• Title/Summary/Keyword: <심생전>

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Study on personality and tragedy of (<심생전(沈生傳)>의 인물 성격과 작품의 비극성)

  • Chung, ku sik
    • (The)Study of the Eastern Classic
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    • no.71
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    • pp.41-70
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    • 2018
  • In this paper, I try to interpret a new interpretation of the tragedy of the work related to the affection of the male and female protagonists in , and to examine what the author Lee-Ok wanted to accomplish through his work. To do this, I first looked at the viewpoints of love between men and women. The writer insisted that there was nothing to observe the love of man and woman to observe all things of heaven and earth. And this is because he considered love of man and woman as true love. In addition, this study examined the personality of the male and female main character and the woman. Through this, the male and female protagonists of announced that they were willing to solve the affection problem positively according to the situation given to them. Based on these discussions, I have shown that the tragic nature of the is due to the frustration of the male and female protagonists despite their active affection. Therefore, through the love stories of male and female protagonists, suggests that the love of men and women is closely related to ordinary and everyday problems such as unexpected diseases, as well as social problems surrounding the two. And it is an exquisite work of narration of the genuine truth. In the end, the author Lee-Ok tried to present the inner scenery of human beings through the that the problem of affection between men and women can not be solved by human will and can be frustrated by any unexpected contingency or unexpectedness There will be.

소프트웨어 자료실 사이트 심파일 마이폴더넷

  • Kim, Mun-Yeong
    • Digital Contents
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    • no.5 s.144
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    • pp.64-67
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    • 2005
  • 거래처에서 참고 자료라며 파일을 보내왔다. 생전 처음 보는 확장자를 가진 이 파일, 내 컴퓨터에는 실행할 프로그램이 없다. 거래처에 무슨 파일이냐고 물으려다 왠지 컴맹처럼 보일 것 같아 관뒀다. 대신 소프트웨어 자료실 사이트를 찾아가 정보를 찾고 관련 프로그램을 다운로드했다. 알고 보니 거래처에서 직접 개발해 오픈한 공개 소프트웨어로 실행할 수 있는 파일이었다. 그렇게 이용해 본 자료실 사이트에는 컴퓨터와 인터넷을 더욱 잘 활용할 수 있게 해주는 수많은 프로그램들이 마련돼 있었다. 소프트웨어의 모든 것을 망라하고 있는 국내 대표적자료실사이트심파일과마이폴더넷을소개한다.

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A Study on Christian imagination of the Modern Sijo - On Seon, Jeong-ju and Jang, Sun-ha - (현대시조의 기독교적 상상력 연구 - 선정주·장순하 시조를 중심으로 -)

  • Min, Byeong-Kwan
    • Sijohaknonchong
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    • v.43
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    • pp.149-175
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    • 2015
  • There have been few researches about Christian imagination reflected in modern sijo. The purpose of this study was to provide basic information helpful to deeply understand Christian literature and clarify the history of Christian sijo literature. For this purpose, the study focused on pieces of sijo written by Seon Jeong-ju and Jang Sun-ha both of whom put out lots of sijo based on Christian imagination. The two poets are common in that they were born in the Japanese colonial period and started their career as a poet at an almost same time. First of all, how a sijo writer, Seon Jeong-ju applied Christian imagination to his pieces of sijo can be summarized as follows. As a poet and paster, Seon Jeong-ju wrote and published 6 volumes of sijo collection. His pieces of sijo were all written based on Christian imagination. Many of the pieces contain Christianity-related stories that were poetically represented through paradoxical imagination. Among pieces of sijo written by Seon Jeong-ju, some reveal enthusiasm for seeking after truth that he kept in mind as a clergyman and others, the poet's strong belief in the Resurrection. Next, Christian imagination that another sijo writer Jang Sun-ha reflected in his works can be briefed as follows. The poet published a sijo collection of his own in 2010. As one of the best representatives of the modern sijo circles, he is a veteran poet who is still creating pieces of sijo. Since he became a Christian in 1996, he has released more than 200 pieces of Christianity-based sijo including those contained in his sijo collection, "Introduction to Love Studies". Most of the Christian poets quoted words from the Bible or borrowed episodes described in the Book. In those poets, he uses imagination that is allusive to the confession of his faith and, in some cases implies his own views of eschatology. In conclusion, both Seon Jeong-ju and Jang Sun-ha wrote and published lots of sijo works on the basis of Christianity, and each of them built up his own world of Christian sijo. In many of the two poet's pieces of sijo, critical doctrines of Christianity and their desperate devotion to that religion are found. Both of them made remarkable poetic achievements, so they deserve being recognized as second to none in the history of Christian sijo literature.

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Interpretation of Praying Letter and Estimation of Production Period on Samsaebulhoedo at Yongjusa Temple (용주사(龍珠寺) <삼세불회도(三世佛會圖)>의 축원문(祝願文) 해석(解釋)과 제작시기(製作時期) 추정(推定))

  • Kang, Kwan-shik
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.96
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    • pp.155-180
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    • 2019
  • Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.