• Sijohaknonchong
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• v.26
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• pp.55-75
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• 2007

Sijo is the essence of Korean literature and the most ideal poetic form through which we can express our images gracefully in three lines. Hence it deserves special emphasis either in creative writing and appreciating it from elementary school to middle school. In this paper observes how Sijo is taught in the schools and suggests the direction of educating Sijo. There may be three kinds of Sijo performance, namely, recitation, reading, and singing. In this paper. it is claimed that the performance of Sijo in the twenty first century should be recitation. Sijo education may be effective when it focuses on a way of recitation in which, with natural and long breath, a piece of Sijo is recited at length. Nevertheless, it is not practiced as the way of recitation because of following two reasons. Firstly. the analysis on rhythm, which is on the base of its recitation, is extremely difficult. Secondly, the theoretical ways, which is obsolete and lacks vividness, are ineffective in education. By these reasons. 1 studied how to give a recitation following my preceding studies on rhythm and rhythmical reading of Sijo. As a result, this paper suggests a reading method as a solution to the problems. In fact, we Korean can discipline our mind and body through reciting Sijo to the rhythm which is transcendental to Korean and at the same time, Sijo education helps to enhance our pride as koreans in the process of studying Sijo.

• Journal of the Korea Convergence Society
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• v.10 no.1
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• pp.95-102
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• 2019

After liberation, several literary groups with the nature of the national culture movement joined in Japan in January 1948 to form the Korean-Japanese Joseon Literary Society. However, the Korean-Japanese Joseon Literary Society was unable to play an active role due to the suppression of the GHQ and gathered again as the Korean War Armistice Agreement was concluded in 1953. The institutional journal of the 'Korean-Japanese Joseon Literary Society' is published by changing the magazine name to "Munhakbo" in Japanese and "Joseon Literature", "Joseon Literature and Arts" in Korean. The national movement group of Korean residents in Japan and literature groups were reorganized in conjunction with the political situation in Japan and the Korean peninsula. The reunion of 'Korean-Japanese Joseon Literary Society' was also based on the appearance of 'Jochongnyeon (pro-Pyeongyang federation of Korean residents in Japan)' and 'conversion of line'. In this paper, we are to fill up the blank of the research on literature of Korean residents in Japan in the 1950s by identifying the reality of conflict between 'Jochongnyeon' and 'Mindan', meaning of 'Korean Writing' Movement as a subject of national movement and the issue of promoting self-esteem as a 'citizen of the Republic' that 'Korean-Japanese Joseon Literary Society' tried to convey to Korean readers in Japan.

• Journal of Korean Library and Information Science Society
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• v.53 no.2
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• pp.285-304
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• 2022

This study investigated Korean diaspora literature with the bilingual feature, which was published in a local language other than Korean, focusing on literature classification status in domestic library's materials. As a result of the investigation, domestic universities and public libraries that owned the diaspora literature materials were classifying the original work by the languages or focusing on the author's work. Nowadays, the Literature classification codes of KDC have on the language of the original work but no code on the author. Nevertheless, domestic libraries were classifying diaspora literature works by the author, not by the language of the original work, so that the same author's works were gathered in one place. This study proposes an option to classify "Korean national literature" that covers Korean diaspora literature and Korean literature into 810 of KDC to resolve the confusion in the classification of Korean diaspora literature. However, this option is a trial proposal for libraries with special needs for Korean diaspora literature classification, and further investigation and research will be necessary to apply this option.

• Sijohaknonchong
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• v.23
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• pp.5-32
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• 2005

The life of man is being changed with the changes of the times. The man struggles to enjoy the blessing of peace and lives as a member of a nation. So he has the national characteristics. In that national characteristics is the national emotion. From the emotion the national poetry is created. The poetry has the conventional form. This form is regarded as Sijo(時調). The Sijo was prescribed as the organization three sections. But this prescription is false. This form is the organization of five sections. When the false prescription is corrected, we have our conventional poetry form and create our own poems.

