2009, Vol., No.24

A Study on Background of Originating Yongbiouchonga under the Reign of King Sejong and Process of Making it Music

김세종 | 2009, (24) | pp.1~17 | number of Cited : 9

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A Study about Transmission and Variation of Wansanga

Kim, Shin-Chung | 2009, (24) | pp.19~39 | number of Cited : 5

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A research on <Wonsiksiboyoung> the boundary between tradition and modern, consciousness and unconsciousness

kimjinwook | 2009, (24) | pp.41~70 | number of Cited : 10

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The life of Mae-Chon can be divided into 3 periods. First period is by 1886 before he moved to Gurye Mansoodong, second is from 1886 to 1902 when he built Guansil in Gurye Mansoodong and lived in seclusion, and the last is from 1902 when he moved from Gurye Mansoodong to Wolgok where there is Mae-Chon Temple to 1910 when he wrote a <Jeolmyungsi>(death poetry) and committed suicide. Depending upon this three periods, Mae-Chon's sense of race and history is distinct from each other and his literary works show considerable change. Especially, it is significant work to inquire closely into the view of nature in <Wonsiksiboyoung> which shows the boundary between the second period that he cognized the world as a traditional Confucianist and third period that he accepted the recognition of modern intellectual. Even though Mae-Chon's view of nature in <Wonsiksiboyoung> is not free from the ethical view of nature, <Wonsiksiboyoung> shows modernity which is not in other Chinese poetry and it has a sprout as a ecological poetry. It shows definite distinction from his other poetries. It could be ascertained that this distinction appeared both in the formal aspect and in the thematic aspect. It seems that this is caused by the change of his view of nature. It is not a coincidence but the change of his cognition that he accepted Boo(a Chinese poetic genre) and Young(compose of recite a poem) which he didn't applied in his other poetries and gave salience to the characteristics of epic and prose and he accepted a lot of modern element in the expression and the selection of the subject matter. Consequently, <Wonsiksiboyoung> which as a nature poetry, deviated form traditional nature poetry is on the boundary of tradition and modern. This is the reason that <Wonsiksiboyoung> has definite distinction from Mae-Chon's other literary works. The political discussion on <Wonsiksiboyoung> will provide a clue to the process that Mae-Chon's sense as a writer evolved.

Chonggye Yang Dae-Bak's Sightseeing Tour and Poetic Expression

Myung Hee Park | 2009, (24) | pp.71~96 | number of Cited : 7

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A Type of the Image of Flowers in Korean Classic Poems

박춘우 | 2009, (24) | pp.97~119 | number of Cited : 5

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The Formative Process of <Seodong-yo>

류병윤 | 2009, (24) | pp.121~147 | number of Cited : 7

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This paper focuses and develops its discussion on the formative process of <Seodong-yo>, one of the Hyang-ga(鄕歌, folk songs, mainly songs of Shilla dynasty). The record concerning this song is narrative literature. It is a story about Seo-dong who dug up and sold yams as a means of living, and how he came up with a plan to marry the princess and eventually raised his social status. In the story, <Seodong-yo> functions as a turning point. The following is a conclusion regarding the formative process of <Seodong-yo> after examination of the record concerning this song. Based on the records of Samguk-Yusa(三國遺事, Remnants of the Three Kingdoms), <Seodong-yo> is presumed to be the earliest song created amongst the existing Hyang-ga. <Seodong-yo> is a song which altered the 'who' and 'what' from a pre-existing nursery rhyme. Nursery rhymes and folk songs can constantly be modified depending on the situation, and this process occurs even to the present. It is quite possible to presume that the alteration of this song took place around the period of Mu Wang(武王, king Mu) of Baek-Je dynasty as mentioned in the records. This can be sought out from the background when the alteration took place, a violently tensed period between two dynasties, Silla and Baek-je. As it seems to be Seo-dong who changed the lyrics of this song, it is possible to say that the formation of the present <Seodong-yo> is the period of Mu Wang of Baek-je dynasty. 'Ga'(歌) is a song which has a melody and is accompanied by musical instruments, and 'Yo'(謠) is a song that is simply sung. It is rather impossible to confirm the writer of a ‘Yo'(謠) as they are usually the work of many people. Altering the lyrics is quite common. So, it can be presumed that such types of nursery songs were originated a remarkably long time ago. In addition, what Il-yeon, the editor of Samguk-yusa, wanted to impart in the ‘Mu Wang’ section was not about the forming of <Seodong-yo> but the details about the establishment of a temple known as Mireuksa. While he was recording the establishment of Mireuksa and stories related to Mu Wang, he added <Seodong-yo>, a song that was spread by word of mouth, as it had relevance with Mu Wang.

