2018, Vol., No.106

A study on Kyegok Jang Yu’s the rhetoric of memorials to the king

HaYun Kim | 2018, (106) | pp.7~34 | number of Cited : 1

The Features of Popularity in 「Dongsanggi」

Kim, Hyang-nam | 2018, (106) | pp.35~63 | number of Cited : 1

「Dongsanggi(東廂記)」is a play about the forced marriage by the king or emperor and tells about a special wedding story organized by a state for old bachelors and old maids. This story that aroused the public’s interest was recorded by the royal orders and Lee Ok(1760~1815) created a play, a totally new genre, based on the story. Although 「Dongsanggi」 is written in classical Chinese, it greatly accepts people’s slang, proverb, curse, and song for fun and interest based on the fact of wedding, reflects the manners of the times, and is adhered closely to public emotion. In this sense, it is necessary to review in association with ‘popularity’. If popularity means enjoying easily and widely among people, 「Dongsanggi」 may be discussed in three features. First is the popularity of the main character. The main characters of classical narratives are mostly heros or heroins with strong ideology or stereotype. However, it was greatly changed in the late of the Joseon Dynasty. With several characters including women and the middle and lower classes received, the prospect of writing was expanded and materialized. Characters in 「Dongsanggi」 are the common people including Kim, Huijip, the head of a village, a deputy, a village young man, and a young servant. In order words, they are all common and ordinary people. The world in 「Dongsanggi」 is the common people’s space where most people live and the world of reality telling by their natural voices. The reality obtained by it increases interest and rouses new fun, resulting in strong popularity. Second is the popularity of using materials. One flow of literature in the late of the Joseon Dynasty was to get rid of the area of classics which expresses the world view of Confucianism. It avoided theoretical, scientific, and ideological things and preferred popular materials found in the actual feeling of life. The main material of 「Dongsanggi」 is main character’s wedding and a town scene. The main character who cannot marry because of poverty solemnizes a blessed marriage, goods which brighten the wedding are listed in detail, and the ritual of groom-hazing is unfolded. A popularity-oriented intention to share and communicate with many people is hold in this ordinary and non-ordinary story(material). The final is the popularity of language expression. A play is characterized by developing accidents through lines. In order words, it should strengthen the operation of language that the audience can easily understand and communicate, that is, the popularity of expression. The lines of a play should be directly delivered to and understood by the audience and performed by actors. Unlike a novel, the lines should be concise and interesting and the ways to express should use usual speaking. Although 「Dongsanggi」 is created for reading and not for performance, it commands vernacular Chinese that writes ordinary spoken language in letters. It also commands a totally new style which completely destroys the formality of classics in choosing grammar or vocabulary such as borrowed characters of Korean onomatopoeia or interjection and writing proverbs or common phrases using Chinese characters. A command of such ordinary and common language may result in the opening of the way of popularity. 「Dongsanggi」 is exceptional in both an external form of a play and an internal form of character, material, and expression. The exception is the fruit of efforts that try to truly do literature of ‘now-here’ and not transcendental literature. It is the feature of ‘popularity’ that tries to approach more people by closely and deeply adhering to people’s life and what 「Dongsanggi」 pursues.

The content and composition of ‘Sangchun-gok’

ohsunju | 2018, (106) | pp.65~89 | number of Cited : 1

A study of Buksan Limkyu's modernity in modern times

Jeong, Hun | 2018, (106) | pp.91~122 | number of Cited : 3

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A Study on Eight Views from the Xiao and Xiang Rivers Motif of Pansori and its Thematic Acceptances

