• Sijohaknonchong
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• v.43
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• pp.67-94
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• 2015

This paper presents a method and necessity of this research to study the gosijo Anthology compilation method. The cataloging work was carried out 53 species of gosijo Anthology ranging from 1910-2000's, in order to proceed with the study. There was no way to analyze the compilation of all gosijo Anthology ranging from 53 species in this article. For this reason, select the classic gosijos(模範의 古時調) of Anhwak(安廓) conducted a study gosijo Anthology compilation method. The classic gosijos(模範의 古時調) of Anhwak(安廓) are no new works, will be named as one of the subheadings of the magazine. But not less that 100 can work with and all the works reveal the artist. It also select a topic classification scheme. This point is analyzed with focus on the text to be responsible enough to think that the role of gosijo Anthology. The classic gosijos(模範의 古時調) is thought to have great significance in a few aspects. First, the gosijo The Anthology is only pyeongsijo(平時調) and can be called only sijojip which the artist recorded all the work. Second, the work presented in this gosijo Anthology are the popular songs contained in a number of Gagip(歌集) majority. Third, there is a new artist appears gosijo Anthology does not appear as a writer in the gosijosa(古時調史). They BakDaegil(朴大吉), ChoiSeobung(崔瑞鵬), OhHuisang(吳喜常), JangWooByouk(張友璧), AnSapil(安思弼), AnYungi(安胤基). Fourth, gosijo Anthology reveals the Woodae gagaek(歌客) locality and the foundation of JoSeon(朝鮮) gagok(歌曲).

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.133-138
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• 2018

This study examines how Gosijo's sentiment flows into modern poem. Therefore, it has the purpose of utilizing the healing devices staying in the gap between Gosijo and Modern poem for literary therapy. Gosijo's extreme solitude and calm are invaded into modern poem, producing a sleepless night of solitude. The sentences with the emotions of Gosijo are different in modern poem, but the Gosijo and modern poem share the same emotions. These literary devices provide a sentiment of healing to modern people. This study will contribute to the activation of literary therapy in the future.

• Sijohaknonchong
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• v.30
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• pp.147-164
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• 2009

The conclusion of this paper is as follows. First, the authentic syllable count of sijo can be summed up as following: Second, the structure of the statement can be summed up as following: 1) Each statement extremely excludes the use of modifiers to clarify the development of the logic. 2) The meaning of each of the three statement, chojang (the 1st statement), jungjang (the middle statement) and jongjang (the last statement), is connected to the previous one closely, so the text as a whole is perfect. 3) The last statement identifies itself as the conversion or conclusion of the whole text. Therefore, the last statement should begin with a connective adverb like 'Therefore' or 'Then'. But in ancient sijo works, this sort of connected adverb is normally omitted. 4) Each statement of sijo is composed of one of the 4 structures suggested below: a) subjective phrase + predicative phrase b) the formal clause + the latter clause c) location-indicating phrase + sentence d) objective phrase + predicative phrase Since the text of a sijo work is formed like this, sijo is said to be composed of three jang (statement) & six gu (phrase), which is the very feature that proves that sijo is a fixed form of verse.

• Sijohaknonchong
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• v.17 no.1
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• pp.347-372
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• 2001

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.15 no.6 s.99
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• pp.724-730
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• 2005

Literary works contain various human emotion and historical, cultural background. It is very significant to understand sound recognition and receptions represented in many literary works. This study aims to investigate the sound impression on ancient Korean Sijo( Korean Verse) involved various traditional korean emotion, which were expressed in different situations. Firstly we selected the appropriate Sijo to express sounds, and then classified the sound, analyzed the meaning of recognition to the sound. The number of 297 sounds were classified into 13 categories, and 20 emotional meanings. Especially, 'internal sadness' characterized the korean rooted emotion were more expressed than other meanings and this meaning were symbolized by the sound of wild geese and cuckoos.

