2017, Vol., No.40

A Study on Literary Works for Jeokbyeok(赤壁, The Red Cliff) in Mt. Mudeung(無等山) Area in the late Joseon Dynasty

Kim Dae-Hyun | 2017, (40) | pp.5~29 | number of Cited : 3

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In the late Joseon Dynasty, there were many literary works for Hwasun Jeokbyeok(赤壁, The Red Cliff) around Mt. Mudeung(無等山) area. In this paper, I aim to briefly review the major literary works on Jeokbyeok during the late 17th, 18th, and 19th centuries. In the first half of the 17th century, there was Jung Ji-Jun (丁之雋) who worked on Jeokbyeok literature. He built pavilions such as Manghyangjung(望美亭) and did various literary activities. In the latter half of the 17th century, Kim Chang-Hyeop and Kim Chang-Heup from Andong Kim family wrote some interesting works on Jeokbyeok and they have since become widespread. In the first half of the 18th century, Yi Ha-Gon(李夏坤)’s Jeokbyeok literature was important for us. He wrote Yuhonamrock(遊湖南錄), a tourist diary on Honam(湖南) province, and one part of that book was on Jeokbyeok. In addition, he recorded Jeokbyeok tour in 57 long poems titled Jeokbyeokga (Red Cliff Songs, 赤壁歌). In the latter half of the 18th century, we can focus on Jeong Yak-Yong(丁若鏞)’s works on Jeokbyeok. It is known that he ascended Mudeung Mountain and also visited Jeokbyeok. At Jeokbyeok, he wrote not only an excursion record called Yumulyeomjeonggi(遊勿染亭記), but also a few Hansi(漢詩, Chinese poem) on Jeokbyeok. In the 19th century, Kim Sag-Gat’s Hansi can be also considered as one of the most important literary works. He left a few pieces of Dongsi(東詩, Eastern poem) related to Jeokbyeok. In the latter half of the 19th century, Hwang Hyeon(黃玹) traveled to Jeokbyeok at the age of 41, and left some works on Jeokbyeok. His work which is called Jeokbyeokgi(赤壁記, Records on Red Cliff) inherited the tradition of Jeokbyeok prose. Likewise, in the late 17th, 18th, and 19th century, many Jeokbyeok literatures were published continuously. The purpose of this paper is to introduce some of the representative works by period and examine their literary achievements.

The Comment Poetry on Current Topics of Railway in Jekuk Sinmun

KIM AYUN | 2017, (40) | pp.31~58 | number of Cited : 0

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Congition of Nature and Oeuvres Appearing in <Eobusashisa>

Yongchan Kim | 2017, (40) | pp.59~92 | number of Cited : 8

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Gosan Yoon Seondo, who left as many as 75 Sijo works, is recognized, together with Songgang Jung Cheol, as one of the two best authors of Korean classical poetry in the Chosun Dynasty era. Yoon Seondo left Sijo works only, whereas Jung Cheol created works in both fields of Sijo and Gasa, the two major genres of Korean classical poetry. In particular, Yoon Seondo’s works that encapsulate nature are regarded to have shown a new cognition of nature. Contentment in living in nature and resulting elevated excitement are demonstrated in his works, which is the reason why Yoon Seondo is regarded as the summit of Korean classical poetry in the Chosun Dynasty era. In this article, the cognition of nature appearing in <Eobusashisa> is investigated and Yoon Seondo’s oeuvres and consciousness as an author are discussed. For these objectives, the signification of Bogil Island, the spatial background of <Eobusashisa>, in his life is examined. Based on a number of documentations Yoon Seondo left, we can estimate why he chose Bogil Island as his country retreat and how the signification of the island was encapsulated in the work. The images of four seasons reflected in the work are based on the authors experiences; the characteristics of each season were taken appropriately and contracted into an idealized daily life. In particular, the meanings of various old stories included throughout the work that the author intended to present were investigated. It is required to pay attention to the ‘refrain’ added to each sub-work and the ‘Eobusa Yeoeum’ that plays a role terminating the entire work when discussing the oeuvres of <Eobusashisa>. The ‘refrain’ encompasses all sub-works (10 for each season) given in parallel into a unified stream, thereby assigning organic nature to the work. Eobusa Yeoeum expresses ‘yearning toward the king’ that is not mentioned explicitly in 40 sub-works, thereby presenting the theme of work deliberately. In other words, Eobusa Yeoeum demonstrates that the author still has a lingering affection for real politics though he is chanting self-contained life in nature. The nature encapsulated in <Eobusashisa> never appears as a single character. Therefore, it is very important to examine the narrator‘s cognition of nature shown in the work and extract its signification. In this article, we investigate Yoon Seondo’s life and creative motivation and discuss how the ‘nature’ encapsulated concretely in the work is recognized.

