• Journal of Korean Classical Literature and Education
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• no.32
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• pp.63-118
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• 2016

The purpose of this study is to examine the change in literary materials in secondary school Korean textbooks and literature textbooks as per the 2009 revised curriculum. Literary materials in secondary school Korean textbooks have increased student awareness of literary canons because these have been taught and learned through public education. Seodongyo, Gemangmega, and Gasiri in classical poetry and the tale of Heungbu, Pongsan Mask Dance, the Tale of Ch'unhyang and the tale of Honggildong(by Heo Gyun) in classical prose are published in secondary school Korean textbooks and literature textbooks as per the revised curriculum of 2009. A three-verse Korean ode and a classical novel are the most chosen genres in classical literature.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.5-35
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• 2018

This paper discusses this seminar's theme, 'Classic Literature Enjoyment Methods and Education,' with a focus on the genre of classic poems. However it does not focus on any individual method by discussing a specific genre or enjoyment method but focuses on a fundamental discussion. The importance of a functional relationship between the classic poetry genre and its enjoyment method is raised avoiding a generalized discussion. There are things that researchers often forget about classic poems. They forget that most classic poems are not ordinary poems but songs that are to be sung, and thus they should, in principle, be expressed in Korean language. These two facts about classic poems, indicate that their enjoyment method should be given importance. Compared to modern poems, Chinese classic poems, folk songs, and other forms of verse, only classic poems have the aforementioned conditions unique to them. In addition, classic poems include several types of poems, Japga (literally, miscellaneous songs), and Siga (literally, poem-song) genres representing each era, so it is important to discuss the characteristics of such poems with respect to their times periods and genres. Even based on such characteristics, the enjoyment situation where works are created and sung in the genre of classic poems is very important, and thus the enjoyment method issue should be closely linked with the study of works and genres. This study examines how the topics of enjoyment methods for classic poems is reflected in the current middle education curriculum. To improve the current situation, it outlines the issues that arise when enjoyment methods for classic poems are applied to textbooks or classes, set as textbook unit goals or criteria for achievement, and presented as measures designed to plan the composition of works and learning activities. Future studies on literary educational methodologies are expected to further examine the enjoyment methods for poems in class discussed herein.

• Journal of Korean Classical Literature and Education
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• no.16
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• pp.65-90
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• 2008

This study is on the reading method of Korean old poetry in the digital age. Now days, we are living in digital media. The method of getting, organizing, and producing information is changed a lot. So for keeping pace with this change, we should reflect our teaching method. Of course, the purpose of our reflection is not to follow digital media's method and change or alter existing reading or teaching method, but it is to identify proper own reading strategy of old poetry and adjust existing method for our student who are skilled with digital media. We propose three kinds of method for student readers in school. These are 1) starting like a newspaper reader, 2) getting context (reading, making hyperlink), and 3) figuring as an architect (reading as space or scenery creator). In addition, we think about recent tendency that Korean old poetry is de-constructed and re-constructed as digital contents in digital space. We call it digitalizing of old poetry. The experiencing old poetry as a digital contents is different from reading old poetry, so we cannot alter old poetry reading experience into experience of digital contents. In conclusion, digitalizing contents should be used restrictively to fertilize reading experience of original old poetry.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.287-326
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• 2016

This study describes the acceptance of Hae-Dong-Yu-Yo(海東遺謠), which is a book the 19th century to 20th century, into the genre of poetry. In chapter 2, I searched for lists, constructions and arrangement of poems in Hae-Dong-Yu-Yo(海東遺謠). The book has not only 39 poems (gasa) in Korean, but also more than 20 poems (hansi) in Chinese. I also found two new poems by the editor of the book. This shows that the receiver fully accepts the poetry and that he has equal consideration for Korean songs as well as hansi ones. In chapter 3, I focused on the red and blue points inside letters. When we read only the red and blue points within the poetry, I realized that Hae-Dong-Yu-Yo(海東遺謠) created these for poetry's literary value, not for music or songs. This reveals how the editor of Hae-Dong-Yu-Yo(海東遺謠) received the older famous poems as his own. This shows us the degree of acceptance of Korean classical poetry and songs, and therefore leads us to believe that this can be of use to present learners as well.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.5-45
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• 2018

