• Sijohaknonchong
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• v.43
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• pp.67-94
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• 2015

This paper presents a method and necessity of this research to study the gosijo Anthology compilation method. The cataloging work was carried out 53 species of gosijo Anthology ranging from 1910-2000's, in order to proceed with the study. There was no way to analyze the compilation of all gosijo Anthology ranging from 53 species in this article. For this reason, select the classic gosijos(模範의 古時調) of Anhwak(安廓) conducted a study gosijo Anthology compilation method. The classic gosijos(模範의 古時調) of Anhwak(安廓) are no new works, will be named as one of the subheadings of the magazine. But not less that 100 can work with and all the works reveal the artist. It also select a topic classification scheme. This point is analyzed with focus on the text to be responsible enough to think that the role of gosijo Anthology. The classic gosijos(模範의 古時調) is thought to have great significance in a few aspects. First, the gosijo The Anthology is only pyeongsijo(平時調) and can be called only sijojip which the artist recorded all the work. Second, the work presented in this gosijo Anthology are the popular songs contained in a number of Gagip(歌集) majority. Third, there is a new artist appears gosijo Anthology does not appear as a writer in the gosijosa(古時調史). They BakDaegil(朴大吉), ChoiSeobung(崔瑞鵬), OhHuisang(吳喜常), JangWooByouk(張友璧), AnSapil(安思弼), AnYungi(安胤基). Fourth, gosijo Anthology reveals the Woodae gagaek(歌客) locality and the foundation of JoSeon(朝鮮) gagok(歌曲).

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.03a
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• pp.35-38
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• 1999

• Sijohaknonchong
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• v.25
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• pp.211-237
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• 2006

Mansebo[만세보] contains a total of 111 old shijos under the title of Haedongyeongeon[해동영언]. This dissertation presumes Haedongyeongeon[해동영언] as early 20th century shijo text and surveys its literary characteristic and its significance in relation with anthological compilation. Haedongyeongeon can be seen as both newspaper serials and a short anthology. The basic pattern of the serials shows an organization of 'title. musical designation, author. text. and a brief review. Of these, the review is what most clearly shows the characteristic of the serials. The review is written in Chinese followed by Korean letters to designate the sound of the Chinese. which is presumably designed to attract more readers for the newspaper. On the other hand, Haedongyeongeon[해동영언], when seen as a collection of works printed in serials, clearly shows an intention of compiling an anthology, particularly in its way of overall classification of works or arranging works according to their authors, and thus may well be defined as a short anthology. This anthology somewhat excessively pursues perfection in formality, and is characterized by its strong intent to be read as popular literature, and therefore could be said to manifest the general characteristic of 20th century anthologies. The planner of the serial Haedongyeongeon[해동영언], or the compiler of the anthology is thought to be one of the core figures of Mansebo[만세보], that is, O Sechang[오세창], Lee Injik[이인직], Choi Yeongnyeon[최영년], Shin Gwanghui[신광희], but of them all, considering all circumstances, Choi Yeongnyeon[최영년] is most likely to be the one. Lastly, it is presently unknown what anthology was used as the basis of Haedongyeongeon[해동영언] and accordingly any judgement on that head has been deferred.

• Sijohaknonchong
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• v.26
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• pp.187-222
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• 2007

