• Sijohaknonchong
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• v.22
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• pp.115-142
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• 2005

Woman is individual than social. passive than active and defensive than offensive. In addition. they taught that these characters are femine in the middle ages and the feudal ages. The closed and limited society was common to women in the feudal society. But there were many classes in women society from the humble maids to the queen in Chosun Dynasty. And Kisaeng(a singing and dancing girl) was free in comparison with the noble women. But Kisaeng were also limited as woman. They could write literary works according to the playing with poems and something like that with the men of intellectual class. But this also gave them sorrows. In the feudal Chodun Dynasty. men recognized the noble women specially and this is the special quality of Chosun. The Confucianism which was the existense thought of Chosun. discriminated between men and women. But women studied secretly and wrote poems pouring their thoughts and emotions. Maechang wrote many Shijo (Korean verse) with the delicacy description and the real expression. The reason Chosun woman Maechang could wrote Shijo which is free from the feudal limitations is that she was Kisaeng, She had a love as a Kisaeng who had to play with the intellectual men. But she loved Yu hee-kyoung. So she preserved chastity for him and waited only him. This is the love of both body and soul. And love with Hu kyoon friendship which is far from love. The limited love because of the spatial parting and the discrepancy of the social position is the most sorrowful. 10 years love with the intellectual men such as Hu kyoon is a friendship with poems. It was not love, so they had to temperate. So they love each other as a literary friend. We can see the feminist Hu kyoon, and see Hu kyoon who loved the literature and assert the renovation. Maechang was free from the chastity but she preserved it because of her proud. She dreamed the fairyland as Hunansulhun. Because she couldn't realize love. She ended her literature and Kisaeng life at 38 years old. There are literature of nansulhun as a noble woman and of rnaschang as a Kisaeng in Chosun Dynasty.

• Sijohaknonchong
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• v.43
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• pp.177-206
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• 2015

This paper is written in order to research for the contents and expression of HanYongUn's Sijo. HanYongUn is very famous as monk and independent campaigner, modern poet in Korea. He wrote many kinds of literary works, for example, many modern poetry, modern novels, Sijo, Chino-Korean Poetry etc. It's very exceptional that he wrote a lot of Korean traditional Sijo and Chino-Korean Poetry. Because he was a many modern poet as same as modern novelist. So studying on his Sijo can help someone to understand the essence of HanYongUn's all literature. That's why I'm studying on HanYongUn's Sijo. The firstly, in aspect of the the contents of HanYongUn's Sijo, HanYongUn was expressing three kinds of themes, that is ideology, reality, daily life in his Sijo. The ideology consists of Buddhism and Confucianism and the reality is related with social conditions, the daily life is deeply connected with Nim. These features of his Sijo are different from his modern poetry and Chino-Korean Poetry which had a simple theme, for example, love with Nim, daily life. The secondly, in aspect of the expression of HanYongUn's Sijo, I studied the expression of HanYongUn's Sijo in three angles, that is, vocabulary and the developing of poet thinking, rhetorics. HanYongUn used essential words for expressing three kinds of themes effectively in his Sijo. And he was developing of his poet thinking by three steps in his Sijo. He applied several representative rhetorics to his Sijo, those are question and answer, exclamation, irony, distich etc. Even though I studied the characteristics of HanYongUn's Sijo in two aspects But there could be the other things to study about these kinds of theme. I might continue researching the other kinds of theme next time in the near future.

• The Journal of the Convergence on Culture Technology
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• v.1 no.1
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• pp.37-64
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• 2015

This technical research paper attempts to examine literature therapeutic significance of Sijo. This research analyzes how the therapeutic mechanisms of literature or sentence can be physiologically applied to human nerve system. To study such interactions between therapeutic mechanisms of literature and human physiological mechanisms, diverse on- and offline Sijo activities, such as a Facebook group "Sijoya Nolja", were studied, as well as various publications in literature and medicine. For the three years this research was being conducted, 27 out of 488 Sijo poets debuted through Sinchunmunye, and many have gone professional through various contests. 19 of them became members of Sijo Poet Associations of Korea, with globalization of Sijo in mind. Their aggressive activity proves that the quality of live was elevated through literature therapy. The therapeutic effects are especially dramatic for older authors, and authors with traumatic experience. Through this research, Sijo turned out to be a form of literature with the quickest effect on elevating quality of life. To solve problems such as depression, emotional isolation, and other mental conditions, literature therapy through Sijo should be implemented, and therapeutic approach of literature should be more professionalized.

