• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.173-202
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• 2023

In this study, we delve into the potential for innovative cultural education techniques that utilize the timeless tales of Princess Bari and The Tale of Shim Cheong as tailored for the upcoming generations of overseas Korean learners. With a rising number of young overseas Koreans born and raised in their host countries, there emerges a pressing need to craft an educational framework that resonates with the evolving dynamics of their generation. Our endeavor revolves around proposing educational strategies that help solidify identity while carefully considering the intrinsic motivation prevalent among most overseas Koreans. Naturally, the choice of employing the classic epics Princess Bari and The Tale of Shim Cheong as educational resources was deliberate. These narratives are rich in rites of passage and offer profound insights into the transformative journey of their protagonists. Both characters are affluent women in patriarchal societies, and both embark on quests to redefine themselves through new relationships, liberating themselves from the confines of parental ties. This narrative framework provides a unique opportunity for overseas Koreans who are often adrift in the social fabric of their adopted countries. These stories inspire them to introspect and contemplate their own identities. By intertwining their personal narratives with the empowering stories of characters, students are provided a chance to reaffirm their authentic selves. Therein, a paradigm shift can occur that allows individuals to embrace the core elements that define them. Our ultimate objective was to enable students to explore their own stories and immerse themselves in the intricate narratives of classical works. This immersive experience fosters a profound sense of unity with the characters and paves the way for a comprehensive educational plan. This plan not only celebrates the hybrid nature of identity but also cultivates a deep sense of positivity within amalgamated 'subjects.' Such an approach not only fosters a stronger connection with one's heritage but also sparks a genuine curiosity about and affinity for the rich cultural tapestry of one's home country. It's not just education; it's a transformative journey that enriches the lives of overseas Koreans and nurtures a profound bond with their cultural roots.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.455-467
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• 2004

The purpose of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in classical novel 'Shimchungjun' focusing on the woman's costume through the antique records and tombs bequests. Titled ladies for royal family put on 'Wooimkyoryong' and 'Sungun' as a petticoat when the ladies of Song period rode on horses. The underskirt played a part to swell a skirt for ladies. 'Bakjueui' and 'Hwangsangi' were ordinary clothes ranging from ladies of loyal family to women. The red color was limited to royal family. The ordinary clothes of women were white ramie clothes commonly and floral patterned clothes were prohibited to the ordinary clothes for women. 'Ko', a breast-tie (breast ribbon) of a Korean coat, was made of silk and women wear as an outer garment. The common people will wear 'Ko' of white ramie clothes which was very active items. The ladies of royal family and women put on shoes made of white ramie clothes, but the full dress of queen wore blue boots made of leather. The noble women wore 'Suk'(boots) made of deer skin and common people wore straw shoes regardless of gender and age. Sometimes they wore 'Woopihye' made of cowhide. In the first of Koryo era, the styles of dress were consisted of 'Monso', 'Eui', 'Po', 'Dae', 'Koh', 'Sang', 'Sungkun' and 'Kangnang'. The structure of costume for women made little difference and there was a great difference with decoration.

• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• Sim-seong Yeon-gu
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• v.25 no.1
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• pp.65-101
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• 2010

By considering the final purpose and meaning of two fairy-tales, we can summarize two things. Firstly, a woman with father complex not only positive, but also negative can easily sacrifice her femininity and her own personality as an individual. A woman with father complex has to get out of father imago. By separating from father imago, she can make her own steps to realize her own personality, namely individuation. During normal development, detachment to instinct and archetypal contents can cause problems normally to the ego consciousness. Contrary to this developmental notion, women with father complex experience problems because they are too closely attached to father archetype. Therefore, continuous excessive identification of ego with father imago or a state of ego caught by father imago leads to death of her own personality. Some women intentionally attach to father imago in order to be powerful or to receive magical power of father archetype to make compensation to her inferiority and deficiency. Weak ego wants to be stronger and superior by intentional attachment to father imago. Then, she can succeed in some tasks in life. But These successes are not by her own effort, but by magical or superhuman power of father imago. During early childhood, young girl with weak ego strongly attaches to father imago to make success and achieve goals by magical power. She wants to compensate her weak ego. But the more her ego makes successes in real life with help of father imago, the more she loses her own character or personality. Ego can be strong enough only when it is detached or separated itself from father imago. In other side, there is a woman destined to realize request by the father imago. She is chosen by the collective unconscious, though she try to run away from dominant power. In this case, ego of selected woman is not weak. She is destined to be a heroine. She knows that she has to complete every task given to her to realize what father imago wants, and she will not own any of her products at all. She is a real or true heroine. She wants to avoid her destiny, but she can't and should not do it. Secondly, a woman with father complex is called for again to save father imago or to solve problems of father imago. In this case, father imago of a woman should be considered to be related to the collective conscious. Therefore, it is said that all women with father complex are invited for healing the society or the collective consciousness. To complete this request, she has to heal herself by recovering her femininity. The healing power is based on the maternal receptive capacity. In modern society, the women are always demanded to be a social being. These social demands can make women caught by father complex. In this sense, number of women with father complex are increasing. Through the understanding of two fairy-tales, increased number of women with father complex should be easily considered as events at personal level, but seriously considered as a phenomenon reflecting problems in the collective consciousness of our age. In the other hand, all women with father complex are invited to solve the problem of modern society. She will be able to realize her own individuation without being possessed by father imago, to save our society and to become a heroine of our age.

• 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.