• Sijohaknonchong
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• v.43
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• pp.95-122
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• 2015

This paper is based on the compensation of the literature. In other words, the problem of affection Ginyeo & Ginyeo-sijo would review that to be considered compensation of the literature. Specifically, the relationship between maternal oppression and Ginyeo & Ginyeo-sijo. Prior to the detailed discussions looked at the relationship between women and motherhood, through the overall Classic-siga(古典詩歌). As a result, it took the theme of motherhood from a variety of genres, as it were, Hyangga(향가), Goryeo-Sokyo(고려속요), Gasa(가사), Folk songs etc. But Ginyeo groups position was different. The Ginyeo groups was limited or no chance of maternal expressions. This also affects creative Sijo. So the Ginyeo-sijo has a few characteristics. In terms of the compensation of oppression, characteristics of the Ginyeo-sijo can be categorized into three types. These are dedication of a plaintive love, bold expression of desire, wittily linguistic playfulness. Dedication of a plaintive love is a very passive, and the general pattern of the Ginyeo-sijo. Bold expression of desire, this is the love the theme is the same. But this is a positive. And then, wittily linguistic playfulness is a rhetorical expression. It was used as a method of ambiguous and homophone. In short, for Ginyeo groups would have been a chance of roused to action(發憤), that is oppression of motherhood. And this would contribute to the development of Ginyeo-sijo. As the experience of exile literature developed in isolation of the Scholar-official(사대부).

• (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.69
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• pp.259-296
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• 2017

This thesis examines the reality of Hwaseo's view of scholarship established through the various academic roots, and explains the writing techniques in his poetic world. The results are as follows; With the roots including the Five Books of Confucianism, Five Classics, the books of Zhuxi and Songjadaejeon, Hwaseo established his own scholarship based on the principle of 'keeping of piety and acting with prudence(持敬致愼)'. And he pursued a practical discipline in parallel with 'understanding the utmost principle and extension of knowledge(致知)' and 'diligent self-cultivation(力行)'. The characteristics of his poetic techniques are the use of quotation and interweaving narrative with discussion. He did not stay in just borrowing or variations on the quotation, but gave new meanings beyond the acceptation, and even reached the point of creating newly coined words. He made pithy narratives according to historical events and character's activities, put forward some discussions, and then expressed his emotion. In particular, there were the poems described by interweaving narrative with discussion based on Mencius's historical viewpoint of 'repetition of peaceful times and troublous times one by one(一治一亂)', which could be regarded as the most representative works of his literary value as well as the essence of his scholarship and ideas.

• (The)Study of the Eastern Classic
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• no.35
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• pp.7-33
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• 2009

Oh Su-yeong (1521-1606) would be called 'Gyeomjung' with the pen name of 'Chundang' and 'Doam.' Since he was so good at calligraphy, he would also be one of the 'Seonseong Sampil (three great writers)' along with Geum Bo and Lee Suk-ryang. He wrote "Chundang Collection." So far, a study on him and his writing has been hardly conducted. This paper has investigated his life and companionship in order to restore his legacy that has disappeared in the history of Korean literature. This paper has briefly summarized his life and family line and examined his friendship with the students of Toegye Yi Hwang. In fact, most of his friends were the disciples of the great philosopher and Confucian scholar, which proves what he pursued throughout his life. In his poetry, many poems regarding moral standard in friendship are often found. A true humanity can be felt in them. In his sensitive poems on natural creatures can be sensed his wit and humor. After going through the vortex of war, he vividly described the reality of tragic war through his poems as well. A further study needs to be conducted on his poetry.

