• (The)Study of the Eastern Classic
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• no.34
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• pp.133-165
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• 2009

'Travelogue to Shenyang(瀋陽日記)' is a documentary literature that Seon Yak-hae (宣若海) who was a military official of Joseon(朝鮮) Dynasty, described matters happened in Shenyang when he visited there as an envoy during early 17th century when Qing(淸) Dynasty and Ming(明) Dynasty coexisted and had diplomatic conflict with Joseon Dynasty. This documentary literature is included in the data collection of China that gathers important historical data of China and has been published and delivered in China, but it hasn't caught attention in Korean academic society. There's another 'Travelogue to Shenyang' which is known in the academic society that is a record of eight years of hostage period of Crown Prince Sohyeon and his group in Shenyang. However, this 'Travelogue to Shenyangl' of Seon Yak-hae is a record of Joseon and other countries' status at that time as well as the Joseon intellectual's activities while visiting Shenyang before the outbreak of the Manchurian Invasion (to Korea) in 1636. Seon Yak-hae who wrote this 'Travelogue to Shenyang' recorded his successful works as an envoy with proud, and showed a unique appearance as a military official and intellect who wanted to observe political and military status of Qing Dynasty secretly and report to his country. Since he was an intellect who had military background, he responded bravely when dealing with diplomatic problem and collected data strategically. He also had the ability as an intellectual official, so he wrote realistic articles and also wrote some poems to express his honest feelings in this peculia Travelogue. Therefore, this ' Travelogue to Shenyang' has both values as a historic records that showed diplomatic status of Joseon in the 17th century and literature records that showed unique spirit to record as an intellect who also had military mind.

• The Journal of Korean Philosophical History
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• no.35
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• pp.415-443
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• 2012

The moral instruction expresses and conveys a abstract objects so called moral. And it pursues occurrence of moral meaning contained a emotion. In these respects, there is a resemblance between moral instruction and artistic symbolic language. Meanwhile, the poetry are a typical form of artistic symbolic language, and especially poetic symbolism is a representative and possible way that expresses accepting a meaning of abstract objects. Then a moral instruction needs to be poetic symbolism. The poetic symbolism that a moral instruction intends to resemble is a linguistic expression, but at the same time that is a expression beyond a linguistic limitation for conveying the metaphysical meaning. For this, the poetic symbolism reveals visible and concrete vehicles that imply invisible and metaphysical tenor. At this point, poetic symbolism is characterized with sameness, implicitness, polysemy, context, allness. The poetic symbolism having these characters appears personal symbol of poet as combined with creative imagination, and is experienced poetic meaning as combined with creative imagination of reader. The moral instruction as a poetic symbolism offers learning experience similar to poetic experience. The moral instruction as a poetic symbolism would be constructed not a logical or prosaic explain but symbolic form that can draw various moral meaning. For this construction, first, we might find a symbolic media for materialization of teaching contents. Second, moral teaching should be constructed to be searching moral meaning of symbolic media. Third, moral teaching should be constructed to be interpreting moral meaning of symbolic media. When teacher can construct moral instruction as possible as similar to poetic symbolism, student can learn moral meaning combined with emotion through their response and interpretation to the teaching. It is very similar to good poem that is sympathized and accommodated poet's theme by reader.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.135-156
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• 2010

