2013, Vol., No.31

Perception of poetic orientation of Yulgok Yi Yi and characteristics of his poetic world

Ko, Myeong-shin | 2013, (31) | pp.5~34 | number of Cited : 6

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A Study on the Historical Explication of <Josonbyeolseo> and <Dapsachinga>

ko, Soon-Hee | 2013, (31) | pp.35~62 | number of Cited : 6

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A Study on Myonang Songsoon's Chinese Poetry

Soonyoel Kwon | 2013, (31) | pp.63~90 | number of Cited : 2

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Song Soon(宋純) is a leader of Myonangjeong(俛仰亭) poetry club and one of the main members who made Honam(湖南) poetry circles active. His Gasa(歌辭) and Sijo(時調) have been highly admired. However, his Chinese poetry has not been properly evaluated in spite of his aesthetic achievements. Song Soon was compassionate for other people when he was young. For example, he wrote 「Gokjomun(哭鳥文)」 when he was nine. He expressed his sympathy moderately in the short writing. His compassion led to love of the people. 「Muningagok(聞隣家哭)」 and 「Mungaega(聞丐歌)」 definitely show his love to the people. The 「Muningagok」 described the collapse of an old lady's family. A corrupt official's greed continued day by day. So, to live is not better than to die. 「Mungaega」 described the life of a scholar who became a beggar because his family scattered under the Yonsangun(燕山君)'s reign. His reality was too harsh to him as his family's property went bankrupt in a day and his family scattered in all directions. However, he was compelled to live, which evoked sad feeling. The songs written by Song Soon are history of the corrupt society and the age of depression. Song Soon was in luck as he was appointed as a government official for about 50 years. However, unfortunately he lost his two sons in his late years. In particular, the death of the second son who was a governor of Jinwon(珍原) was related with the legend of Singumu. Mr. Song felt anger and resentment to the death. However, he broke the links of revenge through forgiving and reconciliation as a revenge may lead to another revenge. His good personality is a model for all generations. The 「Gokjamun」 he wrote at that time maximized the beauty of Solemnness(悲慨) in controlled emotion. Song Soon had many conflicts with political opponents while he was a government official. Sometimes he awakened them through ridicules or he criticized absurdity of the time through parodies. The 「Sangchunga(傷春歌)」 he wrote during Eulsasahwa(乙巳士禍) implies many symbols, through which he delivered the sorrow and resentment of the society and the people to descendants. He made an ideal space titled 'Myonangjeong’ and expressed the world he pursued in a poem titled 「Myonangjeongga(俛仰亭歌)」. Therefore, it can be suggested that his poetry is intensified in 「Myonangjeongga」. He pursued for free life without being restrained and Tao Yenming(陶淵明)'s life by overcoming his present conditions and destiny. In this respect, it can be suggested that the 「Myonangjeongga」 revealed the beauty of Unrestraint(曠達).

The consciousness of governing the people in An Chuk's Gwandongbyeolgok

KIM AYUN | 2013, (31) | pp.91~136 | number of Cited : 2

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An Chuk was one of the newly emerging confucian bureaucrats who had qualification and business ability of local governor in the late of Goryeo dynasty. He aimed at confucian rule of Virtue and the stabilization of the people's livelihood. He regards the consciousness of governing the people, which is the core of the theme. And the content and structure of Gwandongbyeolgok is focused on the figuration of the theme. I tried to analyze the political thought and governance theory of An Chuk and the consciousness of governing the people in Gwandongbyeolgok. The basis of political thought of An Chuk lies on Neo-confucianism in Yuan Dynasty, Mencius fixed property theory and the kingcraft politics theory. An Chuk found that the problems of the late of Goryeo dynasty were due to indictments of political, social and economical policies. In order to overcome this problem, he suggested his motto the realization of confucian kingcraft politics. Also he designed governance theory by stage; peasants for financial independence by increasing agricultural productivity → people's settlement life and keeping their position → culturing self and governing the people by confucian ethics education, promotion on Neo-confucianism as a government scholar → the newly emerging confucian bureaucrats training → a well-ordered confucian state. I considered that Gwandongbyeolgok's poetry form traditionally was appropriated an aesthetic senses of the eight scenes poems(Palgeongsi) which the newly emerging confucian bureaucrats created and enjoyed at that time. Gwandongbyeolgok is consisted of 9 stanzas, the first stanza is implicated in this work and the form of Palgeongsi is embodied from the second stanza to the ninth stanza. I revealed that the Palgeongsi section is assimilated with different spaces and sequential time. This was analyzed by 'Ambiguous boundary zone(evening) → Not-A(night) → A(dawn → day)'. The Palgeongsi section is organically composed of 8 stanzas in Gwandongbyeolgok. Thus, the scenery of Gwandong in this work can be understood as a secondary nature that saw it from confucian bureaucrats point of view. Meanwhile, I grasped that political power and duty of local governor from his king were sacred through the establishing of dreamlike experience in Not-A and a new day in A. Thus, I concluded that An Chuk's Gwandongbyeolgok is showed the characteristics of confucian bureaucrats.

