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A study on Lee Jae(頤齋) Hwang Yoon Seok's Gi(記)

  • Korean Language & Literature
  • 2014, (88), pp.57-80
  • Publisher : Korean Language & Literature
  • Research Area : Humanities > Korean Language and Literature

Kim Dohyoung 1

1전북대학교

Accredited

ABSTRACT

This article attempts to study Hwang Yun-seok(黃胤錫)’s gi(記) and understand his ideas and literary characteristics found from his works. His collection of works contains 16 pieces of gi(記). There is no yugi(遊記), and most of the works deal with structures. And in terms of the period that the works were written, many were created in his advanced age when he lived in his hometown after withdrawing from his office. Gi(記) that deals with private buildings all has almost no narration in it but is strongly characterized by discussion. A structure plays roles as representation or symbol that supports and expresses internalized values externally. Based on the names of the structures that were already named or the deeds of landlords, Hwang Yun-seok took the narrative method that drew discussion through Dangho(堂號) that had been named. The ground of that discussion or the criteria to judge the value are always from Chu His’ teachings or Confucian scriptures like 『Juyeok』, 『Sigyeong』,『Seogyeong』, or 『Maengja』 unexceptionally. And the keywords used to explain the meaning of Dangho(堂號) in his works such as Bunsu(分守), Cheonmyeong(天 命), Gyeongui(敬義), Jungjeongsiui(中正時義), Bakyak(博約), Dokhaeng(篤行), and Jilsil(質實) also fall into the category of neo-Confucianism. He starts from structures and landlords and then develops his logic while explaining the meaning of Dangho and the point of pursuit, and the criteria to judge the value are in the category of neo-Confucianism associated with mind. Overall, he suggests the ideal human being, and in the end, it is concluded into concrete asceticism for practice. Also, he embodies the topic using such things as the catechetic method, rhetorical questions, irony, antithesis, and syncrisis. This was not meant to pursue aesthetics of the sentence itself but was just a means to highlight the gist of discussion. In his gi(記), too, Hwang Yun-seok sticks to conservative theory of literature faithful to Chu His’ teachings.

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