Seong-woon, Ha | 2018, (106) | pp.123~150 | number of Cited : 1

This study aimed to examine how the Eight Views from the Xiao and Xiang Rivers motif was accommodated and transformed in pansori. The Eight Views from the Xiao and Xiang motif, which was formed in China, was introduced during the Goryeo Dynasty and was widely spread during the Joseon Dynasty. The literary styles using the Eight Views from the Xiao and Xiang motif became more diverse in Korea than in China. While it is limited to paintings, Chinese poetry, and the Sa Chinese style of writing, it was expanded into Korean literature styles including sijo, lyrics, and folk songs. In addition, the Eight Views from the Xiao and Xiang motif accomplished a unique literary goal by combining with pansori. When Eight Views from the Xiao and Xiang Rivers motif was identified based on pansori five gardens, excluding <Battle of Red Cliff>, it was established in 'Imperial Tomb Dream Saseol' in <Chunhyangga>, 'Beompeejungryoo', 'The Eight Views from the Xiao and Xiang Rivers', and 'Spirit Passage' in <Simcheongga>, 'Jebinojeonggi' in <Heungboga>, and 'Gogocheonbyun' in <Soogoongga>. The following is the summary of the characteristics of the Eight Views from the Xiao and Xiang Rivers motif in these sori passages. When the Eight Views from the Xiao and Xiang Rivers motif was introduced in Korea, it was transformed in various ways and was passed on. In 'Gogocheonbyun' of <Soogoongga>, 'Jebinojeonggi' of <Heungboga>, and 'The Eight Views from the Xiao and Xiang Rivers Song' of <Simcheongga>, together with beautiful scenery, bright and leisurely elegant beauty, originally symbolized by Eight Views from the Xiao and Xiang Rivers motif, stood out. On the other hand, in 'Imperial Tomb Dream Saseol' of <Chunhyangga> and 'Beompeejungryoo' and 'Spirit Passage' of <Simcheongga>, together with sorrow through the Princesses of Xiang, frequently embodied in 'Night Rain in Xiaoxiang' of the Eight Views from the Xiao and Xiang Rivers, tragic beauty was being maximized. In the former case, 'Autumn Moon over Dongting Lake', 'Returning Sail from Distant Shore', and 'Wild Geese Alighting on Sand' motifs which contained beautiful scenery of the Eight Views from the Xiao and Xiang Rivers were used and in the tragic scenes of <Chunhyangga> and <Simcheongga>, 'Night Rain in Xiaoxiang' of the Eight Views from the Xiao and Xiang Rivers was used as the motif. Meanwhile, these Eight Views from the Xiao and Xiang Rivers motifs were individual, did not operate independently in pansori works, reiterated, and were used repeatedly. Thus, the Princesses of Xiang motif of 'Night Rain in Xiaoxiang' in <Chunhyangga> was repeated in 'Beompeejungryoo', 'The Eight Views from the Xiao and Xiang Rivers Song', and 'Spirit Passage' in <Simcheongga> and continued in the passages of <Heungboga> and <Sugoongga>. These were orally transmitted over a long period of time and had a lot to do with compiling artistic styles of pansori. However, they were the reason why the Eight Views from the Xiao and Xiang motif was widely established during the late Joseon Dynasty.

Death Instinct in Kim Ryeo-ryeong's ‘I Saw You’ -Freud's psychoanalytic approach-

lee myoung mi | 2018, (106) | pp.151~175 | number of Cited : 0

The ultimate purpose of human life is to pursue happiness. Therefore, it can be justified if these proprietors are used as an incentive to explain human contradictory external behaviors. On the other hand, aggression and death urges are actions that are somewhat different from this pursuit of happiness. So how can you explain your aggression and death instincts towards others and yourself? This aggression and death instinct is a favorite subject of literature. The ultimate aim of literature is to impress the reader. Without emotion, the love of art is lost. Since emotion is made when a wound is treated or compensated for from reality, emotion should be realistic. The fact that the works based on the nature of death are appealing and touching to the reader implies that these impulses are inherent in the reader. Therefore, to impress readers, understanding of human behavior by writers who create literature or researchers analyzing human behavior should be a priority. So a psychological approach to literature is needed, which also helps us to understand literary texts that resemble human behavior. This impression can serve as a platform for the reader to awaken his or her emotions and establish correct values, which can lead to positive behavior. In this sense, it is a challenge to analyze and study the mechanisms by which literature can inspire. The author Kim Ryeo-ryeong said, " There were many people I wanted to kill, so I had to kill them, and a new novel started. " And I confess that all I ever wanted was love. It is also the reason why we should continue to discuss the old but unforgotten theme of love and death. There are also many deaths in ' I Saw You. ' Both aggression towards others and self-destruction towards me are tragedies caused by the unbalanced life and death, but this death instinct is also another struggle for human life. Thus, the death instinct ultimately stems from the instinct for life and is a change towards life. Authors love and kill many people in their works. The theme of love and death is so common and popular. But isn't it because it's the most natural aspect of humans that is why these subjects are constantly repeating themselves? That's why Freud's argument is still a hot topic for modern people living in the 21st century.