• Sijohaknonchong
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• v.23
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• pp.213-239
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• 2005

Si is a genre which has been steadily loved by Korean, Particularly, 1920's through 1930's, the Revival Movement of Sijo is made by the school of Literary for People, including Choi Namseon, Lee Byeonggi and Lee Eunsang. And Kwon Goohyeon, a member of KAPF, and Han Yongwoon, not belonging to any literary group were interested in Sijo. Kwon Goohyeon, both a member of KAPF and an anarchist has published A Present of Black Room(1927), which is one of the two published in 1920's-1920's saw only two volumes of Sijo works be published: Choi Namseon's 108 Agony(1926) and Kwon's. However, Kwon Goohyeon's work has not been illuminated. compared with Choi Namseon's and the Revival Movement Sijo by the school of Literary for People. It is because Korean literary world has been under the anti-communism ideology since the Liberation of Korea. However, it caused to explore proletarianism Sijo (Joh woon) and proletarianism poetry (Park Yeonghee) that Kwon is a memeber of KAPF and an anarchist. Han Yongwoon, not belonging to any literary group, was very famous as the poet of My Belolved One's Silence(1926), not as a Sijo poet. It means that he s not been illuminated as a Sijo poet. However, his Sijo is enough to contain his various features such as a man of Independence Movement, a Buddhist monk, a lyrical poet and so on. His first Sijo is For Planting Mookoonghwa-Poetry Written in Prison(1922), which has been published four years prior to My Beloved One's. And his affection on Sijo is inferred from the fact that he has constantly published Sijo more than free verse. The aim this thesis is to find out a position of Sijo 1920's through 1930's from a study on Kwon Goohyeon's and Han Yongwoon's Sijo. Sijo, Korean traditional literary genre, was written by most of the poets including not only the school of Literary for People but Kwon Goohyeon and Han Yongwoon 1920's through 1930's. As a result, the writing of Sijo was not a partial movement by the anti-KAPF group, but by a paradigm in 1920's through 1930's.

• Sijohaknonchong
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• v.25
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• pp.129-144
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• 2006

The purpose of this paper is to reveal the rhetorical features of the Chosun Sijo through researching them. A poem has been made by imagination and rhetorics which are based on the poet's experience. The qualifies of the Poem have been determined by how the poet described the object oddly. So it is essential for the poet to struggle to make embellishments and artistic skills when he or she makes a poem. But the Chosun clerisy ostracized the poet who was trying to do these things mentioned above, which was a kind of special poetic point of view the Chosun clerisy had. They recognized embellishments and artistic skills as a resort to petty trick as a result of their sticking to the external form of the objects. The reason they thought them like this was that the Chosun clerisy thought the embellishments and artistic skills could show the self-pride and self-righteousness. Also, there were concerns on the distortion of the object nature by the artificial concoction. Because they can interrupted and distorted the stream of feeling and the original meaning, the artistic skills mush not be recognized as the artistic skills of itself. As a result, they valued the poem made from restraining the rhetoric and artistic skills. They valued the poem which had common words related people's daily life, but was able to feel the simple Lyricism. The poem based on these features has remains as a work which makes people enjoy the nature, and face their life without any resorts, and which has the natural leeway.

• Sijohaknonchong
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• v.26
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• pp.7-24
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• 2007

The poetic world of Jeong Wan-yeong, Baeksu in pen name, is commonly said to be a mirror of the Oriental world of thoughts. However we haven't had any scientific article to support this point. My research is aimed to verify this point. The conclusions of my research are as follows : First, each persona in his sijo work complies to nature, revealing himself in harmony with the principles of nature, and lost in nature. Second. Baeksu, in his sijo works, regards two conflicting ideas as complementary ones, which was called the theory of 'Bangsaeng(方生)' by Chung-tze(莊子), and was called the theory of Origin(緣起說) by Buddhist philosophers. Third, Baeksu located his home town in a space of the supernatural world. which is similar to that of 'Muhayujihyang(無何有之鄕)'called by Chung-tze. From these points, it can be said that the ideas of Chung-tze and Buddhist philosophers are deeply permeated in his sijo works.

• Sijohaknonchong
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• v.43
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• pp.41-66
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• 2015

A study on rhythm of a sijo was mostly conducted based on rhythm theory. As it is considered to define the rhythm of a formal sijo based on three verses, its significance has been recognized. However, if rhythm is understood to be superior to cadence or versification, it seems necessary to examine the rhythm of a sijo as a verse with a fixed form as well as a highly individual rhythm of each and every lyric poet, which is informal rhythm, in order to fully understand them. In this case, prosodie analysis by H. Meschonnic (1932~ 2009) can be a significant methodology. As this study gropes for a possibility to examine the rhythm of a sijo from a new perspective instead of existing rhythm theory through the application of H. Meschonnic's prosodie analysis, it can be regarded as an essay. Prosodie newly suggested by Meschonnic is referred to as linguistic organization of consonants and vowels and indication of their paradigm, and it conflicts the perspective that traditionally separates linguistic sound from meaning for dichotomous understanding. It is due to the fact that the organization of consonants and vowels is a unit that constitutes a complicated layer of significant sound and meaning. Accordingly, prosodie analysis that is irregularly and aperiodically distributed within poetic text can be considered as methodology aimed at explaining how a poem is integrated in terms of sound and semantics. The core of prosodie analysis is to examine how the phonologic system stands against the theme of a poem. It ultimately has the same way of establishing literary style of a poet as it is to explain a unique aesthetic structure that individual poems have and show distinct characteristics of linguistic use by a poet. Prior to application of the prosodie analysis to sijo in general, the study preparatorily conducted prosodie analysis on < Ouga > by Gosan Seon-do Yun.