In the 1640's and 1650's, Milton wrote many prose works on a variety of topics such as education, church polity, divorce, censorship, regicide, tithing, civil liberty, and blindness. Much of his prose shows us turbulent decades of English history. In this period, he also published his first collection of poems and wrote sonnets. He wrote 23 sonnets in his life, and many sonnets Milton wrote after he had become Latin secretary are occasional poems in historical time. Milton's sonnets, as Annabel Patterson says, are a marker in his personal development, in his life, in his career as a writer, and in the history of his time. Four sonnets (15, 16, 17, 23), written between 1648 and 1655, were not published in the collected edition of Milton's poem in 1673. These sonnets, addressed to leaders of the Parliamentary party during the English revolution, Thomas Fairfax, Oliver Cromwell, and Henry Vane, and to his friend Cyriack Skinner, have been known as "commonwealth" sonnets. They are also called as "heroic sonnets" because they have the common style and theme with his later heroic epic poems. These sonnets were finally published in 1694 by Milton's nephew John Phillips. Milton was interested in religious, domestic, and political liberty for his lifetime, and his heroic sonnets also deal with these ideas of liberty. Milton asks civil liberty from Fairfax, freedom in religion from Cromwell, and from Vane for the reconciliation of both. The aim of this article is to examine how the rhetorical strategies of his "left-handed" prose interact with those of his "right-handed" poetry. This paper explores the relationship between Milton's heroic sonnets and his prose works, such as The Second Defense of the People of England, A Treatise of Civil Power, and The Likeliest Means to Remove Hirelings. Milton deals with the critical issues of religious tolerance, the separation of church and state, liberty of conscience and defense of his blindness, and attempts to define the statesman's role in peacetime England in these heroic sonnets and prose works.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.110-118
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• 2015

Borimsa Temple in Jangheung, one of the Goosanseonmoon of Shilla Dynasty, calls for a study in the field of landscape architecture because it has very significant elements in cultural and ecological landscaping aspects. This study examined the changes in landscaping elements of Borimsa Temple since the 17th century in order to newly recognize cultural landscaping value of space composition elements for traditional temple and to verify landscape architectural position. For research method, literatures such as Sajeonggi (事蹟記), Joongchanggi, a surveyed map by Fujishima Gaijiro in 1928 and Joseon Gojeogdobo (朝鮮古蹟圖譜) and modern documents including Borimsa Temple Precision Ground Survey Report and photographic records of National Archives of Korea and provincial governments were examined together with a field survey in order to trace changes in landscape elements such as buildings within the temple site, pond and temple forest. The results are as the following: First, for geographical locations of Borimsa Temple, it is located in an auspicious location and Shipyuknahansang and Cheonbul were placed in a supplementary purpose according to the contents of Bojoseonsatapbi. Compared to Namhwaseonsa Temple in China, it has a similar environmental composition but the fact that buildings were placed on platforms is a distinctive difference. Second, architectural landscape of Borimsa Temple went through the Japanese colonial era and Korean War and still going through changes today. Thus, there shall be some appropriate measures such as to establish an archive of past landscape data. Third, the contents of Borimsa Temple Sajeonggi suggests that the pond of Borimsa Temple had been in a indeterminate form with stones on the outer edge. Its name could have been Yongcheon (湧泉) according to the contents of Joongchanggi. Also, the current landscape, in comparison with past photographs, is a result of changes from surface raise occurred by ground reinforcement within the temple site. Fourth, Jangsaengpyoju (長生標柱) mentioned in Bojoseonsatapbi and Borimsa Temple Sajeonggi was thought to be the dried juniper tree in front of Daewoongbojeon, which can be found in past photographic documents but, it is now assumed to be Seokbihyeong (石碑形) considering the Gukjangsaeng and Hwangjangsaeng of Dogapsa Temple of the similar time period. Moreover, Hongsalmoon mentioned in Joongchanggi was established by King's order after the Manchu war of 1636 in praising of Buddhist monks those who had volunteered to fight for the country. Fifth, it is apparent in Borimsa Temple Joongchanggi that geomancy was a consideration in landscaping process of Borimsa Temple, and the record indicates that pine trees, bo trees and persimmon trees were planted. Sixth, tea tree forest was verified of its historical root that is Seongchailyeo from Unified Shilla through passing down of Jeong Yak-yong's Goojeunggoopo method and relevant documents of Seon Master Choui and Yi Yu-won. Seventh, nutmeg tree forest suggests that nutmegs were used in national ceremonies and for medical uses. The nutmeg tree forest was also verified of its role as Naehwasoorimdae (a forest built to prevent fire from spreading) through aerial photographs and placement of a forest reserve.