Comparative Reading between Shilla Hyangga and T.S. Eliot

Seo, Cheolwon | 2009, (24) | pp.149~173 | number of Cited : 5

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A Study on Jeong Geuk-In's Poetry of Nature

YOO YEOK RAE | 2009, (24) | pp.175~195 | number of Cited : 6

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Life experience of Naebanggasa entertainers

이정옥 | 2009, (24) | pp.197~234 | number of Cited : 5

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The change of Emotion and history of Korean classic poetry

CHO TAESEONG | 2009, (24) | pp.235~260 | number of Cited : 6

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Developmental Aspect of Chinese Poetry in Gurye from the late 19th century to the early 20th century

Jae Nam Choi | 2009, (24) | pp.261~294 | number of Cited : 8

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This study examines the developmental aspect of Chinese poetry in Gurye from the late 19th century to the early 20th century. It is designed to identify it in a nationwide base instead of local base, which will be a process to acquire a main aspect of Korean Chinese poetry. The results are summarized as follows: First, we examined poetry with historical mission and repentance. Poets in Gurye expressed their mission and self-esteem against historical crises, through which we understood passionate spirit of literary persons who had to endure the period of depression. Because of such circumstances, they felt limited and regretful. Poets of Chinese poetry in Gurye at that time intended to maintain their national pride through literary activities. Such regret and distress were sublimed in their poetry. Second, we examined poetry where acceptance and pride of its geographical environment were exhibited. Gurye is a jumping-off place in geography, which gave it a chance to encourage literary persons to be engaged in their writing. Rather, there were some cases that hermitic life was pursued. It exhibited the taste of the people who live in superior natural beauty and enhanced the quality of poetry based on acceptance and pride in Chinese poetry. Third, we speculated poetry where literary exchanges were shared. Through the poems, we could examine taste and elegance exhibited through exchange of local literary persons with literary persons in other areas. At pavilions and temples which were frequently loved as places of meeting, we could sympathize with graceful taste of people in Gurye. They pursued diversity of writing poetry through organizing various poetry clubs. Thus, this study could identify the aspect of Chinese poetry through various views beyond a simple speculation of local culture and it is expected that it will be a good chance to understand the trends of Chinese poetry in Korea.

A Study on Songok Lee Dal's Representative Techniques

Han seong geum | 2009, (24) | pp.295~318 | number of Cited : 6

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Developmental Aspect of Chinese Poetry in Gurye from the late 19th century to the early 20th century

황수정 | 2009, (24) | pp.319~348 | number of Cited : 7

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This study examines the developmental aspect of Chinese poetry in Gurye from the late 19th century to the early 20th century. It is designed to identify it in a nationwide base instead of local base, which will be a process to acquire a main aspect of Korean Chinese poetry. The results are summarized as follows: First, we examined poetry with historical mission and repentance. Poets in Gurye expressed their mission and self-esteem against historical crises, through which we understood passionate spirit of literary persons who had to endure the period of depression. Because of such circumstances, they felt limited and regretful. Poets of Chinese poetry in Gurye at that time intended to maintain their national pride through literary activities. Such regret and distress were sublimed in their poetry. Second, we examined poetry where acceptance and pride of its geographical environment were exhibited. Gurye is a jumping-off place in geography, which gave it a chance to encourage literary persons to be engaged in their writing. Rather, there were some cases that hermitic life was pursued. It exhibited the taste of the people who live in superior natural beauty and enhanced the quality of poetry based on acceptance and pride in Chinese poetry. Third, we speculated poetry where literary exchanges were shared. Through the poems, we could examine taste and elegance exhibited through exchange of local literary persons with literary persons in other areas. At pavilions and temples which were frequently loved as places of meeting, we could sympathize with graceful taste of people in Gurye. They pursued diversity of writing poetry through organizing various poetry clubs. Thus, this study could identify the aspect of Chinese poetry through various views beyond a simple speculation of local culture and it is expected that it will be a good chance to understand the trends of Chinese poetry in Korea.

KJCKorea
Journal Central

The Studies in Korean Poetry and Culture 2023 KCI Impact Factor : 0.37

2009, Vol., No.24