• Cross-Cultural Studies
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• v.48
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• pp.31-66
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• 2017

This study examines ways of recognizing and aspects of describing Korean modern literature revealed by each literary history from the viewpoint of 'transculturation', focusing on Lim Jeon-Hye's "History of Korean Literature in Japan until 1945", Shirakawa Yutaka's "Footsteps of Korean Modern Literature", and Saegusa Toshikatsu's "Taste of Korean Literature" from the history of Korean literature written in Japan. First, Lim Jeon-Hye periodically examines Korean literature written in Japan, focusing on literary activities of Korean students in Japan and the proletarian literature movement, and addresses points of active cultural negotiation, mutual understanding and political solidarity between Korea and Japan. Shirakawa Yutaka focuses on the concurrency and connection of Korea, China, and Japan in the process of modern literary formation, covering Japanese language literature and pro-Japanese literature with great care, and describes the middle-layer position as a mediating researcher in the conflicting boundaries between Korea and Japan. Saegusa Toshikatsu provides interesting transcultural momentum in exploring internal logic and denotation of Korean literature via comparative literature review encompassing East Asia, implementation of literary forms and themes connecting tradition and modernity, and an out-of-boundary point of view to overlook 'pro-Japanese literature', etc. Transcultural aspects in this literary history to examine are as follow. First, the history of Korean modern literature based on 'national literature history' is catabolized in the magnetic field of the 'colonial experience' and 'national nationalism' and considered in multifaceted context. Second, they provide the possibility of three-dimensional and micro-narrative description of literature that complement the narrative aspect of existing Korean literature history. Third, they provide an opportunity to expand and open the description of literature history through acceptance of comparative literary perspectives encompassing East Asia. Fourth, through discovery of Korean-Japanese literature and Japanese language literature, they contribute to broadening the history of Korean modern literature and enriching foundations.

• Sijohaknonchong
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• v.22
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• pp.143-171
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• 2005

Sip and Byul-Gok (New tunes), as folks musics, are musical concepts opposite to that of the Court musics. They have the tunes. typical and universal. and Byul-Gok for singing. has the words in which the properties of melodies in the structures of compositions are reflected harmoniously. The Song. or Shiga. in Koryo-Sa, History of Koryo. Acjee and Acjanggasa. named ByulGok. is divided into two types. according to the characteries of the forms.: Koryo Sokyo. or the folk songs in Koryo. such as Chengsanbylulgok. and Segyoungbyulgok. and Kyonggichega, or nobility songs in Koryo and Chosen Dynasty. such as Hallimbyulgok. Kwandongbyulgok. and Jucgyebyulgok. In addition. Gasa. or the nobility and folk songs in Chosen Dynasty. such as K wandongbyulgok. also has the title. Byul-Gok. Even though these types of the songs have the same tittle. Byul-Gok, it is not appropriate that Byul-Gok is used as a term described as a branch of the literature: in light of music. they have the properties in common in the sense that they are opposite to the Court music. but. in light of literature. their forms are very different from one another. Therefore, it is appropriate that they are classified according to the characteristics of the forms, winters, the ideology of people who enjoy them, and periods: Sokyo, Kyonggichega, and Gasa. Byul-gok means not only the folks songs opposite to the court musics, but also the songs by setting words to the melodies present. Orignal tunes and their new tunes are not different musical compositions, but the same ones with the melodies which Korean acquired transcendentally. It is general tendency, at those times, that after compositions were made, words are set to them. Such words represent the politic thought in which courtesy and music are considered important. and the spirit with which the ruler and the people enjoy together.

• (The)Study of the Eastern Classic
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• no.59
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• pp.9-32
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• 2015

The purpose of this paper is to study the development process of our native verses from the Three Kingdoms Period to the Goryeo Dynasty. The contents of the discussion can be summarized as follows. Typical form of "Sanega" from the Three Kingdoms Period to the late Silla/ early Goryeo Dynasty is a well organized 3-layered structure representing the contents of enlightenment of a high priest. Sanaega has a poetic style characterized by distinct literary features compared to other native verses in the same era. The reason is that 10-line Hyangga improves its poetic level as it is aware of Chinese poetry. As it enters the Goryeo Dynasty, this literary composition starts to change. In other words, Sanega declines and quatrain emerges in the front of literary history. Unlike the Three Kingdoms Period ~ the late Silla/ early Goryeo Dynasty, development of quatrain results from that native verses enhances the characteristics of song rather than poem in the Goryeo Dynasty. Native verses form the mutually complementary relationship by adjusting the position as the song rather than competing with it as the poem as Chinese poetry becomes more common. In the Goryeo Dynasty, Sanaega declines and Sijo emerges in literary history, because native verses have been developed in the poetic form to freely express general emotion and to be more loved from the public. It is in the same vein as a native verse in the form of quatrain raises its vitality by enhancing the characteristics of the song through the adjustment of its position compared to Chinese poetry.