A Study on the Literary aesthetics in Mansi of Maecheon

kimjinwook | 2017, (40) | pp.93~119 | number of Cited : 2

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As a subtitle of the moment, the poem refers to the death of poetic material, and a monument to mourn the subject of death. Mansi is created in a special situation called Death. Thus, depending on the perception of death and personal perception of death, each piece bears the same resemblance and difference. The similarity of the work has accumulated the distinction of genre, and the differentiation has given Mansi the value of Mansi to literary work and art. Maecheon is a figure of considerable achievement in Mansi. Therefore, the study of his Mansi will be the culmination of his Mansi's final appearance and the implications of broadening the perception of Maecheon literature. In particular, it would be a significant task to clarify what Maecheon Mansi's artistic merit is to characterize Maecheon Mansi's works. This is because it is not a problem confined to a person's genius, but also a matter of soil that could bring about such a literary accomplishment. This will create a basis for identifying the unique literary achievements of Mansi and identifying awareness of the 'Death of the Past' by Mansi. Mansi wrote about death and wrote about death. Thus, it would be logical for the expression of emotion to be aroused. Therefore, it is difficult to easily accept the fact that it is possible to interdigitate someone close to the close of the family and internalize them. For this reason, in Mansi, the emotional situation often occurs in Mansi. Maecheon Mansi has many paintings that materialize death by internalizing these emotions. Death in Maecheon Mansi is different from the ritual of the dead. The end of the process appears to be the objective of the death, death, death, but the process. Among Sagongdo`s Yisipsasipoom, the evaluation of serenity is the hallmark of Maecheon`s Mansi. Unlike Mansi, Maecheon was able to capture a piece of work through objectivization and objectification. This is the beauty of Maecheon Mansi. Among Sagongdo`s Yisipsasipoom, the best possible candidate for Mansi would be Bigae. Mansi will sing of his death, understandably weeping and wailing. However, it is true that Mansi's formal nature and idiom made it difficult to find a non-market sentiment at bay. Nevertheless, the great grief is well accommodated in Maecheon's Mansi. Mansei's Mansei writes lament the sorrow and grief of the deceased. In Bigae, sadness must be the most extreme. When sorrow dies away, only a ritual remains. Mansi also suffered most of her sorrow, which is a poet who exemplified him well. Therefore, Mansei's beauty resides in Bigae. Maecheon took his own beauty and captured his own beauty in the writing of Mansi and Bigae.

Characteristics of sect of poem of Haedong-Gangseo to appear Eom Heun’s poem

Um-chanyeong | 2017, (40) | pp.121~152 | number of Cited : 0

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A Study on Different Version of Kim Jeong’s <Woodoga>

YOON Chi Boo | 2017, (40) | pp.153~179 | number of Cited : 1

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The Nature and Genealogical Status of Duamyukga

Lee, sang-won | 2017, (40) | pp.181~202 | number of Cited : 3

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How to understand emotion of meeting and separation(Manhoengcheongnyu)

lee young tae | 2017, (40) | pp.203~224 | number of Cited : 1

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A Study on Soh Seyang’s Yeonhaengsi(燕行詩)

