• Journal of Korean Classical Literature and Education
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• no.32
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• pp.261-285
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• 2016

Saseol-sijo, a form of sijo with longer verses, still affords pleasure to modern readers, even when it is read without the original performance context. In this study, I focused on Saseol-sijo that induces laughter through exaggeration and caricature while singing about eagerly waiting for a lover who has left. These texts describe concurrently the emotions that are contradictory to each other, such as nostalgia and laughter. In addition, this feature reflects human's inner emotions that are not unified but rather change dynamically. Craving creates a sense of nostalgia, and also produces a comical element in nostalgia, so that nostalgia and laughter can be co-exist without conflict. In this study, 'semiotic square' was applied as the framework for interpreting the Saseol-sijo, which demonstrates the coexistence of inconsistent meanings. As a result, a Saseol-sijo which sings about waiting for a lover can be interpreted through contraires such as prohibition and authorization, craving and concerns, exposure and concealment and concentration and dispersion. The nostalgic laughter in Saseol-sijo is generally based on the conflict between the craving self and the restrictive world. A character consumed by craving may seem ridiculous and pathetic in the view of others. However, people in general would find sympathetic humor and identify with characters who portray their weaknesses or repeat their mistakes. After all, this is the laughter of compassion and reflection which Saseol-sijo evoke.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.221-251
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• 2017

This study attempts to examine the problem of properties mentioned in Shin Jae hyo's adapted version of Baktaryeong through the property related behavior of the characters, and discuss Shin Jae hyo's view of properties and his contemporary perception problems. As a result, in Baktaryeong, Nolbu takes the shape of a rich farmer in the existing text with grain centered accumulated properties, and of a wealthy man who is skilled in money management and growth as an economically well-informed person. In contrast, Heungbu is a poor peasant isolated from his own farm without enough property to minimally survive, representing the alienated poor who can not adapt to the currency economy led by the Nolbu people. This adaptation could have been a product of Shin Jae hyo's own view of property. Through the detailed description of Baktaryeong, it can be seen that he found it difficult to observe too much, but he thought that interest in property and money seemed basically to be affirmed in human life. In addition, in terms of issues of the poor, he found that the economic efforts of the lower classes and the care of the rich should be needed for the poor. However, he was forced to put the sense of crisis and the self defense consciousness as a wealthy family of middle class in the local society under the rapidly changing circumstances of the time into the text. That is, Baktaryeong included his own diagnosis of the present reality by drawing the issue of wealth and poverty in existing Heungboga(jeon), which is perhaps more appropriate for reality based on Shin Jae hyo's own view of properties.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.37-63
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• 2018

The purpose of this study is to determine in the minor characters in alternative versions of Pansori stories. Because, unlike the variations in the main characters, the changes in the minor characters seemed to clearly reveal the specific reasons to the enjoyers of Pansori literature. Bangja in Chunhyang-jeon serves as a narrator by providing information about characters and events, and enlivens the text by satirizing and ridiculing the feudalism class. He appears in certain narrative unit of Chunhyang-jeon and further expands in the order of encounter unit, farewell unit, and reunion unit. At the encounter unit, he helps the bachelor Lee and Chunhyang meet And in the farewell unit, he urges their separation and goes to Han Yang with his master Lee. At the reunion unit, Chunhyang's letter is delivered to the bachelor Lee. The following can be seen from the information above discussion. First of all, the 'Bangja' acquires the better occupation of stories. The enjoyers have changed that he regards as a important figure. Next, in Chunhyang-jeon, the expansion of the role of the Bangja was done in the direction of converging the few characters such as Mabu, Tongin, and the farmer. Especially, the increase of his proportion in the Pansori works can be related to the expansion of the theatricality. Finally, Bangja's frequency increases in the direction of the whole narrative, but it can not be seen as an increase that his role or function has increased. Because his function as a guide expands, but his function as a critic has diminished.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.355-387
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• 2008