• Sijohaknonchong
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• v.19 no.1
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• pp.63-84
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• 2003

The purpose of the thesis is to clarify the basis and the substance in Sijo of the fixed form of verse. Sijo has the fixed form of verse in the national identity and the subjectivity of the culture up to now. To examine problems suggested above. at first in the point of the culture I researched the continuation of Sijo to the fixed form of verse in 21th centuries. And in the point of the education of Korean I classified into the subjectivity. Through the modem poetry I came to find out that the modern Sijo is displayed the originality between the modem poetry and the ancient Sijo today. To sum up I researched the substance and the originality in Sijo in 21th centuries. In order to study the originality in the basis and the identity in Sijo which have succeeded up to present without interruption, it is to gather more materials, widen an appreciative eye for our culture and deepen the till now study continuously.

• (The)Study of the Eastern Classic
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• no.62
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• pp.67-85
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• 2016

This paper review literary trend in the late Yuan and the early Ming dynasty and the position of Song lian 宋濂's literature in that time. Analyzing his literary theory chronologically, this paper were able to reveal that Song lian had falled into ancient prose of the Chin and Han dynasty for a long time. He have been symply summarized as a confucian literary man, but he could not extricate himself from ancient prose during youth and his manhood. It was only after that he met his teacher Huang jin 黃? and withdrew into the six confucian classics and began to have a view of literature based in confusian. But he still wasn't able to rid himself of the temptation of ancient prose. At the age of fifty, assisting Zhu Yuanzhang 朱元璋 in founding Ming dynasty, he's built up his own view of literature based in the Six Confucian Classics 六經, confucian scholars during the Song dynasty, ancient prose of the Tang and Song dynasty like as Hanyu 韓愈 and Ouyang Xiu 歐陽脩's works. In short, undergoing a complete transformation individually and historically through a tumultuous period of the late Yuan and the early Ming, Song lian could establish his own view of literature based in confusian and present ideological coordinates and a new model of the Ming literature.

• Cross-Cultural Studies
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• v.48
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• pp.1-30
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• 2017

The purpose of this study is to review two books on the history of Korean literature written in Japanese, taking special interest in ancient Korean literature, examining transcultural patterns between the history of North and South Korean literature and that of Japanese literature, and thereby identifying perceptions and description patterns of the history of Korean literature from the perspective of comparative literature. This study analyzes two books with the same title The History of Joseon Literature written in Japanese by Kim Dongwook and Byeon Jaesoo. The two books are not translations of Korean books but were written in Japanese for Japanese and ethnic Korean readers in Japan. The History of Joseon Literature (1974) by Kim Dongwook mainly compares Joseon literature with Japanese literature. The History of Joseon Literature (1985) by Byeon Jaesoo, an ethnic North Korean in Japan, was written from socialistic perspectives. The two books have different standards for evaluating value of the history of Joseon literature and different perceptions about it. Due to the division between North and South Korea, the history of literature is unfolding in different ways in the two Koreas, and the two books reflect such differences. However, they have several common features. For example, they highly regard the value of literature written in Chinese characters and originality of hangga (a folk song of Silla), Hangeul (the Korean alphabet), and pansori (a form of Korean folk music in which a singer accompanied by a supportive drummer sings and chants an epic story). In addition, they both demonstrated that literature written in Hangeul and that written in Chinese characters interacted with each other as the same Korean literature. When the two books were written, the history of Korean literature had been considered a subunit of the history of East Asian or Chinese literature. However, as this study found, Kim and Byeon wrote the two books from a perspective of departing from this view based on nationalism, re-establishing the value of Korean literature, promoting Japanese people's understanding of the high quality of Korean literature, and imbuing ethnic Koreans in Japan with nationalistic pride.