• (The)Study of the Eastern Classic
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• no.70
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• pp.185-210
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• 2018

This thesis investigates wrote by Lee Han Jin who edited "Chung Ku Young Un(靑丘永言)" with supposition that was affected by Lee Han Jin's literary activity and poetic direction, and Wayu(臥遊) was enjoyed by Sajok(士族) in the late Chosun Period. Lee Han Jin kept company with The Yeonam Faction and their friendship was based on Lee Han Jin's blood-relationship. Lee Han Jin's musical sense and poetic direction are verified by records about their poetic activity. In his old age, Lee Han Jin retired in the Yeongpyeong of Gyeonggido and edited "Chung Ku Young Un", Lee Han Jin's poetic direction is also verified by Sijo's theme which was included in "Chung Ku Young Un" and Lee Han Jin's Sijo. Meanwhile, Kyunghwasajok(京華士族) in the late Chosun Period wanted to overcome their situation that they could not leave city by imagination about landscape. That activity was Wayu. They didn't consider whether they see landscape, and they made good use of many genre of literature for effective Wayu. Lee Han Jin and his group's literary activity was formed by that cultural air. Lee Han Jin wrote though his retirement in mountain. It was also for effective imagination about landscape that he didn't see. So unworldly landscape was appeared in compared to other fishermen motif poems. The tension between Situation that he couldn't see real landscape and desire for effective Wayu get solved by form named that have distinct characteristic as a Jipgusi(集句詩).

• Archives of design research
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• v.17 no.3
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• pp.157-166
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• 2004

Samguk Yusa is a important historic record about the dynasties of ancient Korea. It consists of information about the hidden, mythical history, old languages and poems. This historical book has been translated many times since the Liberation of Korea in 1945. However, these books are the result of academic research so we are restricted in our usage of them to understand Korean history. There are many historical documentaries and TV series on Samguk Yusa. However, these programs can be viewed only and not be utilized in any way by the audience. Since the computer was introduced to the public, multimedia technology has been a good source to combine text, image, moving picture, sound, animation and graphic. Producing the CD-ROM about historical books not only produce digital images but also a valuable high quality digital information. Digitalization process also keeps the original content of the historical books as well as provide value as a research material as historical, artistic and archaeological item. Furthermore, its information would be provided through a network, like internet, to share and to promote more advanced studies. The purpose of this study is to produce the basic method of multimedia design of Samguk Yusa. This study also researches the problems of multimedia process for more effective usage.

• (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.

• (The)Study of the Eastern Classic
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• no.56
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• pp.35-73
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• 2014

This paper examined the poem world of Simjae(深齋) Cho Geung-seop(曺兢燮: 1873-1933) in the turning point of the modern era, focused on his Hwaunsi (和韻詩: Poems written by using the rhymes of other poets' poems). In his poems, there are lots of Hwaunsi on the poems of Tu Fu(杜甫) and Su Shi(蘇軾), especially. This makes him regarded as a medieval poet, engaged in Chinese poem creation in the most traditional method in the turbulent period. Looking at the Hawunsi(和韻詩) alone, Simjae's creative life became the starting point of turnaround at around 40 years old. Before the age of 40, the poets in the Tang Dynasty and Song Dynasty and Ming Dynasty and Qing Dynasty and Korean figures like Lee Hwang(李滉), as well as Tu Fu and Su Shi were the subjects of his Hwanunsi. After the age of 40, some examples of writing poems using the rhymes of other poets' poems, especially Korean figures related to regions, are often found, reducing Hwaunsi on Tu Fu and Su Shi. Simjae called Tu Fu the integration of poets, talking about the integrity of poetic talent and his being highly proficient in mood and view. As reflecting such an awareness, the themes and moods and views are demonstrated diversely in Simjae's Hwaunsi. Although, he did not reveal his thinking about the poems of Su Shi, he seemed to love Su Shi's poems to some degree. The closeness to the original poems, the poems of Tu Fu are relatively higher than those of Su Shi. Roughly speaking, Simjae tried to find his own individuality, intending to follow Tu Fu, but, he seemed to attempt to reveal his intention using Su Shi's poems, rather than trying to imitate. To carefully examine, Simjae wrote Hwaunsi, but he did not just imitate, but revealed the aesthetics of comparison and difference. In many cases, he made new meanings by implanting his intentions in the poems, while sharing the opportunity of creation, rather than bringing the theme and mood and view as they are. The Hwaunsi on Su Shi's poems reveal the closeness to the original poems relatively less. This can be the trace of an effort to make his own theme and individuality, not being dominated by the Hwaun(和韻: using the rhymes of other poets' poems) entirely, as he used the creative method having many restrictions. However, it is noted that the Hwaunsi on Tu Fu's poems was not written much, after the age of 40. Is this the reason why he realized literary reality that he could not cope with anymore with only his effort within the Hwaunsi? For example, he wrote four poems by borrowing Su Shi's Okjungsi(獄中詩: poem written in jail) rhymes and also wrote Gujung Japje(拘中雜題), in 1919, while he was detained. In these poems, his complex contemplation and emotion, not restricted by any poet's rhymes, are revealed diversely. Simjae's Hwaunsi testifies the reality, in which Chinese poetry's habitus existed and the impressive existence mode at the turning point of the modern era. Although, the creation of Hwaunsi reflects his disposition of liking the old things, it is judged that his psychology, resisting modern characters' change, affected to some degree in the hidden side. In this regard, Simaje's Hwaunsi encounters limitation on its own, however, it has significance in that some hidden facts were revealed in the modern Chinese poetry history, which was captured with attention under the name of novelty, eccentricity and modernity.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.1-37
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• 2020