• Sijohaknonchong
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• v.25
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• pp.5-27
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• 2006

This paper aims at examining how sijo works, including ancient sijo works, those published before the 1960s, those written by China-residing Koreans, and those published in the 2000s, convey the poetic meaning in terms of sentence structure. Firstly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, have sentences. whose meaning the readers can easily grasp, with simple structures and little rhetoric words. But moderns works published In the 2000s (modern sijo works after) are mingled with too many rhetoric expressions, sometimes misused. Secondly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, having a clarified subject-verb context. are easily understood by the readers. But, in modern sijo works, there are many cases with an unclarified subject-verb context and redundant rhetoric words, which will cause misunderstanding of the meaning of the work. Thirdly, in ancient sijo works. those published before the 1960s and those written by China-residing Koreans, each of the three statements (called in) in a stanza is separate from the others in context. But, in some modern sijo works, the first and second statements (called chojang and jungjang) fall into just rhetoric parts for the last statement (called jongjang), and each of them is not read as an independent statement. Fourthly, there are some cases whose forms are distant from those of siio works. but are written in three statements like traditional sijo works. Regular poems, though written in regular rhythm, should be also acoustically regular. Sijo works should be easily understood when recited. If not, they are basically far from sijo works. If modern sijo works should overcome their easy expressions and simplicity of themes, they should be composed through using not complicated sentence structures but brand-new metaphors, clear images, and fresh themes.

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.

• Sijohaknonchong
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• v.21
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• pp.47-76
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• 2004

Newly discovered ${\lceil}Gogeummyeongjakga{\rfloor}$ is a copy collection of the old poetry SI-JO, which is specified in the book of yellow Gojeongji. {$\lceil}Gogeummyeongjakga{\rfloor}$ is guessed to be copied before the 17th year of King Yeongjo's reign(1740) and thus it's the early collection in the history of the Korean verse, Shijo. According to our research, there are 78poems in the collection and nine out of them hasn't been yet reported to the Korean Academy. The characteristics of Shijo in the book are followed. First. The collection is different from other books since the book was written in Korean instead of Chinese characters, which shows the uniqueness of the Korean literature in the late 17th and the early 18th century. Secondly, there are different versions of a poem in the collection, which is quite unusual in the other collections. There are different words or phrases used in different versions and even the whole verse is modified in some cases. Thirdly. two out of newly discovered nine short lyric songs is transformed from and that are kind of Chinese Ak-Bu. By the way, the compiler of ${\lceil}Gogeummyeongjakga{\rfloor}$ seemed to understand the co-relation between Ak-Bu and Shijo. and that's why he chose transformed Shijo from Ak-Bu not Chinese poetry. Among nine poems, <9> and <10> are newly discovered responding songs unknown up till now.

• Sijohaknonchong
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• v.26
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• pp.243-261
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• 2007

In this study, I have looked though the Sijo made by Sowol and Jiyoung who were the frontiers of the Korean modern poetry. Through this study, I've tried to research the relationship between the free verse and their versifying Sijo. Sowol made the eight Sijo : six Sijo made in his early days. and the others made in later days. Sowol's early free verse tended to show the regular form. Although his 6 Sijo maintained the traditional form, he tried to make the formal changes. But the subject of those were in the way of view points of old Sijo. But the rest two Sijo strongly showed the problem of reality. Jiyoung made the 9 Sijo in his early days. But Jiyoung's is different from Sowol's. Jiyoung tried to make a new way of expressing the poetic images while Sowol was focused on the formal changes. Also, his final work 'Eun' had the feature of fixed form of verse. Through the research mentioned above, I confirmed that their tries to make the fixed form of verse were the background of developing and pioneering their free verse.

• Sijohaknonchong
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• v.21
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• pp.5-22
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• 2004

If Sijo poetry is referred to a text which is composed of sentences. its textuality can be explored in terms of 1) the figurative words used in each line. 2) the logical sequence between lines. 3) the syntactic composition of each line. With the ancient Sijo poem. 1) it is composed of logical sentences as a result of extremely restraining from using figurative words that could prevent the reader from grasping the logical sequence within the work; 2) there is a clear cohesion between lines that can make each work perfectly coherent; 3) each line has a balanced syntactic structure, so the entire structure of a Sijo poem is '6 phrases in lines'. With the modem Sijo peom. 1) it abounds in figurative words, which prevent the work from having a logical sequence, and sometimes even from having three lines; 2) there is a loose cohesion between lines which can't make each work coherent; 3) it sometimes destroys the syntactic structure, '6 phrases in 3 lines', unique to traditional Sijo poetry. I think that this trend of modern Sijo poetry can cause haphazard the existence of modern Sijo poetry.