• Sijohaknonchong
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• v.25
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• pp.49-73
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• 2006

The poetic theme is a unified principle of which a poet writes poems out in his work. Theme is a poet's central thought expressed in his works. And it was described on the basis of writer's view of the world and life. In this study, I divided the themes of modern Sijo into three kinds according to the materials for a poem. Especially I am interested not so much in the poems taking outer problems of human life for the subject of a poem as in poems dealing with fundamental problems of human life such as self-consciousness, death, God's presence. Firstly, in modern Sijo which deals with poet's self-reflection and self-consciousness as a poet, poets examine himself. And he intends to write poems more severely. The more poet reflects self-consciousness, the more earnestly he tries hard to write good poems. As a poet. he feels complication between real-self and ideal self, so he tries to conquer the shame made in the gab of them. And he takes writing poems into his divinely appointed work in life. A kind of meta-Sijo is written in this circumstances. Secondly, there are modern Sijo, which shows deep concerns in death problems of human life. Thanatopsis expressed in modern Sijo is connected with poet's personal experiences. In most cases, poet describes fragmentary thoughts, sorrows and agony after death of his intimate persons. In Sijo, however, poets don't dig Into the death problem deep enough because of the characteristics of genre. But it is very significant work to take various materials of death into poetic themes in Sijo in that it makes us to reflect of human attitude of life. Thirdly, the poetic themes of dealing with fundamental problems of human and God are expressed in Sijo based on Christian view of the world. In such a poems, poet complains to God who looks in illogical human situations as a spectator of vulgar realities of life. But ultimately. poet expresses deep affirmation and obedience of God in his poems. So he manifests Christianity by the poetic paradox. Such poems change over the theme of modern Sijo the superficial Problems of reality to the deep situation of life.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Journal of the Korean association of regional geographers
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• v.6 no.3
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• pp.53-81
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• 2000

The purpose of this study is to examine the chracteristics of the location of Zen Buddhist temples which are the Nine-Mountain Sects of Zen(九山禪門) from feng-shui perspective. A large number of temples have been built for about 1600 years since Buddhism had influenced on Korea. They have been built nationwide in different times by different sects of Buddhism. The pattern of location of Buddhist temples is different according to background of the times (political, economic, cultural aspect) and of tenet(difference in sects of Buddhism) when the temples were built. But the general location of Korean Buddhist temples is in accordance with feng-shui theory. Feng-shui is a traditional geographic thought in China and Korea. It is necessary to understand feng-shui in order to understand Korean landscape and cultural geography. It had given a tremendous impact on Korean landscape through choosing site of cities, settlements, houses, mounments, temples, pagodas, and so on. Before feng-shui was prevailing in Korea, Buddhist temples were mostly built on sacred place which was connected with folk beliefs. In the case of the late Silla Dynasty when Zen Buddhism was prevailing, feng-shui became popular and many. temples were built in accordance with feng-shui. The typical examples are found in the site of Nine-Mountain Sects of Zen temples. The interpretation of geomantic site of Nine-Mountain Sects of Zen temples will show us how feng-shui was applied to and reflected in the Korean peninsula. In Zen Buddhism, feng-shui was applied to the choice of the temple site. Also feng-shui theory was usually used to choose the site of stupa(Budo) where the remains of the founder of sect. In this study, I will interpret the geomantic characteristics of Nine-Mountain Sects of Zen temples. The geomantic interpretations of the temples are as follow. 1. The temples are located at the foot of a hill with surrounding mountains and a watercourse in front. Feng-shui texts often describe it as an ideal site. This geomantic situation is well equipped with natural drainage; protection from cold wind from the north or evil spirits; a good view with open space to the front; protection from unnecessary weather damage; and security and protection from strangers and invaders. 2. The sitting and facing direction of the temples correspond to the oncoming dragon's direction. 3. Many feng-shui texts discuss the types of Sa(surrounding mountains) in detail and morphologically describe them with certain animate and inanimate auspicious objects. In case of Nine-Mountain Sects of Zen temples, the geomantic landscape of these can be compared to auspicious objects. This is morphological marker for the description of configulation features of these temples. 4. Most auspicious places are not perfect, but the shortcomings can be overcome by many means. We can observe modification of landscape for the purpose of fulfilling the geomantic harmony of the temple.

