relationship for teaching and learning but also shared various interests as well as all the emotions they felt in their everyday lives. Their humane exchange can be truly said to be intimate. Second, he confesses what lacks in him to his disciple and shows his determination for further efforts. Toegye often berates himself due to the pressure he had in reality for all the unbearable hardships and academic achievements. However, even in that situation, he strived to hold his intention firmly never straying from the right path. Third, he shows an attitude as a strict instructor pointing out the faults of his disciple’s. Toegye never misses to give strict words to Wolcheon about his deeds and merits and demerits of his character. However, his scolding was never high-handed but followed logic while being mild. He was a wonderful mentor in that he provided his disciple with chances for reflection without any addition of negative emotion. Fourth, he is accompanied with his disciple with the mediation of science. According to the result of examining the arguments Toegye takes to deliver his theories to Wolcheon, in the two’s academic exchange, mostly, Wolcheon asks questions, and Toegye gives answers about them. However, Toegye also cultivated his own science as well thanks to Wolcheon. As written above, the teacher-student relationship between Toegye and Wolcheon was broad in its range, and they formed horizontal relationship beyond mere vertical relationship. Instead of Toegye insisting on his authority in the teacher-student relationship, he recognized his disciple as a companion to live within the same time, so he was such a humane mentor wanting to realize relationship and education at the same time.

Renewed Discussion on ‘Femininity’ and Eco-feminist Significance of Lee Si-young's Poems

Kim Ji Yeon | 2012, (83) | pp.281~304 | number of Cited : 3

Analysis on Photographic Features Expressed in the ‘Raw Image Poetry’ of Oh Kyu-won－Focusing on 『La Chambre Claire』 of Roland Barthes－

Kim Hye-won | 2012, (83) | pp.305~330 | number of Cited : 6

This report is aimed at analyzing the photographic features expressed in the ‘Raw Image Poetry' poetics and the poetry of Oh Kyu-won by means of 『La Chambre Claire』 of Roland Barthes. To begin with, I investigated the photographic features expressed in the ‘Raw Image Poetry' poetics, using the notion of Barthes. I compared the ‘Raw Image Poetry', which tried to express ‘as it is' as if alive, with the reality of photography. In addition, I checked on that the ideal of the ‘Raw Image Poetry', composed of metonymy of combination and access by virtue of proximity, and the ideal of the photography lied in the equality. And then I analysed the photographic features, expressed in the ‘Raw Image Poetry', of his individual poems specifically. First, I noticed the poems of which themes were noème in particular, investigating his poems which presented the noème as the proof of presence and the proof of absence Barthes had said. Second, I analysed the poems which expressed the immobilization of time Barthes had said, referring to the temporality as the ground of existence. Third, I investigated the poems which was using the metonymy which was oriented to the principle of proximity, referring to the spaciality as the ground of existence. Fourth, I analysed the ‘Raw Image Poetry' which was describing the objects vividly i.e. ‘as it is' and proved that it was the very photographic image. Fifth, I analysed the poems provoked the poetic tension sharp and shocking after punctum was revealed, referring to the ‘punctum' as a hurt. Consequently I identified that Oh Kyu-won, who had struggled with the ideated language at the time of shift from metaphor in his early poems into metonymy in his late poems, had the final result of ‘Raw Image Poetry' through the struggle, and that's the most transparent photographic image.

Characteristics of Lee Mu-young's National Policy Novels－Focused on 『Blue Tile House』 and 『Hyang-ga』－

Im Gihyeon | 2012, (83) | pp.331~358 | number of Cited : 0

An Essay on the Affective Dynamics of Narrative Stylistics and Local Languages

JANG ILGU | 2012, (83) | pp.359~392 | number of Cited : 1