Out of total 39 documents to research musial theory appearing in the introduction of ancient score and anthology in 19th century, ancient scores including introduction were $\ulcorner$GeumboJeongseon(琴譜精選)$\lrcorner$ $\ulcorner$ChilhyeonGeumbo(七絃琴譜)$\lrcorner$ $\ulcorner$HyeongeumOeumTonglon(玄琴五音統論)$\lrcorner$ $\ulcorner$HyeongaGuebeom(絃歌軌範)$\lrcorner$ and $\ulcorner$JukchwiGeumbo(竹醉琴譜)$\lrcorner$ and anthologies were $\ulcorner$GyobangGayo(敎坊歌謠)$\lrcorner$ $\ulcorner$SeungpyeongGok(昇平曲)$\lrcorner$ $\ulcorner$GagokWollyu(歌曲源流)$\lrcorner$ and $\ulcorner$GeumokChongbu(金玉叢部)$\lrcorner$. The results of this study are summarized as followings ; First, the introduction of ancient score reads that musicians should have inherent character and right mind and harmonious sound exerts influence on human being. It emphasized that the proper expression of music is the stabilized mind and right idea. Second, the introduction of anthology lays stress on proper meaning, that is, lyrics that is not indecent nor loose. It asserted that right lyrics should not be pressing nor frivolous, but rather slow. Lastly, the introduction of both ancient score and anthology commonly present 'recovery of ancient music'. It was confirmed that the ultimate purpose of intellectuals and musicians in 19th century was to aim at slow, but harmonious and right music.

• (The)Study of the Eastern Classic
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• no.50
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• pp.55-88
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• 2013

Gwonwu Hong Chan-yu is one of the modern and contemporary Korean scholars of Sino-Korean literature and one of the literati of his era, so is respected as a guiding light by academic descendants. Gwonwu was a teacher of his era, who experienced all the turbulence of Korean society, such as the Japanese occupation by force, the Korean War, the military dictatorship, and the struggle for democracy, and who educated and led young scholars of his time. However, academia has not payed attention to his life and achievements since his death. This paper is to examine the poetry of Gwonwu Hong Chan-yu, one of the representative modern and contemporary scholar of Sini-Korean literature, which has not yet been discussed by academia. The minimal meaning of this paper is that it is a first work based on his anthology, which has not been discussed by academia, and a first full-scale study on Gwonwu Hongchan-yu. For the reason, this paper aims at the detailed inspection of his poetic pieces recorded in his anthology. Nonetheless, despite such intentions, some limits cannot be avoided here and there in this paper for the insufficient knowledge and academic capability of this paper's writer and for the lack of academic sources. Gwonwu's poetry examined through his anthology shows the characteristic which is that his poems focus on exposing his own internal emotions. Such a characteristic says that his idea of poetic literature payed attention more to individuality, that is exposition of private emotions, than to social utility of poems. Gwonwu's such an idea of poetic literature can be generally affirmed throughout his poetry. Accordingly, Gwonwu preferred classical Chinese poems to archaistic poems, and single poems to serial poems; and avoided writing poems within social relations such as farewell-poems, bestowal-poems, and mourning-poems. When the characteristics of Gwonwu's poetic literature get summarized as such, however, some questions remain. The preferential question is whether the poems in his anthology are the whole poetry of him. Although Gwonwu's poetic pieces that the writer of this paper have checked out till now are all in his anthology, it is very much questionable whether Gwonwu's poetry can be summed up only with these poems. The next question is what is the writing method for taking joy(spice), sentiment, and full-heart into his poems if Gwonwu's poems focus on exposing his internal emotions, and if poems exposing joy and poems exposing sentiment and full-heart appear coherently in various different spaces and circumstances of writing. The final question is what are the meanings of Gwonwu's poems if his poetry checked out through his anthology directly shows either the reality carried in his poems or the reality of a time in his life. The questions listed above are thought to be resolved by the synchronizing process of stereoscopic searches both for Gwonwu as an individual and for the era of his life. Especially, spurring deeper researches toward a new direction regarding Gwonwu's poetry has an important meaning for construction of a complete modern and contemporary history of Sino-Korean literature and for procurement of continuous research on Sino-Korean literature and its history. For the reason, it is thought that more efforts of researchers are required.