A study on Ko Gyoung-myoung's Sagyoung Poetry

Kim Eun-soo | 2013, (31) | pp.137~160 | number of Cited : 1

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A study on the background of forming the Tang style poem of Choi- Baek

KIMJUNOK | 2013, (31) | pp.161~188 | number of Cited : 1

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This study examined the background that formed the Tang style poem of Gojuk Choi Gyeongchang and Okbong Baek Gwanghun under the literary environment of Song style in the 16th century. Among the top 3 Tang style poets in the literary history of Korea, Choi Gyeongchang and Baek Gwanghun are called Choi-Baek. Their poet style was the heyday Tang style which was different from the Song style of their age. In the early Joseon at a time when moralism took the mainstream which regarded literature as a means of cultivating mind and mentality, the promotion of heyday Tang style poems by Choi-Baek seems to be derived by the following background. First, the inherent talent of Choi-Baek would play an important role instinctively. They showed an exceptional ability of poem from their youth. They did not refuse to practice literature after cultivating their mind, they got accustomed to literature for literature even when they did not learn or recognize it. Second, the mentality they learned and obtained in the learning and communication became background of creating the Tang style poems. Choi-Baek learnt Confucianism and poems together from their teachers such as Cheongyeon, Songcheon, Saam and Seokcheon, and they recognized natural beauty and grieving beauty from their communication with Confucius scholars in Homan who already learnt the Tang style, which led them to create the Tang sytle poems. Third, Choi-Baek suffered from political contradiction by party conflicts, and also from gap on the institutional academic trend. However, they overcame an attitude of bystander and achieved the heyday Tang style poems. Choi-Baek did not leave any poetic theory on their own. However, it is proper to regard the poetic achievement was made possible by their inherent talent, learning and communication relation, and bystander attitude of political reality implicitly.

A Study on jirisan-gwon buddhist temples jeyoung-si

kimjinwook | 2013, (31) | pp.189~218 | number of Cited : 1

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This paper jirisangwon Confucian intellectuals of the Joseon Dynasty Buddhist temples projected jeyoungsi awareness of space was intended to discuss. To this end, the middle jirisangwon Buddhist temples jeyoungsi revealed an awareness of space in early works, some were aware gareul appear. As a result, the Joseon Dynasty temple of the rights Confucian intellectuals Jiri significantly the ideal space and recognize that there were divided into temporal space was unknown. If the former, according to Jiri mountain clean-term commitment and temperance speaker differentiation, and commitment, the respect for Buddhism, or 'in adoration, and fairy tales as "appears, if excision of Buddhism, while maintaining a constant distance Out in the world mood. As such, scenic area inspections jirisangwon jeyoungsi sanctions are perceived as being poetic, been the subject of a lot of work became Sihwa. Joseon temples sought jirisangwon Confucian intellectuals looking for their first place where he had to leave traces in the historical figures on the occasion of reflection through recall and adored as a samgoja is who. Buddhist temples projected jirisangwon jeyoungsi Confucian intellectuals awareness about the space of three who shared second place with Buddhist and Confucian intellectuals, about the history and character continues to be adored and cultivating was recognized as a scenic area. Buddhist temples projected jirisangwon jeyoungsi Confucian intellectuals awareness about the space finally been recognized as an amusement area. Buddhist temples projected jirisangwon jeyoungsi Confucian intellectuals awareness about the space finally been recognized as an amusement area. Soon, the "outside world, the meaning of life 'as a psychological space that is allowed to deviate," Water, leaves play, play areas, such as drinking place "means a confined space as a royalty and has been accepted as a special distinction.

Comparison of the Recognition of the Death of Women in Korean Ballads and English Ballads : Focused on "A Woman Who the Death Call for"

Young-Sook Suh | 2013, (31) | pp.219~246 | number of Cited : 12

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Reenactment of the 「Soswaewon48poems(瀟灑園48詠)」 element analysis and utilization of cultural content

Lim Jun Sung | 2013, (31) | pp.247~282 | number of Cited : 6

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Paper and Utilization of cultural content that will be discussed in terms of the analysis of the elements of the reenactment of Chonnam representative pavilion Soswaewon song "「Soswaewon 48poems」 reenactment event". "「Soswaewon 48poems」 replay events" to see a glimpse into the daily lifestyle of the 16th century, the gentry, Gwangju Cultural Foundation in the planning and production. 「Soswaewon 48poems」 conduct elements as replays on the appropriate 16poetry to screening were, Yang Sanbo(梁山甫), Kim Yunje(金允悌), Kim Inhoo(金麟厚) such as an older person's emergence figures and the first meeting of the scene until, including the 17 scenes with all the configuration by sequentially replays were. And scenic Soswaewon of scenery work poetry of each scene, appealed in the center of the dialog each scene, subsequently leading to the configuration. "「Soswaewon 48poems」 reenactments of events" can be said that the transition and a new awareness of the traditional culture have demonstrated the possibility of an extension of traditional cultural content events. "「Soswaewon 48poems」 reenactments of events" in order to regularize the sake of the development of the cultural tourism industry, and to emphasize the role of the traditional humanities interdisciplinary research and new approach to cultural content there is a need to illuminate. Chonnam(全南) as well as Soswaewon(瀟灑園), Myeonangjeong(俛仰亭), including Sikyoungjeong(息影亭), Hwanbyeokdang(環碧堂) culture of Korea pavilion occupies the center that is not an exaggeration. Cultural content to take advantage of a variety of factors both inside and outside of the people of each pavilion, landscape architecture, literature, art, etc., if you will be able to discover a new dimension in the value of cultural tourism. To do this, governments actively support its residents' awareness and interdisciplinary research, and will need to continue.