The tactile sense of women's poetry in terms of neuroethics

Jeong Jinkyung | 2018, (106) | pp.177~203 | number of Cited : 1

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This study examined tactile images shown in the poems written by female poets since the 1980s from the perspective of neuroethics. As the combination of neurophysiology and ethics, neuroethics identifies the relationship between the nervous system and the mind. In sensory terms, neurophysiology falls under the category of tactile sense. In view of this, masochistic and sadistic tactile images that have appeared in female poets’ poems since the 1980s are noteworthy. These differ from the tactile images that represented maternal intimacy or the ethics of love that responded to discourses on male dominance before the 1980s. In terms of presupposing the emotions that are formed between “me” and “others”, the tactile sense is highly likely to express the consciousness and psychopathology of women who have lived as “the sexual other”. The first neuroethical aspect of the reviewed poems appears as “physical integration identity disorder” in which women struggle with the desire to continuously remove a portion of their bodies. This disorder is shown as a tactile aspect of inflicting masochistic pain on the mother’s body, which is based on the psychology to compensate for the pain caused by feminine realities using the tactile system. The second neuroethical aspect of these poems is exhibited as “body dysmorphic disorder” that occurs due to discordance between psychological and physical existences. This disorder is portrayed as a tactile aspect of creating the penis or multiple false existences. This implies that the root of pain is men, and at the same, reflects women’s ambivalent desire that envies masculine independence. The third neuroethical aspect of these poems is exhibited as “post traumatic stress disorder” in which psychological traumas cause repeated stress. This disorder appears as a tactile aspect of “the neuroethics of memory” in which traumas are recalled whenever having similar experiences or emotional mechanization, and this aspect indicates how lethargic women can become due to psychological trauma. The fourth neuroethical aspect of these poems is shown as “obsessive-compulsive spectrum disorders” which deceive the nervous system using alternative substances. This disorder appears as a tactile aspect of deceiving the nervous system with drugs, which signifies that the loss of “free will” can impoverish women’s psychological and physical existences. As the findings of this study shows, the tactile images viewed from the perspective of neuroethics connote the psychopathology of women who have lived as the non-subject of our society whose subject has been men. In the reviewed poems, women’s psychological and physical existences that had thus far been formed within the manly order can be better understood through their tactile aspects. The results of this study have a different implication from the conventional evaluation of tactile sensation as a political language that attacks men using a lower-level sense or slangs. Moreover, in terms of poetic consciousness, the study’s results are also significant in terms that the exclusive characteristic consciousness of the tactile sense is distinguished from that of the other senses.

A Study on the Establishment of Standards for Korean Spacing Regulations

Park, Jeong Gyu | 2018, (106) | pp.205~241 | number of Cited : 1

Correlation of anxiety factors and writing anxiety between Korean and the mother language: with a focus on Korean intermediate level language learners

Hyunjin Park | 2018, (106) | pp.243~267 | number of Cited : 2

The goal of this study is to analyze the correlation between writing anxiety and anxiety factors in Korean and mother language writing of learners of Korean for Academic Purposes. In order to do this, we used a correlation analysis on the basis of the results of the factor analysis on writing anxiety of Park (2018, in press). The correlation analysis was carried on upon the results of the analysis of the correlation between anxiety factors and writing anxiety. The survey used for the analysis was based on the 26 items in David and Miller’s (1975) WAT (Writing Apprehension Test) with two more items added from Cheng (1998) for a total of28 items, and it was administered to 55 undergraduate foreign students of Korean. First, the analysis shows a meaningful correlation between all the 28 items of the anxiety scale and writing anxiety in Korean as well as in the mother language. Moreover, a meaningful correlation was found also between the factors related to writing in the mother language and in the Korean language. In the case of writing anxiety in the Korean language, among the anxiety items and factors with a strong correlation with writing we found “fear of the Korean writing class” and “lack of confidence”. In the case of writing anxiety in the mother language, on the other hand, we found “lack of confidence in writing down my thoughts” and “unwillingness to express myself and to share”. This paper is a follow up of Park (2018, in press) and aims at understanding in detail which factors influence anxiety in the writing of Korean as a foreign language student. Therefore in this paper we clearly demonstrate which factors influence writing anxiety and make an argument for positive feedback and a writing process aimed to foster self-confidence. Also, since writing in the mother language is correlated to writing in the foreign language, we also advocate for more opportunities to create a positive perception toward writing in general.

An utilization plan of a picture book in Korean education

Jung-a Shin | 2018, (106) | pp.269~306 | number of Cited : 6

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Korean Language & Literature 2023 KCI Impact Factor : 0.63

2018, Vol., No.106