• Sijohaknonchong
• /
• v.24
• /
• pp.173-197
• /
• 2006

Works recreated modernly succeeding classics often appear in novels, plays and movies. Observing 'modern succession and transfiguration of classics', 1 became curious about 'recreation of classics' in Sijo genre, and in that interest this thesis begins the argument. I identified that many Sijo are recreations of classics, and also classical literature are continually being transformed into modern Sijo. Especially Sijo of Lee Guang-Soo in 1920s and Sijo of Cho Un In 1940s are pioneering works. Thereafter modern Sijo have been continuously recreated from classics. This paper is about what are the meanings of modern Sijo in this category, and how should they advance. Also this argument will indicate how Sijo will be created in the future. Transforming classics into modern works is a valuable task, because it succeeds traditional culture and connects the classics' age to the modem age. For example, the Sijo of Lee Guang-Soo and Cho Un have significance in terms of literature history. The problem lies in modern Sijo that is creatively experimenting with classics succeeding those. Many modem Sijo are created attaching too much importance to the technique of contents, not comprehending the structural principles and formal aesthetics of Sijo. Thus, Sijo that adopt classics modernly reveals the limit of creation. Furthermore, recreating Sijo with the original contents untouched has no meaning at all. From this standpoint, modern Sijo recreated from classics can be reasonable only when they reflect the life, culture. and reality of present and comprehend the formal aesthetics of Sijo.

• Sijohaknonchong
• /
• v.25
• /
• pp.5-27
• /
• 2006

This paper aims at examining how sijo works, including ancient sijo works, those published before the 1960s, those written by China-residing Koreans, and those published in the 2000s, convey the poetic meaning in terms of sentence structure. Firstly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, have sentences. whose meaning the readers can easily grasp, with simple structures and little rhetoric words. But moderns works published In the 2000s (modern sijo works after) are mingled with too many rhetoric expressions, sometimes misused. Secondly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, having a clarified subject-verb context. are easily understood by the readers. But, in modern sijo works, there are many cases with an unclarified subject-verb context and redundant rhetoric words, which will cause misunderstanding of the meaning of the work. Thirdly, in ancient sijo works. those published before the 1960s and those written by China-residing Koreans, each of the three statements (called in) in a stanza is separate from the others in context. But, in some modern sijo works, the first and second statements (called chojang and jungjang) fall into just rhetoric parts for the last statement (called jongjang), and each of them is not read as an independent statement. Fourthly, there are some cases whose forms are distant from those of siio works. but are written in three statements like traditional sijo works. Regular poems, though written in regular rhythm, should be also acoustically regular. Sijo works should be easily understood when recited. If not, they are basically far from sijo works. If modern sijo works should overcome their easy expressions and simplicity of themes, they should be composed through using not complicated sentence structures but brand-new metaphors, clear images, and fresh themes.

• Sijohaknonchong
• /
• v.18 no.1
• /
• pp.19-37
• /
• 2002

• Sijohaknonchong
• /
• v.42
• /
• pp.7-28
• /
• 2015

This article defines sijo's musicality in two ways and verifies how musicality is shown in modern sijo with some examples. First, the first metre of a song's fourth part, that is, the sijo's jongjang, should include a reverse of its poetic image. A song consists of five parts. Each part is sung as a part of the song, that is, the sijo's dimetre, trimetre, or tetrametre, but its fourth part is sung as the monometre which is the first metre of its jongjang. This is because the first metre of a sijo's jongjang forms the axis of the reverse in its poetic image, and when this works properly, it can maintain musicality as a sijo. Second, a sijo's tetrametre and sijo-chang's gak should correspond as the same value along with the completion of its meaning. If a sijo does not keep the metre, each part's completion of meaning and also the sijo-chang's gak become problematic, so it is impossible to perform sijo-chang. Only when each part's completion of meaning and the gak of the metre correspond to each other as the same value, the sijo can maintain its musicality. Next, the study verifies how musicality is shown in modern sijo. This was examined through the examples of gyeol-metre and yangjang-sijo in dan-sijo that cannot form any tongsa madi, arrangement of syllable units beyond metres, or the examples of loose reverse of meaning in a transitional phrase. The two kinds of musicality presented by this author have already been proved with old sijo. However, modern sijo has been created mainly centering around its image, so such musicality has been ignored and sijo's identity has been damaged seriously. In sijo, musicality gives life. If modern sijo is created mainly around its image, it can never be called as sijo unless it has musicality. Although modern sijo is not performed as music, it should be equipped with the form to be performed as a chang. This is how sijo can maintain its musicality. It is thought that now is the time to recognize modern sijo as the matter of communication between sijo-chang and sijo literature, not just as the combination of sijo-chang and sijo literature.