In this paper, we investigated the principle of appropriation by which mythology and literature were accepted in the unique religious context of The Canonical Scripture (Jeongyeong 典經). First, we knew that almost all of the gods that appeared in the discourse of Kang Jeungsan (姜甑山) were related to Eastern Yi (東夷) mythology and deeply rooted in folklore. This is because the cultural tendency and historic consciousness of Kang Jeungsan was influenced by Danhakpa (the Danhak School 丹學派). Secondly, when we investigated the acceptance of literature into The Canonical Scripture, we discovered that Tang Poetry (唐詩), Romance of the Three Kingdoms (Sanguoyanyi 三國演義), and Journey to the West (Xiyouji 西遊記) were widely accepted in Kang Jeungsan's discourse. These works were used in diverse ways such as predictions, healing, and meditation. We knew that popular classical work like these were religiously appropriated in the context of The Canonical Scripture. Lastly, we investigated the mechanisms by which mythical and literary imagination was transformed into the Jeungsanist religious movements. Those mechanisms included the magical power of letter and images, sense-cognition of poetry, and the representational ability of mimesis. In conclusion, mythical and literary imagination helped Jeungsanist religious movements gain popularity and spread Kang Jeungsan's soteriology. This is especially true of how it transformed into unique religious techniques which functioned as key elements of the Reordering Works (公事).

• (The)Study of the Eastern Classic
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• no.55
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• pp.115-145
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• 2014

In this paper, the transition of the status of Chinese novels and the change of the knowledge field in the modern times from the end of 19th century to the early 20th century, the transition period between the tradition and the modern times, have been investigated based on Liang Qichao's assertion of the Revolution of the Novel World. How the traditional novels have been evaluated, how modern novels enlightened a people and changed the political society, and what role novels acted in the change of the knowledge field are investigated. Especially I looked into the accumulations of knowledge and changes inside China which were overlooked in the previous researches which focused on the inflow of the Western culture and its impact on Chinese culture. Firstly the evaluation and classification of the traditional novels are considered. Because the transition of the status of novels and the classification method of the catalog of books are tightly coupled with the change of academic ideologies. Later I tried to understand novels as a way of thinking the modern times with a discussion on the changes of modern knowledge society and the consideration of Liang Qichao's Revolution of the Novel World in the two viewpoints, i.e. the relationship between novels and political society, and novels and the style of writing. Liang Qichao raised novels to the topmost position of literature. He pushed the traditional poetry off the top position and replaced it with popular novels. As the outside impact of Western culture made Chinese novels a tool for enlightening the ignorant people and the medium of propagating the knowledge, the status of novels was elevated to the highest level which novels had never reached in the past. With the limitation that the valuation was not based on the aesthetic appreciation of art but based on the value for politics and society, novel was a discourse of life and death to save the country and a container of knowledge to rebuild the people's mind and convert the crisis of the national ruin.