Today, in the case of literary works such as modern poetry, novels, 'literature production : literature acceptance' are relatively simple as 'writing : reading'. However, in classical literature, there are ways of 'singing, chanting, narrating, performing, public reading, writing : listening, reading.' Modern literary works such as poetry and novels are sole arts made up only of literature, but classical literature have many complex arts accompanied by music, theater, etc. In order to understand the way classical literature, it is necessary to consider music, theater, etc. also. There are a number of subjects to research today in relation to the accepting method of classical literature. There are such things at Hyang-ga (향가), Goryeo Sog-yo (고려속요), Sijo (시조) and Gasa (가사) in of classical poetry. There is a public reading in classical novels. There is securing video materialㄴ for narrators in oral literature. And there are Si-chang (시창. 詩唱) and aloud reading in chinese proses. 'Listening literature', such as the oral literature needs to have the A. Lord's 'formular theory' - 'formular' (general words), 'themes' (general subject), and 'improvisation.' It is the opposite of contemporary poetry and novels that value ' special words', 'special contents', and 'original text.' Classical literature with a great deal of 'listening literature' besides ' reading literature' needs to have this 'formular theory' too basically. In the case of 'excessive pornographic' oriented events in Goryeo Gayo (고려가요) and Pansori (판소리), a vision is required to set up a space for the realization of literature. The haman basic elements like a man and woman's body subject can be evoked as a literature means at open place for anonymous people. Unlike modern poetry and novels, which are 'reading literature', and contain only literature, classical literature have 'listening literature' besides 'reading literature', and have complex arts - classical poetry (literature and music), and oral literature (literature, music, theater etc.) These aspects are available to research modern mass media literature, which are all 'listening literature,' and all complex arts - pop songs (literature and music), movies (literature, drama, image, music etc.) and TV dramas (literature, drama, image, music etc.). Thus, a proper understanding and consideration of the accepting method is very important in understanding, researching and educating classical literature.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.225-260
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• 2016

This paper aims to shed light on the structure of "Eonji[言志]" to demonstrate that it is a song with educational purposes, which is evident in its meaning and constitution. Based on various records of the epilogue and from the texts handed down several generations, it is clear that is an educational song that describes the life of ascholar and the core of knowledge as considered by Lee-Huang. Therefore, the meaning contained in Eonji[言志] is closely related to Lee-Huang's thoughts and it reflects the Confucian way of life. In the 4thphase, Pimi-ilin[彼美一人] of Eonji[言志] states that self-learning and serving the king can be carried out concurrently. The 5th phase of Eonji[言志] describes the anxiety of the lord for the wiseman and urges people to live a life full of consideration. This shows that one should not disregard the fact that a wise man's scholarship and life can contribute to the politics of the real world, even if the wise one chooses to lead a life of seclusion; even when the wise man enters the word of politics, his behavior and traits must not deviate from the calm course of self-cultivation in nature. The structure of Eonji[言志] and its different phases comprising nature, scholarship, and education deal with the following matters: "the meaning of retirement into nature (1stphase)," "nature+the practice of scholarship (2ndphase)," "scholarship+the practice of education (3rdphase)," "nature+the stance of scholarship (4thphase)," "scholarship+the stance of education (5thphase)," and "the beauty of nature+idea of scholarship and education (6thphase)."

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.149-191
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• 2017

This study examines Korean language translations of traditional Chinese hansi in the 1910s and 1920s. In the $20^{th}$ century, many poets translated Chinese and Korean traditional hansi into Korean. In the early $20^{th}$ century, Korean language began to be used as a national public language. At that time, not only hansi but also poetry from several other languages had been translated into Korean. Choi Nam-sun in the 1910s and Kim So-woel, Kim Eok, and Lee Kwang-su in the 1920s translated Chinese traditional hansi, focusing on famous Dang dynasty poetry from Tu Fu and Li Bai, etc. Choi Nam-sun's translation in the 1910s aimed to consider poetry as a written literature. On the contrary, Kim So-woel, Kim Eok, and Lee Kwang-su believed that Korean modern verse literature should be songs as well as poetry, and their translations in the 1920s aimed to create songs as spoken literature by focusing on orality and universality. Though Korean is now the language, the literary history of hansi continues in modern poetry.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.221-246
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• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• (The)Study of the Eastern Classic
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• no.71
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• pp.71-98
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• 2018