• Cross-Cultural Studies
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• v.43
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• pp.429-457
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• 2016

This article is an analysis of the status of the modern Korean novels translated into Chinese over the past five years and how they are perceived by readers. Translation of modern Korean novels over the past five years has a few important characteristics as the following. The first characteristic is diversity. Books written by the most representative modern Korean writers, like Lee Gwang-soo, Kim Yu-jung, Kim Dong-ri, and books of the authors with very unique ideas, such as Park Kyung-ri, Lee Mun-yeol, Shin Kyung-suk, Gong Ji-young, Kim Young-ha, Park Min-kyu, Cheon Myung-gwan, and Kim Ae-ran have been translated and introduced to the Chinese population. Secondly, there are active translation of the books written by female writers. Lastly, without the support of the Literature Translation Institute of Korea or the Daesan Foundation, the number of works translated and published is slowly increasing. As a result of the increasing number of translations, the quality of translation is improving. However, interest on the part of Chinese readers in the modern Korean novel is not very high. But, the works of authors like Kim Young-ha, Cheon Myung-gwan, Kim Ae-ran, and Park Min-kyu, who began their literary careers after the mid-90s, are drawing relatively more attention. The common features of such works are the novelty of the narrative methods, attachment to reality, and readability. The interest shown by Chinese readers is significant in explaining the two following factors. First, it is true that many modern Korean novels are available in China, but only those that have been read will continue to be read. Second, the indifference of Chinese readers to modern Korean novels is because they are not yet aware of the existence of such works. It is important to train professional translators who can properly translate literature and also to focus on introducing the differences in modern Korean novels through canonical translation. To achieve this aim, not only supportive policies, but also cooperation between researchers in the field of modern Korean literature, translators, and publishers is essential.

• The Korean Journal of Archival Studies
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• no.59
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• pp.207-275
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• 2019

This archiving project of the survivors of suicide was done with the survivor supporting team of the Seoul Suicide Prevention Center. The survivor supporting team was operating a Self-help Support Group for the emotional support of the survivors of suicide. A Self-help Support Group is a place for the survivors of suicide to regularly meet and share their suffering by talking of topics hard to discuss elsewhere. As the Self-help Support Group progressed members who acted as the leader of the group appeared. They formed an essay group that writes together. Two fathers who lost their sons, two mothers who lost their daughters, a mother who lost her son, a wife who lost his husband. The essay group met each week in a place facing Sajik Park. Through the windows that took up the whole side of the room, evening was coming in. The things that happened during the day went away towards Inwang mountain following the setting sun. Ten people (six members of the essay group, three from the survivor support team, a historian for unique conversation) sat around a table, facing each other. "Now, what shall we do?" History for unique conversation is a time that archives life by sharing conversations. At times a complete stranger, and other times people who share their ordinary lives sit around together (3-9 people, sometimes about 15). On the table there is coffee, bread, fruits and salads, and sometimes a dish someone heartily prepared. When a bottle of wine is placed on the table, each takes a glass. Morning, afternoon, the time the evening is welcomed in, late night. It does not matter which. For six months, 3 hours when meeting every week, 6 hours when at every other week. A room where the ambience is like that of a kitchen where sunlight enters, or a cozy living room is the best location. However, there are many times when it is held in a multipurpose room in the suburbs where many meetings are held, or in a classroom of a school. The meeting place is decided according to different situations of the time. There are no participation requirements as it is said to be for themselves to write down according to archiving form while looking back their lives thoroughly, and they are the only ones to stop themselves. The archives landscape from far away would seem like trying to do some talking. However, when going into a microscopic situation one must leave themselves to the emotional dynamics. It is because it archives the frustration and failures one experienced through life. A participator of history for unique conversation must face the sufferings of their life. The archiving project took place in 2013 to 2014. Many years have passed. Has the objective distance for archiving the situation of that time been secured? That may be uncertain, but I will speak of a few stray thoughts on archiving while depicting the process and method of operation.