2013, Vol., No.27

A Study on Bun-un(分韻) of the Literati during the Late Goryeo-Early Joseon Period

SIM KYUNG HO | 2013, (27) | pp.7~33 | number of Cited : 9

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It was frequently occurred that literati in pre-modern period wrote poems to broaden the intellectual interchange and to form political groups. This paper is to survey the cases that literati during the late Goryeo-early Joseon period performed Bun-un(分韻) at literary coteries' activities. Bun-un was highly regarded as it was frequently perfomed at literary coteries' activities. It was also useful to practice verse writing. In Korea, the Bun-un tradition began around the middle of Goryeo, and prevailed in the late Goryeo as Gwa-geo(科擧, civil service literary examination) started to be fulfilled regularly. It became very usual consequently that they exercised to rhyme out poems readily as Gwa-bu(科賦) was highly valued at Gwa-geo, and as a result groups that could write and enjoy poems using Bun-un were naturally formed. The preface composed by Lee Jehyeon(李齊賢) for Si-chuk(詩軸, a roll of pomes) of Bun-un Yeon-jang(分韻聯章) suggests that not a few such groups existed at that time and they played a important part in political and literary activities as well. To summarize this paper is the same as follows. (1) In the late Goryeo-early Joseon period, to perform Bun-un Yeon-jang at farewell parties for those who went local government posts or returned home after finishing Gwa-geo, was regularized and it lasted until the late Joseon period. (2) In the late Goryeo period, there were cases that Bun-un Yeon-jang was performed at parties for Jwa-ju(座主, examiner), but Myeongjokhoe(名簇會) by Jwa-ju and Mun-saeng(門生, pupil) began to decrease as Huesi(會試) system was established in Joseon dynasty. (3) In the late Goryeo period, there were also cases that Bun-un Yeon-jang was performed by Buddhist monks, but these cases disappeared as religious oppression for Buddism began at the beginnig of Joseon dynasty. (4) In the late Goryeo-early Joseon period, there were cases that government officials wrote poems using Bun-un keeping harmony with poems in praise for kings, but these cases disappeared since early Joseon period. (5) In the late Goryeo-early Joseon period, there were also cases that one edited a collection of poems or of Bun-un Yeon-jang while visiting the tombs of his father or mother since he or she had been dead. From the middle of Joseon dynasty, literati had lots of chances to exercise Bun-un as literary coteries' activities increased, and it remarkably flourished in the late Joseon dynasty. It is assumed that there would be lots of cases of Bun-un Gu-ho(口呼) and Yeon-jang at that period. It is notable that literary coteries' activities practicing Bun-un had lots of meaning more than they appeared.

The study of cultural history about 'go' in chosun's roman fleuve

SEO JUNGMIN | 2013, (27) | pp.35~53 | number of Cited : 6

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The Figures of the Female Characters in the Poetry of the Late Choseon (1)

Cho, Haesug | 2013, (27) | pp.55~85 | number of Cited : 11

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Three Pieces of Seven Letters Archaistic Poem about the Jeokji Legend

Yeo, Woon-pil | 2013, (27) | pp.89~124 | number of Cited : 2

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Consideration of the Chanonggu Series by Lee Hyoungsang

Kim Jinhee | 2013, (27) | pp.125~155 | number of Cited : 8

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A Study of the Editorial Perspective of Neunghojip(凌壺集)

Sujin Kim | 2013, (27) | pp.157~189 | number of Cited : 6

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Anthologies of Neunghogwan(凌壺觀) Lee Insang(李麟祥, 1710∼1760) exist in several versions including Neunghojip(凌壺集), which is the printed edition(刊本), and Noesanggwango(雷象觀藁), which is the surviving manuscript(筆寫本) belonging to the descendent family. Examining Neunghojip and Noesanggwango side by side reveals that, in addition to the fact that Noesanggwango embodies the literary world of Lee Insang more comprehensively, Neunghojip excludes important parts of his literary world. Therefore, this study examined what parts were omitted in Neunghojip, and why such omissions occurred. Omissions of certain parts of Noesanggwango in editing Neunghojip seemed to have been based on principles which I categorized into four: “suppression of the characteristics as a concubine’s son”, “exclusion of reference to Toegye(退溪)”, “elimination of Taoist(道仙的) tendencies”, and “reduction of the tastes for material goods and illustrated calligraphy(書畵器物)”. The editor of Neunghojip, Yoon Myeon-dong(尹冕東, 1720∼1790), did not fabricate the characteristics of the author, but delicately modified his true personality by marginalizing the four aspects through editing. By doing so, Yoon Myeon-dong aimed to project his own class and factional perspectives on the edition of Neunghojip, to embody the ideology of the nobility, and ultimately to acclaim(顯彰) him as the ideal loyalist out of office(義理型處士). Such editorial perspective, propelled primarily by his personal urge, corresponded with the atmosphere of the time, which was a period of royal succession from King Yeongjo to King Jeongjo. As a result, Yoon could complete the publication with the financial support from Kim Jongsu(金鍾秀, 1728∼1799), who represented the core political group at the time.