The purpose of the study was to decide Korean translation and the copying period of "Korean Translation of " and to look all around their characteristics in different versions carefully until now. The "Korean Translation" is a collection of Korean-translated romance and love stories excavated by a professor Kim,Il Geun, and there is not a little meaning in the context of novel history in the point of view of 'Korean translation of a court possession'. Arranging conclusion of the study generally, it is as follows. (1) Considering phonological phenomena, grammar and vocabulary in the study of Korean language, it is presumed that they would be translated into Korean and copied between the regime period of the King Sukjong and the regime period of the King Yungjo in the Joseon Dynasty. For, they were composed of a middle declaration of copied 'Myeoknambon "Korean Translation of Taepyeonggwanggi(태평광기)"' and 'NakseonJaebon(낙선재본)' between the middle of the 17th century and the middle of the 18th century and the regime period of the King Jeongjo in the Joseon Dynasty appointed as the background period of the novels should be excepted. Consequently, through the Korean Translation, we can confirm that the novel scope between the 17th century and the 18th century in Korean novel history was widened until 'The Royal Court' and 'Women'. (2) In the side of vocabulary, the "Korean Translation" also has not a little meaning in the side of a collection translated in the Royal Court. It doesn't have new vocabularies, but partial vocabularies as '(Traces:痕)' '(Clean eyes:明眸)', ' (Sail:帆)', '(Get up:起)', '글이플(Weak grass:弱草)', '쇼록(Owl:? 梟 or 鴉?)', '이 사라심(This life:此生)', and '노혀오매(Look for:訪)' are good data in the study of Korean language. (3) The "Korean Translation" is a valuable data about translation and copying of a court novel and we can discover intentionally changed parts and partially omitted sentences rather in the than in the . There are differences between a translation book and a copying book and we can catch sight of intention of translation and unsettledness of copying in the second work. Therefore, we can know that the "Korean Translation" has a double context which one work is translated and a work in different version is derived, compared to a simple copy. (4) The "Korean Translation" has a close relation with "Hangoldong(閒汨董)", but it doesn't regard the same copy as a foundation. The basic copy of translation of the "Korean Translation" is a different version of the same line as "Hangoldong" and "Jeochobon(저초본:정명기 소장본)" and is more similar line to "Hangoldong", but it is also not the same basic copy. (5) Considering that the "Korean Translation" doesn't has a distinct relation with the "Hangoldong", there is no correlation between the "Korean Translation" and and the "Hangoldong" and . In addition, we could not discover a writer's identity between the two.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.201-238
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• 2018

As a way of enhancing the intercultural ability needed for diverse cultural eras, this study focuses on the "narration" of the Italian education scholar Maddalena De Carlo in order to determine the "diverse values" created by the "symbolic representation" based on the folktales narrated by immigrants living in Korea. Through this, it specifically presents educational elements and contents that can raise relative sensitivity. The authors of this paper have connected, empathized, and communicated with people of various cultures in order to go beyond Carlo's discussion. The paper discusses the expansion of cultural sensitivity as an element of education through narrative topics using the folktales of immigrant narrators in Korea. It also recognizes the limitations of a desire for a homogeneous union within an intercultural society and thus formulates educational contents for creating a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and a consideration of the surface and the back. This is systemized in six steps. Step 1: Listening to oral folktales of immigrants, Step 2: Finding heterogeneous motifs imprinted in the immigrants' memories, Step 3: Understanding the meaning of the opposing qualities symbolized by heterogeneous motifs, Step 4: Creating narrative topics containing the key motifs, Step 5: Generating the value of symbolic representation as a narrative topic, and Step 6: Expanding the value of life into a cultural symbol. In Chapter 3, this study focuses on educational contents using immigrants' folktales by applying these six steps. The class contents include the recognition of the limitations of desire for a homogeneous union within an intercultural society and the consideration of how to create a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and consideration of the surface and the back. This paper then compares the Indonesian folktale, The Inverted Ship Mountain and the Mom's Mountain, with the world-famous Oedipus myth, to determine what the symbolic representation of these heterogeneous motifs is. In Step 6, when the symbolic system is culturally extended, the incestuous desire that appears in the "inverted ship" is interpreted as a fixation that was created when the character sought to unite with homogenous idea. The Cambodian folktale, The Girl and the Tiger, is a story that is reminiscent of the Korean folktale, The Old Man with a Lump. Through the motif in "Tiger," this paper generates a narrative topic that will enhance the students' intercultural abilities by culturally expanding their skills in how to relate with a heterogeneous being that is usually represented as an animal. The Vietnamese folktale, The Coconut Bowl, similar to the Korean folktale, GureongDeongDeong SinSeonBi, is a story that draws a variety of considerations about the surface and theback, and it shows readers how to build a relationship with a heterogeneous idea and how to develop and grow with such a relationship. Thus, if a narrative topic is generated and readers are able to empathize using an opposing feature formed by the core motif of the folktale, it becomes possible, through immigrant folklore, to construct a possibility of a new life through the formation of a relationship with an unfamiliar and heterogeneous culture.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.29-61
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• 2016

