2010, Vol., No.25

Kim Kui-Suck | 2010, (25) | pp.5~23 | number of Cited : 4

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A Study on Records of Imjinwaeran POWs' Experience in Japan

kim, mi-sun | 2010, (25) | pp.25~53 | number of Cited : 14

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Imjinwaeran (Japanese Invasion of the Joseon Dynasty between 1592 and 1598) devastated the soil of the Korean peninsula, and caused huge pain to a slew of people. Whatever the experience with Imjinwaeran might be, it must have been shocking and tragic, but POWs who were taken to Japan should have been more painful. They should survive in Japan, and return home. This study examined such records on the experience of Imjinwaeran POWs taken to Japan, as Gang Hang's Ganyangnok (Shepherding Sheep), No In's Geumgyeilgi (Diary of Peacock), and Jeong Hui-deuk's Wolbonghaesangnok (Moon Peak Sea). These three works concern Imjinwaeran and POWs' experience in Japan. The three authors, as POWs, experienced their lives in Japan. They were all literati hailing from the Honam region. In the second Japanese invasion of Joseon (the Year of the Rooster), they were captured and taken to Japan, and finally returned home in the similar period. Their works constitute precious historical materials, forming a particular group of works on POWs' overseas experience with each work having different characteristics and values. This paper examined the authors, their experience and travel to and in Japan, and the characteristics of the content of the works to identify each work's basic information, characteristics, and values. Gang Hang did not live a passive life as a POW, but positively explored Japan. This enabled him to write a wide range of information on Japan and schemes to govern Joseon in Ganyangnok. Gang Hang and Jeong Hui-deuk were able to return to Joseon under the permission of Japan, while No In took chance to escape for his life. That is why Geumgyeilgi detailed his escape. He escaped to China before going directly to Joseon, allowing him to experience his lives in three nations which were involved in Imjinwaeran. Of the three works, only his work describes a life in China. Jeong Hui-deuk described his experience with more emotional and tearful feelings. He described the journey course from his refuge from the war to his return home, making it the only work of the three works to feature the whole course relating to POWs' experience.

Tradition and character of Aeil-ga written by Yang, San-bo

Kim, Shin-Chung | 2010, (25) | pp.55~71 | number of Cited : 7

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<Imja-Yeonhangbyeolgok>'s creative contexts and literate features

Kim, Yun-hee | 2010, (25) | pp.73~108 | number of Cited : 5

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This article is the first academic introduction of <Imja- Yeonhangbyeolgok> was created in 1732 (Yeongjo 8) by Dogok- Leeuihyeon. The literary characteristics of the original context and the meanings of poetic history are main points. In the analysis of works it is clear that this work was created by diplomic experience in the early 18th century. So it's very crucial the recovery of <Imja-Yeonhangbyeolgok> make posssible the expansion of diachronic literary composition. <Imja- Yeonhangbyeolgok> is a recall to the Northern Territories are occupy considerable amount, intellectual effort to enhance its recognition aspects. The desire for Myung(明)‘s recovery as the main mechanism of recognition was called Myeongbunron is the mid-17th century's pattern and is also the point of discrimination. As time goes by, the exclusion and idealism of Myeongbunron were disappeared slowly. At the same time the concrete perception of Qing Dynasty(淸) is shown. <Imja-Yeonhangbyeolgok> is not only reflection of current perception but also creation of a private author based on flexible literate recognition. The main characteristic is the use of literary authority. The itinerary listed the cause of the objective to prevent the severance of the aesthetic and literary inspiration, ventilation. But literary authority are working as the factors doubles literary features in the text. Finally, the <Janguga> in the mid-17th century was based on the spatial recognition Myeongbunron, so 'lamentable' emotions converged, while the <Imja-Yeonhangbyeolgok> was stressed recognition of Northern old territory and the Qing Dynasty relics era have become notable in terms of recognition and literary representations were able to discover the difference. <Mujaseohaengrok> in the 19th century is compared with <Imja-Yeonhangbyeolgok> in the interest about Yeongyeong's cultural landscape. In the 19th century, exotic customs and lexical representations are transformed to the very precise observations. Thus, <Imja-Yeonhangbyeolgok> let us know the existence of 'Envoy's Ga-sa' and also enable extension of literate research in synchronic and dychronic field.