The Problematic Image of ‘Hero’ in Chunsoosuk

Chae Yun-mi | 2013, (27) | pp.191~232 | number of Cited : 11

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This paper analyzes the characters Wi Bo-Hyung and Li Sa-Won as represented in the novel, Chunsoosuk. First defining the two characters as hero figures, this paper takes the perspective that the two characters are figures whom the novel’s main theme have been projected unto. Based upon this idea, this paper investigates the writer consciousness of Chunsoosuk, as well as its status within the history of literature. Wi Bo-Hyung, born with the requirements of an aristocratic hero figure, is actually a figure who is critical about the ways of the mundane world. However, the fact that he is fated to pursue wealth and honor in the mundane world by the virtue of his status makes his life a tragic one. Therefore, whenever he encounters problems due to the corruptions of the mundane world, he agonizes over them mentally and psychologically, rather than trying to solve the problems. The image of this character’s inability to make a choice, falling into distress, etc. can be described as the image of a troubled hero figure. Li Sa-Won is a character whose life’s meanings lie in his goal to live together with his parents. However, destiny keeps deterring the achievement of such a goal on his part, and whenever his hope is crushed he becomes sad and emotional. This reveals that he lacks a more realistic understanding of the world. This character can be defined as a weak hero figure. Li Sa-Won’s life is similar to that of Wi Bo-Hyung in that they each live a life that cannot be controlled by their own will. Chunsoosuk, which ends with the reductive images of the hero figure, the negative view of the world and its tragic resolutions, is the product of the writer’s observations on the changing ways of life and the world that were taking place at the time the writer was writing the novel. Here, both Wi Bo-Hyung’s and Li Sa-Won’s attitude of refusing to confront reality, seems to be a reflection of the reality of the times in which the problems of the mundane ways world were seriously ill yet without remedy. In other words, the novel is limited in that it cannot suggest any solution, but is meaningful in that it brings the problems to the forefront. In this sense, Chunsoosuk can be thought of as a novel that stands on the borderline between literati novels and peasant novels.

The aspect of “Communication with each other, Feeling empathy, The Ethic of care” observed in the Korean Tiger story, <the magic cloth-wrapper a tiger offered>

Inkyung Lee | 2013, (27) | pp.233~263 | number of Cited : 6

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I pondered on how and in what ways to develop our characters and moral imagination by reading the Korean Tiger story, <the magic cloth-wrapper a tiger offered>. The story is about the very poor-man destined to be punished by reason of having a pee and pooh everywhere in the mountain in winter. But the tiger, who was dispatched by the Mountain-God to punish the offender, only to care for him and eventually helped him out to get married and be rich. It was because the tiger was deeply moved to hear that the poor-man talked to himself worrying about the tiger's feeling cold. Ever since then, the tiger had repeatedly observed that he expressed his sympathy of the tiger. At last, the tiger impressed by his empathy with the tiger, made up its mind to help him rich. So, the poor-man could cure the sick daughter of a rich man owing to the magic cloth-wrapper which the tiger had provide for him, and consequently he got married to her to be rich and lived happily ever after. In this story, I observed the aspect of communication and feeling empathy presented between the tiger and the poor-man. In fact, the poor-man could be exempted from punishment by the Mountain-God because he had voluntarily expressed his sympathy with the tiger. And the tiger practiced its "Ethic of care" for him by the mutual understanding and communication between them. This storyline has very important meaning which can be applied to our modern social life. Especially, I would emboss the tiger's carrying out "Ethic of care" showed to the poor-man. I supposed communication, feeling empathy and "Ethic of care" are very necessary for the happiness of our community today. That is, the story shows us we all in our community can be happy only when the social concept should become widely accepted in the community, that the administrative subject and the citizen are "we" who cooperate in harmony for our common interests and happiness. In conclusion, this paper could prove this story is a work of great educational value, that can let the students know about the ethics of community by effectively arousing their moral imagination.

서평: 具滋均의 『朝鮮平民文學史』에 대하여

BAEK SEUNGHO | 2013, (27) | pp.265~279 | number of Cited : 0

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자료소개: 석양루(夕陽樓)라는 공간

Kim Hara | 2013, (27) | pp.281~297 | number of Cited : 4

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Journal of Korean Literature 2023 KCI Impact Factor : 0.62

2013, Vol., No.27