2020, Vol., No.45

Cultural space in Honam, Pungryu[風流] and Sympathetic field

CHO TAESEONG | 2020, (45) | pp.5~26 | number of Cited : 2

PDF

A discussion about the meaning of ‘enjoyment’ and ‘Wolseonheon(月先軒)’ in <Wolseonheonsipyukgyeoga(月先軒十六景歌)>

Zhu Jin-Ni | 2020, (45) | pp.27~54 | number of Cited : 0

PDF

A Study on the Poetic Diction of Chusa Kim Jeong-hee’s Jeju Exile Poetry

YOON Chi Boo | 2020, (45) | pp.55~84 | number of Cited : 1

PDF

A study on main features and the meaning of EungCheuk Go’s poetry

Lee kueui | 2020, (45) | pp.85~117 | number of Cited : 0

PDF

This article examines the characteristics of EungCheuk Go’s(1531∼1605) poetry, who dedicated his life to studying by focusing on poetry elements reflected in his poetry. DuGok lived in a period when Neo-Confucianism flourished. His poetic style follows the academic circles of the Northwest part of Gyeongsang Province. This means that his poetic style resembles Seonsan and Sangju style, where his family was located. The formal characteristics of his poetry are following; First, the titles of his poetry are relatively short. More than one-third of his poetry titles have less than three letters. Throughout this, it can be seen that he had a simple personality. Furthermore, he did not only practice Neo-Confucius school of thought but also the empirical school of thought. Second, DuGok mainly exchanged his poetry with people who surrounded him. He wrote the majority of his poetry during his studies and while he was serving as a government official. Third, he got ideas from objects or people around him. Dugok’s poetry mainly depicts nature, objects that he could easily contact. Also, terminologies he considered during his studies and reflects the consciousness he pursued. Fourth, his poems used words from Song Dynasty’s acrostic style and an informal style or a conversational style. Regarding the contents of his poems, they are philosophical rather than literary, and descriptive rather than depictive. Throughout an analysis of poetic elements in Dugok’s poetry, the characteristics of his poetry are: First, his poetry has gentle rhythm. He did not use either magnificent or rhythmical words in his poems. Second, looking at his poetry makes elements of paintings. His poems are calm therefore it is like looking at a piece of oriental painting. Third, his poetry has a calm vibe and tone. His poems neither seem to be excited nor thrilled. The atmosphere reflected in his poems is calm and tranquil. Fourth, his poetic styles are calm and fit to tradition or laws at that time. This indicates that he was not an emotional but rational person. The styles show a fortitudinous attitude of Neo-Confucianism disciples in continuous external changes. Ultimately, his intention was to pursue the morality.

The Practice of Gasa Writing through “Myeon-ang-jeong-ga” and Emotional Communication

BAEK SuK AH | 2020, (45) | pp.119~139 | number of Cited : 1

PDF

This study examined the emotional characteristics and communication of Gasa through "Myeonangjeongong". First, this study examined the emotional characteristics of "Myeonangjeongong" expressed by the sensual imagination of the poet, and based on this, aimed to discuss the communication process that motivates our emotions and leads to new creative ways. Above all, this study found that "Myeonangjeongga", which sang a state of ‘things-body unification’ (物我一體), was structured with the emphasis on 'the view of things 物' in the first half and the 'body view of body 我’ in the second half. That is to say, "Myeonangjeongong" sang the state of things-body unification, and the first half structured with the emphasis on the 'things 物 perspective', and the latter half was structured with a weight on the 'body 我 perspective'. Thus, it was possible to look at the emotional characteristic which is the upper concept of all the properties accompanied by the mental and physical activities of the human being expressed in the work by the poet. Next, this study grasped the fact that it is possible to interact with the author while listening to the literary works and read the emotions of the author through dialogues. This study explored the process of singing "Myeonangjeongong" to catch up with the poet's thoughts and become the poet's position and adapt to the rap music which is popular to young people recently. Given the most natural step of getting Gasa in touch with emotion is to give it a try to sing it once, it is thought that trying singing is the first step of emotional communication. It is said that the process of singing Gasa works that you make along to the rap music is to be a standard example of emotional communication. In this sense, this discussion seems to suggest that we use "Myeonangjeongong" to expand our communication between Gasa literature and the world.

Management of Lee Sukryang’s YeongModang(永慕堂) and Subject Consciousness of <Bunchunganghoga汾川講好歌>

Lee SeungJun | 2020, (45) | pp.141~169 | number of Cited : 0

PDF

A Study on the Seon thought of The Quotation from Great Seon master Baekwoon(白雲和尙語錄) and the prosaic expression of it

Jeonjaegang | 2020, (45) | pp.171~204 | number of Cited : 4

PDF

Saseolsijo and Women: Traces and Strata of Gaze

Park, Sang-Young | 2020, (45) | pp.205~246 | number of Cited : 2

PDF

This study attempted to view the problematic agendas the feminist perspective has produced in the field of classical poetry, and what are the prospects for the future, through traces of women in Saseolsijo and its trends of academic discourse toward them. This study comes from the research historical reflection that there has been a lot of empathy and reverberation about the views on women, being considered as a manifestation of the otherness distorted by men or as a device to projects men's desire in the entertainment space, but still it’s not clear. In Saseolsijo, three types of women are discovered, subjective women, asexualized. Subjective women are active who express unrelenting sexual desires and otherizated women are passive, silent in the male’s manner of lady-whores. Asexualized women are represented as alienated women (disabled, older women) beyond division between subjectivity and otherization. There are various trends in academic discourse towards them. Academic gazes for subjective women are complicated in related to the differences of the view of the late Choseon Dynasty, modern-premodern, desire-resistance, etc. About otherized women, we can see men’s biased gaze through the dichotomy of the saint-whore and we can see that 'simulating the female voice of the male author' was the main issue. On the other hand, academic discourse about asexualized women has been insignificant; however, the recent discourse of older women has progressed somewhat with conflict of desire-resistance unlike disable women. So far, feminist perspectives in Korean classical poetry have greatly emphasized the dual relationship with men, thus focusing on how harmonization and solidarity between women or women persecuted by men are achieved. To be a complete gender study, the following points need to be considered in multiple ways, Interest in men who have existed as counterparts of women, finding women's image as a harmonious icon, discovery and comparison of leftover women (migration and naturalized women, etc.), finding out the role of women in the performance environment, etc.

KJCKorea
Journal Central

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

2020, Vol., No.45