• Journal of Korean Language Education
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• no.42
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• pp.323-368
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• 2018

This study is based on the view point of diglossia that Chinese writing held a higher position than Korean language in the Joseon Dynasty, especially during the 16th century. Diglossic writers were focus on and the implication of diglossia in literacy education was examined. In particular, the diglossic literary features of Korean poetry and songs were examined, with a focus on differences in the authors' gender: female(Hwang Jini and Heo Nanseolheon) and male (Lee Hwang, Jeong Cheol and others). In the case of diglossic literature written by male poets, their Hansi and Sijo had quite different subjects. In addition, their Hansi, which was the exclusive property of noblemen, was largely based on their lives. However, the female poet Heo Nanseolheon covered wider range of subjects and used the first-person point of view, even when the content was not based on her actual life. In particular, she wrote Hansi as lyrics for Korean songs and thus, some of her Hansi can be enjoyed through singing. This differs considerably from the work of male diglossic writers. Furthermore, this tendency can be seen in the history of Hansi after the 18th century. Another female poet, Hwang Jini free from Neo-Confucianism, depicted her free thoughts and expressions in Sijo and reflected various poetic speakers' situations in both Sijo and Hansi. This is especially interesting since women were considered to be of lower social class at that time; these two female poets did not just refuse to follow the writing patterns of male noblemen, they also applied the characteristics of Korean poetry and songs to Hansi and disrupted the traditional characteristics of Hansi. In current education, the 2015 revised national curriculum put emphasize on understanding not only the scope of functional literacy, but also the principle for enhancing critical perception with respect to understanding the ways of communication of power and hierarchical structure. This can be considered a good principle, although mainstream literature does not pay attention to it. In addition, it can be applied through self-internalization and an acceptance of literature in school education by using the spoken language culture that students generally prefer in digital media. Highlighting the perception of advantages and characteristics, when minority statuses are linked to artistic freedoms to flout current prevailing values and cultural tendencies, can enhance not only classical literature literacy but also improve students' characteristics and competency.

• Sijohaknonchong
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• v.23
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• pp.133-159
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• 2005

This thesis is about Sijo(traditional Korean poem) made-up of 35 volumes and 45 poems written by Han Yong-un. The aim of this study is reappraise the Sijo which is not known to Korean people. There are four thesis about Sijo so far. Ko Myeong-su divided Sijo into separate subjects and researched it very deeply. After I read the Chinese Poems of Han Yong-un, I researched the relationships between subject matter and its theme. The relationships are between the moon and religion, spring and aspiration, autumn and grief or lose, and the sword and patriotism. I chose to discuss a Sijo 'Mugunghwa Shimeukwajeo'(무궁화(無窮花)를 심으과저) shich deals with the moon and religion. The main subject matter of this S is the moon. There are three poems in this volume. They are all about the moon. There is a Mugunghwa (無窮花) on the moon. This poem asserts that the moon is good for love, and it is the subject matter of the poet's religion. The moon in the Chinese poem 'Okjungkamwhiy'(獄中感懷) believes there is hope in prison. The moon in 'Wolbang(月方中) is Buddhist thinking. I researched 'Geochon'(早春) tee poems about spring and aspiration. The first poem is about the independent movement against the Japanese. Autumn is about the feeling of lose in the life. Sijo 'Chuyamong' (秋夜夢) is lose the lover. The second poem is about conquering all difficulties of the poet's current circumstance. The third poem is about the feeling of vacuum in his life. The fourth poem is about deploring losing his mind. 'Nam-a'(男兒) and 'Urinim'(우리님) are books about patriotism. These poems have the subject matter of a sword for song patriotism. 'Kiharksaeng'(寄學生), 'Anhaeju'(安海州), and 'Hwangmaecheon'(黃梅泉) are patriotic poems. In this study, I found that the subject matter and the theme in the Chinese poems of Han Yong-un(韓龍雲) are related. Mainly he used the metaphor of the moon for religion, spring for aspiration, autumn for grief or lose, and sword for patriotism.

• Sijohaknonchong
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• v.19 no.1
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• pp.155-177
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• 2003

Jeong Geuk-in was a poet of the early Joseon period. He lived for 45 years before Hangeul was published and 35 years afterwards. So, he wrote poetry both in Chinese and Korean. He was a creative writer who wrote Korean poems and songs. There were only a few works written in Korean including and before him. His Korean poems are , and . He created Korean poems and songs by unifying three literary forms of Sijo, Gyeong-gi-che-ga and Gasa. This study was intended to examine written in Korean. For the study, the form of the Bul-woo-heon-ga was analyzed and it was considered as Saseolsijo (a form of sijo with no restrictions on the length of the first two verses) for genre classification. However, it is generally thought that the Saseolsijo appeared in the seventeenth century. Therefore, this study is to explain the reason why Bul-woo-heon-ga is included in Saseolsijo. Another problem is that the writer of Bul-woo-heon-ga is not Jeong Geul-in, because of the fact that the speaker who appears in Bul-woo-heon-ga admired Jeong Geuk-in. In general, people do not admire themselves. As Jeong Geuk-in is a subject to be admired in the book, it is thought that the writer of the book is considered as one of his pupils or friends.