• Sijohaknonchong
• /
• v.21
• /
• pp.5-22
• /
• 2004

If Sijo poetry is referred to a text which is composed of sentences. its textuality can be explored in terms of 1) the figurative words used in each line. 2) the logical sequence between lines. 3) the syntactic composition of each line. With the ancient Sijo poem. 1) it is composed of logical sentences as a result of extremely restraining from using figurative words that could prevent the reader from grasping the logical sequence within the work; 2) there is a clear cohesion between lines that can make each work perfectly coherent; 3) each line has a balanced syntactic structure, so the entire structure of a Sijo poem is '6 phrases in lines'. With the modem Sijo peom. 1) it abounds in figurative words, which prevent the work from having a logical sequence, and sometimes even from having three lines; 2) there is a loose cohesion between lines which can't make each work coherent; 3) it sometimes destroys the syntactic structure, '6 phrases in 3 lines', unique to traditional Sijo poetry. I think that this trend of modern Sijo poetry can cause haphazard the existence of modern Sijo poetry.

• Sijohaknonchong
• /
• v.43
• /
• pp.149-175
• /
• 2015

There have been few researches about Christian imagination reflected in modern sijo. The purpose of this study was to provide basic information helpful to deeply understand Christian literature and clarify the history of Christian sijo literature. For this purpose, the study focused on pieces of sijo written by Seon Jeong-ju and Jang Sun-ha both of whom put out lots of sijo based on Christian imagination. The two poets are common in that they were born in the Japanese colonial period and started their career as a poet at an almost same time. First of all, how a sijo writer, Seon Jeong-ju applied Christian imagination to his pieces of sijo can be summarized as follows. As a poet and paster, Seon Jeong-ju wrote and published 6 volumes of sijo collection. His pieces of sijo were all written based on Christian imagination. Many of the pieces contain Christianity-related stories that were poetically represented through paradoxical imagination. Among pieces of sijo written by Seon Jeong-ju, some reveal enthusiasm for seeking after truth that he kept in mind as a clergyman and others, the poet's strong belief in the Resurrection. Next, Christian imagination that another sijo writer Jang Sun-ha reflected in his works can be briefed as follows. The poet published a sijo collection of his own in 2010. As one of the best representatives of the modern sijo circles, he is a veteran poet who is still creating pieces of sijo. Since he became a Christian in 1996, he has released more than 200 pieces of Christianity-based sijo including those contained in his sijo collection, "Introduction to Love Studies". Most of the Christian poets quoted words from the Bible or borrowed episodes described in the Book. In those poets, he uses imagination that is allusive to the confession of his faith and, in some cases implies his own views of eschatology. In conclusion, both Seon Jeong-ju and Jang Sun-ha wrote and published lots of sijo works on the basis of Christianity, and each of them built up his own world of Christian sijo. In many of the two poet's pieces of sijo, critical doctrines of Christianity and their desperate devotion to that religion are found. Both of them made remarkable poetic achievements, so they deserve being recognized as second to none in the history of Christian sijo literature.

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

• Sijohaknonchong
• /
• v.17 no.1
• /
• pp.51-78
• /
• 2001

• Sijohaknonchong
• /
• v.23
• /
• pp.33-48
• /
• 2005

In my paper, the discussion focuses on the fact that sijo is distinguished from free verse as a separate Identity in that it has its own formal beauty, and the works that deviate from this poetic rule are guarded against. In the past ancient sijo, in terms of both music and literature, was a major genre in harmony with chang(songs) ; and in modern times, sijo been created irrelevantly with chug. But my point is that it will not futile if sijo is accompanied with chang, and, therefore, the latter should be adjusted to a modern taste and go together with the former ; and that, to attain this goal, Korean musicans should cooperate with sijo writers. With English-version sijo works, there are some that are put in accordance with the formality of Engish poetry. This paper indicates that, in this case, foreign readers can't feel the nuances the source text of sijo works could produce, so it is not proper to translate sijo works in accordance with the formality of English poetry. But there are other translations where the 3-jang(statements)-6-gu(phrases) form of the original sijo text is reproduced within the limits of English expressions, with each of the two gu(phrases) in a ing(statement) having an almost equal number of syllables, so that each phrase could be recited within the same length of time. The conclusion is that the Korean-English translations of sijo works should begin with the reproduction of its original formal beauty; but, to do this, sijo writers should create works in accordance with it original formality first. Therefore for good translations of sijo works there should be a mutual efforts between sijo scholars and English poetry scholars.

• Sijohaknonchong
• /
• v.44
• /
• pp.75-103
• /
• 2016

The purpose of this study is to demonstrate that the main creative attitude in Lee Eun-sang's Sijo relies upon the juxtaposition technique, with paying attention to juxtaposition of being found in the works of being put in the Nosan Sijojip(時調集, collection of Sijo poems), and that this creative attitude provides readers with the easiness for understanding. A type in the juxtaposition technique, which was shown in "Nosan Sijojip", was divided in the dimension of the anaphora in a meaning and the confrontation in a meaning. The anaphora of a meaning was classified into synonymous juxtaposition, comprehensive juxtaposition, specific juxtaposition and syntactic juxtaposition. The confrontation of a meaning was examined in the contradictory juxtaposition. Most of Lee Eun-sang's works are applying this juxtaposition technique. Also, the dynamic of image, which is indicated in juxtaposition, is what was influenced by the British and American imagism. This study will be able to solve problems that modern Sijo has to some extent, and will be helpful even for acquiring the identity in Sijo.