2022, Vol., No.50

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

pISSN : 2466-1759
https://journal.kci.go.kr/ksiga

Jung Hong-myeong is a writer representing Honam(湖南). He had difficulties in his official life because of his father, Jeong-cheol(鄭澈). So he returned to his hometown, lived and concentrated on his studies. He captured his underprivileged life in his works, and solved it through the thought of the Zhuagzi(莊子)'s reasons or the active use of Dubo(杜甫)'s prototypes. So far, no previous studies have revealed the acceptance pattern of Dubo. However, looking at the many references related to Jung Hong-myeong, it is easy to see that Dubo is one way to understand Jung Hong-myeong's work. Therefore, in this paper, we briefly reviewed the acceptance patterns of Dubo's prototypes. First, we looked at the partial acceptance of Dubo's prototype. The acceptance and variation patterns were examined through similar poems, ceremonies, or works reflecting the conscripted scriptures. Jung Hong-myeong not only accepted Dubo's prototype, but also opened his own poetry world by changing the direction of Dubo's prototype. Next, the overall acceptance and variation of Dubo's prototypes were examined. Jung Hong-myeong actively accepted Dubo's prototypes by composing works with the same or similar titles to Dubo's prototypes. At the same time, he clearly captured his own voice that was different from Dubo. In this thesis, partial or total acceptance and variation have been briefly examined, but it cannot be denied that there is a dubo at the starting point of understanding Jung Hong-myeong's work with this tendency. It is hoped that this thesis will serve as a starting point for a three-dimensional approach to Jung Hong-myeong's work.

This article analyzes the religiosity of rituals and Akjangs related to Sungkyunkwan, especially “Munseonwang Akjang”, “Daesarye Akjang”, and “Shinchandeungga Akjang”, in King Seongjong's period, Joseon Dynasty. For this process, three Akjang texts and related rituals are interpreted not only in its political contexts, but also through the Neo-Confucian ideology and symbolism. The characteristics of King Seongjong’s royal authority were the main factors of the religiosity. In this point of view, “Munseonwang Akjang” should come to understand from the perspective of historicality. “Daesarye Akjang” and “Shinchandeungga Akjang” were the expanded representation of “Munseonwang Akjang”, by manifesting hierophany of the ‘Sacred time and space’ from the Confucian classical antiquity.

This article examines the existence of a new version of the Gyubanggasa works, which were introduced Hapcheon Hwayangdong Kyubanggasa to academia. It was written to formally report to and examine its characteristics. The Kisuga of the Hangukgasamunhak contains 11 Gasa works and transcriptions of 258 characters. Through bibliographic analysis, including manuscripts, the collection of lyrics transcribed and settled in 1876, the earliest copy of the Hapcheon Hwayangdong Kyubanggasa. It could be seen that this manuscript was given to a woman who had married in her own family by a woman from the Papyeong Yoon’s family. In this manuscript, the 9 Gasa works created and enjoyed by the Papyeong Yoon’s family are transcribed. Samoga and Yusanga, these 2 works were created by the author to comfort her niece-in-law who could not go on a planned trip to her home. The reader was able to know the detailed history of the Papyeong Yoon’s family and the various aspects of the women who created and enjoyed these Gasa works. Through these Gasa works connected the descendants of the reader with the Papyeong Yoon’s family, and further took on the function of maintaining and sustaining the community of the Papyeong Yoon’s family living in Hapcheon Hwayang-dong. I tried to explain the communication environment of the Gyubanggasa by using the concept of a manuscript community, noting that the Gyubanggas of the Papyeong Yoon’s family, including 'Kisuga,' were handed down through transcription.