A study of the works of the Confucius scholar HuSeok Oh, JunSeon during the transitional period of the modern era

chang Sun Hee | 2013, (31) | pp.283~312 | number of Cited : 1

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A study on the folk transmission of Buddhist Gasa(佛敎歌辭) in Kyeongsangbukdo province

Jeonjaegang | 2013, (31) | pp.313~348 | number of Cited : 0

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This dissertation is written in order to research for the characteristics of Buddhist Gasa which were transmitted to folk in Kyeongsangbukdo province in three aspects. The first aspect is about what kinds of Buddhist Gasas, what time Buddhist Gasas were transmitted to folk society in Kyeongsangbukdo province. The second aspect is about the characteristics of Buddhist Gasa styles, and the third aspect is about the characteristics of Buddhist Gasa works. Firstly, in the aspect of what kinds of Buddhist Gasas, what time Buddhist Gasas were transmitted to folk society in Kyeongsangbukdo province. there are two kinds of Buddhist Gasas, which are the seven already discovered Buddhist Gasa works in different provence before time and the six newly discovered Buddhist Gasa works these day in Kyeongsangbukdo provence. Secondly, in the aspect of the characteristics of Buddhist Gasa styles, there are five Buddhist Gasa styles which are the repenting song Buddhist Gasa style(回心曲類佛敎歌辭), the empty dream song Buddhist Gasa style(夢幻歌類佛敎歌辭), Nirvana song Buddhist Gasa style(往生歌類佛敎歌辭), the hermitage song Buddhist Gasa style(土窟歌類佛敎歌辭), the sutra song Buddhist Gasa style(經典歌類佛敎歌辭). And then the seven already discovered Buddhist Gasa works in different provence are deeply related with former four Buddhist Gasa styles, but the six newly discovered Buddhist Gasa works these day in Kyeongsangbukdo provence are deeply related with latter one Buddhist Gasa style. Thirdly, in the aspect of the characteristics of Buddhist Gasa works, the repenting song Buddhist Gasa style(回心曲類佛敎歌辭) includes three Buddhist Gasa works which are <Hwaesimgog(회심곡)>, <Hwaesimga(회심가)>, <Begbalga(발가)>, and the empty dream song Buddhist Gasa style(夢幻歌類佛敎歌辭) includes two Buddhist Gasa works which are <Bagbalhwaesimgog(백발회심곡)>, <Bagbalga(백발가)>. Nirvana song Buddhist Gasa style(往生歌類佛敎歌辭) includes three Buddhist Gasa works which are <Gueonwangga(권왕가)> and <Geugrakga(극락가)>, <Buddhistkyonggoga(불교경고가)>. The hermitage song Buddhist Gasa style(土窟歌類佛敎歌辭) includes one Buddhist Gasa work which is <Naonghwasangnakdoga(나옹화상낙도가)>. The sutra song Buddhist Gasa style(經典歌類佛敎歌辭) includes four Buddhist Gasa works which are <Inguayagseol(인과약설)>,<Inguaeungboga(인과응보가)>,<Parentseunjungga(부모은중가)>, <Parentseungonrngga(부모은공가)>. The works of the repenting song Buddhist Gasa style(回心曲類佛敎歌辭) and the empty dream song Buddhist Gasa style(夢幻歌類佛敎歌辭), Nirvana song Buddhist Gasa style(往生歌類佛敎歌辭), the hermitage song Buddhist Gasa style(土窟歌類佛敎歌辭) are mainly lyrical functioning as consoling readers, but the works of The sutra song Buddhist Gasa style(經典歌類佛敎歌辭) are objective functioning as teaching readers. Even though I studied the characteristics of Buddhist Gasa which were transmitted to folk society in Kyeongsangbukdo province in three aspects. But there could be the other things to study about these kinds of theme. I might continue researching the other kinds of theme next time in the near future.

The dream of Song-Sun and the delight of <Myeonangjeongga>

Sangeun Choi | 2013, (31) | pp.349~374 | number of Cited : 3

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The Enjoyment of Kagok and an Response to <Mongcheonyo> by Prince Inpyung(麟坪大君)

Jae Nam Choi | 2013, (31) | pp.375~403 | number of Cited : 2

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

2013, Vol., No.31