A Study on Tao Yuan-ming's View of Seclusion in Mok Eun Lee Saek's Chinese Poems

Kim Jou Soon | 2010, (25) | pp.109~135 | number of Cited : 5

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A Study on Su-eun Gang Hang's Poetry, A Series of Poems on Arbors

Park， Se-In | 2010, (25) | pp.137~167 | number of Cited : 7

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Examining Su-eun(睡隱) Gang Hang(姜沆, 1567~1618)'s <Suwalljung 30 Poems(水月亭30詠)> and <Chihun 8 Poems(癡軒8詠)>, this article aims to enlarge an understanding of Su-eun's poetry. A Su-eun's literary collection, Sueunjip(睡隱集) includes his poems on arbors(52 poems under 14 titles), the poems of which <Suwalljung 30 Poems> and <Chihun 8 Poems> are only written as a series of poems. First, I examined the context in which <Suwalljung 30 Poems> and <Chihun 8 Poems> were written by consulting Su-eun's two essays, Suwalljung and Chihun. Su-eun wrote <Suwalljung 30 Poems> to encourage Jung Sul(鄭渫) the owner of Suwalljung, who had retired to the country after his political failure. Meanwhile, <Chihun 8 Poems> was written to emphasize an ironic value of ‘silliness[Chi(癡)]’ in Jung Yong(丁鎔)'s life as honesty and sincerity, who was the owner of Chihun and Su-eun's in-law. Although both <Suwalljung 30 Poems> and <Chihun 8 Poems> are a series of poems that contains a good deal of landscape, there are remarkable differences in the ways in which poems in each series are titled. The titles of the poems in <Suwalljung 30 Poems> vividly describe the landscape of Suwalljung, but the titles in <Chihun 8 Poems> merely present natural objects that imply human nature. As for poetic forms, <Suwalljung 30 Poems> describes the landscape in a well-structured form: Introduction(Poem1)–Body(Poem2~Poem24)–Conclusion(Poem25~Poem30); however, <Chihun 8 Poems> consists of only 2 parts, Body(Poem1~Poem7) and Conclusion (Poem8), in which the described natural elements mirror Sir. Chi(癡翁)'s life. Then, I looked into poetic styles. <Suwalljung 30 Poems> creates an ideal world that embodies the eternity and constancy of nature, harmony and variety, and human life close to nature. Meanwhile, <Chihun 8 Poems> highlights the significance of ‘silly yet honest life’ in a simple description of natural elements that symbolize fidelity and honor. Finally, I examined poetic vision of <Suwalljung 30 Poems> and <Chihun 8 Poems>. Su-eun, Jung Sul and Jung Yong, all of them suffered from ‘abandonment’ and returned to ‘nature’ after abandonment. Thus, Su-eun composed the poems for both Jung Sul and Jung Yong in empathy with them and tried to recover his self-esteem by healing his wounds in nature.

A Study on the Background of Hwangjoga

Park, Inhee | 2010, (25) | pp.169~189 | number of Cited : 7

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This study is making clear when Hwangjoga was sung for the first time. Hwangjoga is a song to sigh one's loneliness. However, it is difficult to understand the time that Hwangjoga was sung. Because Hwangjo, namely a Chinese oriole, is a migratory bird and thus it can't live in the northern area in October of the lunar calendar. Hwangjoga was published in the record of the third year of King Yuri in the Samguk-sagi. It should be noticeable that the song was published following the record about discord between Chihi and Hwahi. So, the discord between two women seems to be the background of Hwangjoga. But, a Chinese oriole can't be found in the northern area in October of the lunar calendar. Because a Chinese oriole can't be seen, it doesn't make sense that he sang the song when he saw it. It is not this time but another time that King Yuri saw a Chinese oriole. Therefore, Hwangjoga was sung by originally another reason. The mood in Hwangjoga is loneliness. When King Yuri was conscious of his father's absence, he sank into an abyss of loneliness. Especially, King Yuri might feel much more loneliness by the figure of his mother who raised him alone. Although he met his father when he came to Goguryeo, soon after that his father passed away. King Yuri's loneliness wasn't relieved and his mother again came to live her life alone. Hwangjoga was sung probably in Spring after his father's death. In the next Spring after his father's death, King Yuri sang Hwangjoga alluded his mother's and his life when he saw a Chinese oriole on the way back from his father's tomb. By the way, Hwangjoga sung by King Yuri matches well the discord between Chihi and Hwahi, too. Chihi declined King Yuri's offer to return and he had no choice but to return alone. Therefore, it was recorded following the discord between Chihi and Hwahi. If the record in the Samguk-sagi is believed, it should be admitted that there can't be a Chinese oriole in October of the lunar calendar. If so, it is right that Hwangjoga was already sung before the time not then. Judging from the mood in Hwangjoga, it is highly likely that Hwangjoga was sung in the next Spring after his father's death.