• Journal of the Korean Society for Library and Information Science
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• v.25
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• pp.445-476
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• 1993

This paper is written to clarify the specific details of the Sabu-Songyu­Mongnok(사부송유목록). which is a reading list for recitation and appreciation of Chinese classics edited by Hong Suk-Chu(1774-1842) when he was 56 years old for the stimulation of his younger brother Hyun-Ju (1793-1865)'s reading life. In this study the catalogue's title interpretation. the time of the editing, the motive for the editing and the analysis of the contents are revealed as what they actually are. The main details are as followings. There is no date written on the Sabu-Songyu-Mongnok but the writer estimate it to be around 1829. After Hong Suk-Chu recognized the fact that although his younger brother Hyun-Ju was interested in reading but felt that he was a little too old to begin to read all the books of the whole classes. he selected the classic works from whole subjects, i.e. history, philosophy and anthology, that he thought which would best represent each subject. From these selected works he then picked out the most important chapters or parts of the works. Another motivation of the editing was for the stimulation of the reading life for Hong Suk-chu himself and for people like himself who were getting old and losing their vitality. The Sabu-Songyu-Mongnok consists of four categories. i.e. classics category, history category, philosophy category and anthology category, and in the catalogue, 26 different works are entered. The classics category has ten, the history category has six, the philosophy category has six and the anthology category has four. Each of the works are entered under the title of the book, and hen the chapter heading. The Sabu-Songyu-Mongnok was edited 19 years later than Hong-ssi toksorok(홍씨독서록) or an Annotated Bibliography of Korean and Chinese Books. Comparing each category of the catalogue with the Hong-ssi toksorok, the writer could catch the following characteristics. 1. Although there was no indication of the class heading, the sequence of the arrangement of the entries in the classics categories was the same as the sequence of the classes in the Hong-ssi toksorok. 2. The Zuo-shi Chun-qiu-zhuan(좌씨춘추전) is recorded in the class of Chunqiu of the classics category in the Hong-ssi toksorok, but in the Sabu-Songyu­Mongnok, it belongs to the history category. 3. In the philosophy category of the catalogue, Chuangtzu(장자) writings are included because it is so well written. 4. Unlike the categories of classics, history and anthology, the philosophy category is recorded under the author's name. This is fascinating because it unites with the conventional cataloguing practice of the west. 5. In the anthology category, the writings with the best styles from the Chuci(초사) or the poems of Chou, Wen-xuan(문선), wen-yuan-ying-hua(문여영화) are selected and classified into four parts: (1) poems, (2) proses of Han, Wei and Pre-Qin dynasties. (3) Si-liu-pian-li-wen(사육병려문), (4) classic style of writings of Tang and Song dynasties (당송고문). 6. There was an unusually large number of Han Yu's writings selected from the great eight poets of Tang and Song dynasty writings. (20 categories out of $43: 47\%)$ After comparing the entries of the Sabu-Songyu-Mongnok, it can be concluded that all the entries were also included in the Hong-ssi tokrorok. The fact that the sequence of the entries in the classics category and that the literary works were sequenced under the same subject by the year of editing or writing like as the Hong-ssi toksorok Also it is unusual that there was not even one literary work of a Korean in the catalogue. Anyhow this catalogue is the first recitation catalogue in our country that was edited for the people in the prime of life as well as for old people and is the only one existing today.

• Lingua Humanitatis
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• v.1 no.1
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• pp.141-157
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• 2001

In his discussion of some desirable tuning points in comparative literary studies, Henry H. H. Remark has emphasized the importance of literary approach to other forms of art. Understanding the significance of such a method of comparative literature, the present study focusses on three contemporary Korean poets who have transferred Mark Chagall′s paintings into their poetry: Youngtae Kim, Chunsoo Kim, and Sunghun Lee. They are usually evaluated as surrealist/modernist in our literary circles. In transforming Chagall′s paintings into his poems, Youngtae Kim has incorporated a variety of surrealist mosaic techniques such as montage and collage. The resultant peculiarity of his poetry makes it hard to lay bare the correspondence or similarities between his poetic world and the world of Chagall′s artistry. It is nonetheless possible to see how Kim, as a poet and painter, had interpreted Chagall′s world with a bird′s-eye view of it. Chunsoo Kim′s "Snow Falling on the Village of Chagall" relates specially to one of Chagall′s paintings, "I and My Village." The present study has taken notice of this correlation in sorting out some basic elements of poetic transfiguration. One of the techniques employed in the poem under discussion is that of juxtaposing the Russian village of Chagall and the Korean village the poet visualizes, with the effect of putting two national traditions in contrast. A reading of the poem reveals that it is not so much the result of a detailed analysis of the painting as a revival of its lingering impression as a whole. In Sunghun Lee′s poetry, surrealist techniques are again a hallmark. But his method of transferring the images of the paintings into his poems falls somewhere between those of Youngtae Kim′s and Chunsoo Kim′s: it is akin to the ′bird′s-eye method′ of the former and shares the impressionistic touch with the latter, but at the same time Lee is analytical by disposition and opts for concrete descriptions. ′Love,′ ′farm,′ and ′time′ are the keywords that are brought under discussion in the present study. There is a growing demand in the current international comparative literary studies for broadening the area of comparative literature. This study hopes to be a small contribution to endorsing the importance of comparative approach to fine arts.