A joke (才談, 재담) is "the most interesting and witty language unit" in our speech. However, the search of a joke is still starting. Although joke are related to the witty and interesting talks, stories, songs and plays, the actual object of a joke is only the witty and interesting talk. A joke is witty talk that is interesting or laughter-inducing. Many Jokes can be found in the traditional Korean funny performing arts (演戱, 연희). This is because these art forms are performed in open yards, which necessitated amusing the audience, amusement, in its turn, required jokes. Jokes in the traditional funny performing arts can generally be classified as follows: 1) Jokes related to a situation: These include right words at a given situation, exaggerating words, diminishing words, deviancy words, and cause-effect words. 2) Jokes related to discourse: These include enumerating words, amplificatory words, contrasting words, fluently lying words, undeniable words, purposely unknowing words, and deliberately incorrect words. 3) Jokes related to vocabulary: These include synonym, similar words, changed word-ordering words, and incorrect words. 4) Jokes related to pronunciation: These include homonyms, and anti-homonyms. Although there may be other jokes, those presented above are typical ones. A joke is "the result that human being can achieve when he/she has overcome natural and social difficulties and is left with only a free and creative spirit." Jokes are necessary in all ages and everywhere. Today, more varied and high-level jokes can be created by developing the diversity of jokes in traditional funny performing arts. Also, I expect new sorts of jokes, because a joke always demands a creative spirit.

• (The)Study of the Eastern Classic
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• no.66
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• pp.103-128
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• 2017

Slaves have been investigated around diaries or slave ownership papers of nobilities up to now. While slaves were described in tales or stories on loyal slaves or historic tales, slaves were not sufficiently examined. This paper analyzed the actual awareness on slaves through the description on slaves in Chinese poem. It was generally very difficult to deal with young slaves because young slaves were included in the lowest class without education and not an adult. The fugitive slaves were loss of labor and brought the emotional betrayal. There were spells to make fugitive slaves return. The sense of loss was nearly same in the death of slaves as in the death of family members. The longer the slaves lived with owners, the greater the sense of loss was. However, the difference of awareness on slaves per period was not identified in this paper. It can be identified only by fully examining more data on slaves. It will be the theme of further study.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.329-353
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• 2008