This study is aimed to figure out the way Yoon Hee-sun perceived the real situations of the society under the Japanese ruling and responded to overcome difficulties in the process of anti-Japanese independence movement. Yoon Hee-sun played an important role as a female activist of the righteous army movement in Kangweon-do and Manchuria. She was a daughter-in-law of Yu Hong-seok, wife of Yu Jae-won, and mother of Yu Don-sang. Three generations of her family had taken the lead in anti-Japanese independence movement. The Yus belonged to a school of 'Hwaseo' and devoted their lives to the independent movement based on the thought of 'wijung chuksa sasang', which means 'defending orthodoxy and rejecting heterodoxy'. They desired to go back to the past and recover as it was rather than building a new society. Therefore, their fights against Japan's invasion were not for establishing a modern nation-state but for recovering the royal authority of the existing order. Both her maiden home and her in-laws belonged to a school of 'Hwaseo' and Yoon Hee-sun couldn't go out of the boundary of her family background. Also, the motivation of her participation in the righteous army movement was based on the confucian values such as loyalty to the king, filial piety and fidelity. In particular, she possessed a high level of self-awareness not only as a wife but also as a woman. On the basis of this, she faced up to reality. For the more effective way of revolt against Japan's invasion, she determined to change the perception of women identified only as a wife of somebody. She thought her duty was to enlighten women through 'education'. As a result, manifestoes and songs supporting the righteous army movement were used as a powerful method.

• (The)Study of the Eastern Classic
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• no.50
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• pp.55-88
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• 2013

Gwonwu Hong Chan-yu is one of the modern and contemporary Korean scholars of Sino-Korean literature and one of the literati of his era, so is respected as a guiding light by academic descendants. Gwonwu was a teacher of his era, who experienced all the turbulence of Korean society, such as the Japanese occupation by force, the Korean War, the military dictatorship, and the struggle for democracy, and who educated and led young scholars of his time. However, academia has not payed attention to his life and achievements since his death. This paper is to examine the poetry of Gwonwu Hong Chan-yu, one of the representative modern and contemporary scholar of Sini-Korean literature, which has not yet been discussed by academia. The minimal meaning of this paper is that it is a first work based on his anthology, which has not been discussed by academia, and a first full-scale study on Gwonwu Hongchan-yu. For the reason, this paper aims at the detailed inspection of his poetic pieces recorded in his anthology. Nonetheless, despite such intentions, some limits cannot be avoided here and there in this paper for the insufficient knowledge and academic capability of this paper's writer and for the lack of academic sources. Gwonwu's poetry examined through his anthology shows the characteristic which is that his poems focus on exposing his own internal emotions. Such a characteristic says that his idea of poetic literature payed attention more to individuality, that is exposition of private emotions, than to social utility of poems. Gwonwu's such an idea of poetic literature can be generally affirmed throughout his poetry. Accordingly, Gwonwu preferred classical Chinese poems to archaistic poems, and single poems to serial poems; and avoided writing poems within social relations such as farewell-poems, bestowal-poems, and mourning-poems. When the characteristics of Gwonwu's poetic literature get summarized as such, however, some questions remain. The preferential question is whether the poems in his anthology are the whole poetry of him. Although Gwonwu's poetic pieces that the writer of this paper have checked out till now are all in his anthology, it is very much questionable whether Gwonwu's poetry can be summed up only with these poems. The next question is what is the writing method for taking joy(spice), sentiment, and full-heart into his poems if Gwonwu's poems focus on exposing his internal emotions, and if poems exposing joy and poems exposing sentiment and full-heart appear coherently in various different spaces and circumstances of writing. The final question is what are the meanings of Gwonwu's poems if his poetry checked out through his anthology directly shows either the reality carried in his poems or the reality of a time in his life. The questions listed above are thought to be resolved by the synchronizing process of stereoscopic searches both for Gwonwu as an individual and for the era of his life. Especially, spurring deeper researches toward a new direction regarding Gwonwu's poetry has an important meaning for construction of a complete modern and contemporary history of Sino-Korean literature and for procurement of continuous research on Sino-Korean literature and its history. For the reason, it is thought that more efforts of researchers are required.