The pivotal context and character of 'Seongsanbyeolgok'

양희찬 | 2010, (25) | pp.191~213 | number of Cited : 5

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A study of GoRyu(高麗) LiQiXian(李齊賢) Ci Poetry(詞)'s receptivity from SuShi(蘇軾) HaoFangCi(豪放詞)

LEE TAE HYOUNG , Park Mi Suk | 2010, (25) | pp.215~239 | number of Cited : 6

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The Recreation of Tongsogminyo during The period of Modern Pop-songs -Recreation of Nanbongga's Lyrics-

Lee, Hyungdae | 2010, (25) | pp.241~269 | number of Cited : 6

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Aesthetic Harmony in Korean Old Siga

전일환 | 2010, (25) | pp.271~288 | number of Cited : 4

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A Study on Munsojeon Akjang

Kyu Ick Cho | 2010, (25) | pp.289~311 | number of Cited : 6

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The sacrificial rites of Munsojeon is an important ritual item of dynasty's happy ceremonies with the rite of Jongmyo. Munsojeon's place in dynasty's sacrificial rituals was very important till about the middle of the time of Joseon dynasty. According to documents, all processes with Akjang of Munsojeon rite are supposed to be set up at the 15th year of King Sejong(1443). Botaepyeong and Jeongdae'up were made at the 28th year of King Sejong(1446), and those were adopted as Jongmyojerye'ak. If we take these facts into consideration, the akjang or music of Munsojeon goes before from 13years to 30years comparing to Jongmyojerye'ak. Therefore, we can say that Munsojeon rite belongs to pioneer place of the ritual culture of Joseon Dynasty. They showed the object of rites in the 1st part of the Choheon and Aheon Akjang works of Musojeon, result of administration in the 2nd part, and petition in the last part. We can find out this points in the proper form Akjang of Chinese Sung Dynasty, Gyryeo and Joseon Dynasty, commonly. Its origin was the Book of Odes. The core key word of Munsojeon Akjang works is Heaven's will or moral appropriateness. Because Taejo received order from the Heaven, the foundation of Joseon Dynasty is a supreme good project. And achievements of succeeding kings were set up as a moral appropriateness which they did for the sake of people and give to pledge in security for dynasty's eternal continuity. The Choheon Akjang works of Munsojeon are made with a proper form of 4 letters, Aheon Akjang works are a little different. Some works of the ritual Akjang in the King Sejong period was made newly, those could not get out of existing proper Akjang style to such an extent. They renewed their old systems in the early days of dynasty, yet the Jerye Akjang works remade following the old system, trend like that was intensified at the King Taejong period and unchanged to the early stage of the King Sejong. In this case, the old system is Goryeo Dynasty's system introduced from China. The vein of Akjang in the proper style mainly used in sacrificial rites was continued unchanged. Therefore, Munsojeon Akjang appeared after the Akjang's synchronic chain of 'the Book of Odes-Sung Dynasty-Goryeo Dynasty', and it played an important role of exemplary precedent for Botaepyeong and Jeongdae'up Akjang. If we take the fact that Botaepyeong and Jeongdae'up were changed to Jongmyojerye'ak into consideration, we can understand Munsojeon Akjang was recognized as a standard of Joseon Dynasty's Jerye Akjang for considerable period.

A Study on Expression Local Emotion of Gurye Poetic Groups

Hwang, Su-jeong | 2010, (25) | pp.313~333 | number of Cited : 2

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A Review of Dangakmunheon(棠岳文獻)

Kim Dae-Hyun | 2010, (25) | pp.337~369 | number of Cited : 0

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

2010, Vol., No.25