Tasan Jeong Yak-yong is great scholar, who makes a synthesis of Sil-hak[實學, Practical Science of Korea], reformer of society, and a poet in the Joseon Dynasty. He expressed contradiction and conflict of those days by intellectual language, and reperceived basic ideology of the Joseon society. Also he theorized dissatisfaction of the people about those days and its system as form of religion. We can divide Tasan's life into two times. The first part is his ages 16~39 in the period of Jeong-jo(1777~1800). The second part is in the period of Sun-jo(1801~1834). In this period, he was exiled into Gang-jin for 17 years. After banishment, he lived a quiet life for the rest of his life in his hometown. His allegoric poetry were written in this second period. The special feature of allegoric poetry is strong satire. An allegory would be that is 'king's ear', which the barber has sight, or the barber's voice, which has divulged king's secret among the bamboos. Otherwise it would be that is the sound 'king's ear is donkey's ear' in the bamboos. This sound is divulging of the true donkey's ear. It doesn't travel to audiences, but travels trough wind in the bamboos. The narration exists just as story that barber can't stand to keep silence about king's secret. There are exposure of true and critical motive as allegoric expression. Tasan's allegoric poetry stand on the basis of his love for the people. Also there reveals his thought deeply with an enormous amount of reading and self-communion. Moreover there are his warm mind with his sharp insight in which captures alive lives as allegoric materials. Most of allegoric poetry satirize actuality of those days to make an excuse for external distinguishing marks of animals and plants. However Tasan's poetry are different from them. After he grasped serious problems from his contemporary actuality, and then choosed allegoric media to express correctly. Because he grasped the special features of lives after minute observation, he could exposure controversial point of the actual. His sharp insight was not limited to allegoric media. He noticed his period and the current of his society sensitively. It made his allegoric poetry as important materials to make us to know the condition of the people in the Joseon Dynasty. Tasan's allegoric poetry is inherited by Baek Seok[白石, 1912~1995] as regular juvenile literature. Baek Seok's juvenile stories are the results of expansion and transition for Tasan's allegoric poetry. Allegoric poetry was the shout of barber to prosecute about social irregularities and contradiction, and the sound of the bamboos to travel moaning of the people in the past. Now allegoric poetry create new emotion to make us to speculate ourselves with our surrounding. This changes are caused by special feature of allegoric poetry as a form to reflect our general lives.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.111-149
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• 2018

This story is written by Shin Kwang-han who is a famous scholar and writer in Josun Dynasty. The most notable feature of this story is the love between a man and a dead woman. The protagonist has failed the test to be a national official for several years, because of the corruption and unfairness of the leaders of his society. He is very upset, but then changes his mind in order to become an officer. One day he meets a dead woman. He saves her life from death, and falls in love with her. Finally he marries her and attains a high position. Till now, all the aspects of this story have been extensively researched from a number of different perspectives. However the narrative structure of this story has not been discussed much. This story belongs to Jungi-novel, a kind of old story style which includes fantasy. The studies on this story have mostly been carried out to find the different features in comparison with other works of the same style. Further, we could not understand its own specific meaning structure. This study aims to find the narrative structure of this story. It was recognized by researchers that Shin's stories talk about his life and his perspective of the world. Further, I will try to show how he expresses his thoughts, emotion and life through this story. First, to obtain a satisfactory result through this study, I will find a way to resolve several problems that have become the center of the controversy. Afterward, the conflict and resolution the hero's relation to the world will be identified in every paragraph. Through these efforts, we will have a new point of the view about the narrative structure of this story and the intent expressed by the writer through its structure.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.389-419
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• 2008

I already wrote a thesis about A Study of Ideologies and Stylistic Features of the Oral Narratives in a Collection of Lee, Duck Moo's Works(ChungJangKwanJunseo)" in The Classical Literature and Education Vol.11, (2006). At that time I held over a study of figure's episodes. So this essay is a series of the thesis. In this essay, I described his critical ideas about the figure's episodes of other people. I classified as the gentry's episodes and the common's episodes, and ones more classified these as the Confucian's moral episodes and the oddity's strange episodes. And I studied the narrative principles and features of narrative structure. He asked for a reasonal thinking attitude in the figure's episodes of other people. In his the gentry's episodes he indicated as a important value the constant attitude of propriety and dignity. The other hand, in his the common's episodes he thought importantly a practical act of the Confucian's moral. He showed man's equality and criticized the anti-practical attitude of the gentry group. In the oddity's strange episodes were focused on the super ability of figures in the both of groups. And then even though there are unreal or unreasonable contents in the oddity's strange episodes, he did not criticize. His such attitude was came out to take interest in unreal story like the Paesasopeum(稗史小品). The the narrative principles of his episodes are two types, one is a summary or a report type, the other is a descriptive of events type. the former was explained by narrater, the latter was described as the indirect or direct narration of the characters. In the structure of narrative in case a summary type were enumerated with the episodes, but in case a report or descriptive type of events were contrasted with characters. A story-telling way of figure's episodes borrowed from 'Jeon(傳)' or 'Yadam(野談)' genre. And a point of view in case a summary or a report type was consisted with a center of narrater, in case a descriptive of events type was consisted with a center of witness.