• (The)Study of the Eastern Classic
• /
• no.66
• /
• pp.129-162
• /
• 2017

This article examines the form of hell and the nature of literary works in the late Joseon period. 'Hoeshimgok(回心曲)' divides a sinner into a man and a woman, and presents a virtue of goodness to a man and an item of evil to a woman. The elements of virtue and malice are both Buddhist ethical norms and Confucian ethical norms. Hell-related novels have common features that emphasize the ethical norms that should be kept in daily life through the causes of hell, though the patterns of punishment and their reasons are slightly different depending on the works. And 'Hoeshimgok(回心曲)' and these works are generally shown by reducing the punishment pixel of hell compared to the cause of hell. This characteristic shows that the literary works of the late Joseon literature related to hell were mainly aimed at providing or educating ethical virtues centered on 'Samgangwol(三綱五倫)' through sanctions of 'Hell' widely known to the general public. The emphasis on Confucian ethics is not limited to works of literature related to hell. In the nineteenth century, when these works were created and circulated, there is a surge in the number of chapters and publications of books for Confucian Indoctrination, Didactic Gasa, and Goodness Books, which emphasize Confucian ethics. Such a strengthening of the Confucian ethical consciousness can be attributed to the crisis of the 19th century Joseon society about the social confusion that threatens the existing system. In particular, the creation and circulation of literary works related to hell in the late Joseon period is related to the dissemination and spread of Catholicism. In the end, the hell shape of the late Joseon literature reflects the crisis of social confusion faced by Joseon society in the nineteenth century. Therefore, it can be said that it has the character of literary response to the prevalent diffusion of Catholicism.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.93-123
• /
• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.