YEE WEOL YOUNG | 2017, (40) | pp.225~253 | number of Cited : 3

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This thesis examines Soh Seyang’s Yeonhaengsi Considering that Soh Seyang's poetical works account for most of the poetry of seclusion in the end of his life, it is understood that the Yeonhaengsi is rather holding the key of Soh Seyang’s interpretation of the poetic world. Because of this Yeonhaengsi, he was impeached after returning home. Then he eventually became secluded in his hometown, Iksan. The poetry, on the way to Beijing, revealed the feelings of uncomfortable journeys from the start and expressed the nostalgia for the home. It embraces the journeys of various places as the theme of the poetry, reciting the scenes in various places, and reflecting the nostalgia there. Stay in Beijing and delay meeting with the emperor. All the while, his poetry was consistent with the feeling of depression and longing. He likened his residence in Beijing to prison life. He spent his days drinking, writing poetry, sightseeing, spending time with his companions and looking forward to the day he left for Beijing. It was a gorgeous spring in those days, but in the poetry of Soh Seyang, the joy of springtime[春興] was shaped by the concern of the springtime[春愁]. In his poetry when he left Beijing, he began poetry by comparing himself to a bird freed from the cage and freely flying in the sky. Furthermore, it was winter when he crossed the Aprok River to Beijing, but when he left Beijing, the time had changed and the seasons changed. It was changing from Spring to Summer. Looking at the changed times, he expressed the poetic emotion of remorse for having spent a good time on his journey. The last poem on the returning road contains the symbolic meaning of gazing into the sunset and sinking into the depths of reason[閑愁]. This is understood as a poetic prophecy[詩讖] that recognizes future events. Thus, Soh Seyang's poetry of the journey to Yeonkyung has little bureaucratic awareness as an agent and symbolizes the transition of personal emotions that he has had in his journey, and it is not like a record book of their works. It emphasizes his emotional value and reveals the tendency of the poet buried in it. Soh Seyang's poetry of the journey to Yeonkyung was the reason for his impeachment after returning home, reflecting his tendency to pursue merriment only by being buried in personal emotion without his sense of responsibility as an agent. Therefore, his poetry is focused on aesthetic sense of his emotions combined with the view of the landscape.

The religion-Gasa and Sympathetic field in the late Chosun dynasty

CHO TAESEONG | 2017, (40) | pp.255~279 | number of Cited : 4

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Expectations of Hope : On Yi Yong-hyu’s Elegies

Hur, Yoon-jin | 2017, (40) | pp.281~310 | number of Cited : 0

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The Embodiment in Jehwasi by Seokjoo Gwon Pil

Soojeong Hwang | 2017, (40) | pp.311~340 | number of Cited : 4

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This study speculated on Jehwasi by Seokjoo Gwon Pil. He criticized society through sharp poetic spirit. There have been a number of previous studies on his poetry. However, much focus has not been given to his Jehwasi. Therefore, this study aims to identify aesthetics and embodiment in his Jehwasi. In his Jehwasi, poetry merged in paintings to create poetic meaning and emotion, and aesthetic sense was integrated through aesthetic imageries. To examine characteristics of Jehwasi in terms of composition, there are 8 titles and 21 poems. He did not cling to titles of paintings and dealt with what he felt actively. He showed friendship through the titles of some poems. Also he used diverse poetic styles such as quatrain, regulated and free verses in Jehwasi. The embodiment in his Jehwasi is summarized as follows: First, Seokjoo saw through the deep meaning of painting beyond images and expressed scholarly elegance in his poetry. He was able to represent wit and leisure in his poetry as he was mentally relaxed. Thus he created meaning beyond painting and wrote poetry with elegance. He sometimes expressed elegant attitude as a literary person in Jehwasi and sometimes elegant aesthetics while describing Confucian attitude honestly. Second, in his poetry, verses were integrated with paintings and beautiful aesthetics was revealed. Thus, colors of paintings and poetry were mixed to create movement through sensible expression. Wind's feel, powerful sound of flowing water and songs of birds which are not able to be expressed in paintings were expressed. That is, he sensibly embodied the paintings which were expressed on the ground by painters. The state that there are paintings in poetry was achieved. Third, through imageries of paintings, he showed his spiritual world. Such aesthetics was expressed as refreshing energy. Clean night and bright moonlight in cold night sky symbolize enlightenment. The poetic words in his poetry created clear and fine state. It seems that its clarity continued though poetry ended. The poetry has aesthetics with clear and concentrated energy.

A Comparative Study on Elegance and Vulgarity between Ci in Ancient China and Shijo in Ancient Korea

Huang, Xianyu , 우상렬 | 2017, (40) | pp.341~369 | number of Cited : 0

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Current situation and Prospect of The Studies in Korean Poetry and Culture : An Analysis of Papers Published since 1993

Lim Jun Sung | 2017, (40) | pp.371~406 | number of Cited : 0

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KJCKorea
Journal Central

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

2017, Vol., No.40