• (The)Study of the Eastern Classic
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• no.62
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• pp.9-35
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• 2016

This study examined Songgye Na-sik's(松桂懶湜, 1684~1765) literary world based on Priest Songgye's Anthology(松桂大禪師文集). In consideration of the insufficiencies of the only previous study on Songgye's literature, this study was focused on his ideological character and its historicity, the trend of literary exchange in the Buddhist circle, and the literary geographical aspect of his literature. Priest Songgye was the head of the Bonghwa-sa Temple in Andong during the years under the rule of Kings Sukjong and Yeongjo, and learned from Hwanseong Ji-ahn(喚醒志安, 1664~1729) and Nakam Eui-nul(落巖義訥, 1666~1737). The priest did not have many students under him nor leave numerous writings. In the process of the development of the Buddhist doctrines in the late Joseon Dynasty, however, he completed the scripture learning courses faithfully and laid the ground of his philosophy. In addition, the afterword of Hwaeomgyeongchilcheogupumhoipummok (華嚴經七處九會品目跋) shows that he compiled the book under his teacher's instruction. What is more, he is known to have devoted himself to belief in the Pure Land in his late years. Given these backgrounds, the priest's life, writings, and ideological tendencies pursued all of Zen, Hwaeom, and the Pure Land together, and at the same time, reflected the characteristics of Korean Buddhism in the 18th century. The priest steadily cultivated himself in poetry and established his own literary world, and all the outcomes were fully reflected in his anthology. Priest Songgye walked the road of a learner throughout his lifetime but, on the other hand, he established his identity as a literary man in the specific time and space of Andong, Yeongnam in the late Joseon Dynasty.

• Journal of the Korean Society for Library and Information Science
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• v.20
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• pp.473-491
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• 1991

Summarizing the conclusion of this article is following this: 1. Donginjimun-ouchil(동인지문오칠) published at the close of Koryo, is not only the oldest anthology but also the only one of the same kinds that we have in present. 2. Donginjimun-ouchil is consist of 9 Kweons. We can know the fact through comparing samhansiguegam(삼한시구감), becouse it seems to summerize Donginjimun-ouchil. 3. Donginjimun-ouchil is different from other books and espically has a speial features which in eluding profils about the characters. 4. With additional punctuation marks in profile and critiism marks, we can know the rule of punctuation mark and at the same time it can give many assistances to the study of poetics.

• Journal of Families and Better Life
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• v.11 no.1
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• pp.149-158
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• 1993

This thesis focus of the analysis of the family relationship in Yulgok's thoughts. He thought that to control the family well may have on influence upon the things done outside home and the put its ultimate purpose on the family concord. To keep the harmony family the record relation between the family which has to be based on respect and sincerity must be presumed, In terms that the marital relationship is the most important point of all human ethics he advised the mutual sincerity in choosing a spouse,. Parenthood must be established on the basis of filial duty and charity and brothers and sisters must respect each other with fraternity and politieness. These thoughts which must be inherited today can be the best ways to keep a desirable family relationship.