• Cross-Cultural Studies
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• v.38
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• pp.7-28
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• 2015

This article considers Chunhyanjeon written in Japanese by Jang Hyukju in 1938. His Chunhyangjeon was presented from among the collusion and crack of 'things Japanese' and 'things Chosun' discussed in Japanese literary world in the 1930's. This article analyzed the writing method and the meaning of the text. Jang Hyukju(張赫宙, 1905~1997) became known to Japanese literary world by the second grade nomination of the prize contest of the magazine Kaizo in 1932. Since then, he worked actively in the Japanese literary world by writing novels in Japanese and introducing the literature of Chosun. Thanks to his activity, the literature of Chosun drew attraction from the Japanese, which can be called 'boom'. Jang Hyukju was in the middle of this boom. So, his text presented the collusion and crack of empire and colony. We can make sure this issue from his play Chunhyangjeon. When he presented Chunhyangjeon, Jang Hyukju mentioned his purpose of writing. He intended to write modern play in new literary style. Chunhyangjeon was surely the material of things traditional Chosun, which was corresponded to the demand of Japanese literary world. Through the story of Chunhyangjeon, however, he formed the modern text style. He wrote in standard Japanese language, and described things from the perspective style which is often used in modern novel. And he renewed the character characteristically and arranged the structure of the play. His writing style showed clear distinction in the comparison to Chunhyangjeon written by You Chijin which was presented in Korean language 2 years earlier than Jang Hyukuju's. The text Chunhyangjeon written in Japanese by Jang Hyukju reflected specificity as a district of Japan. But on the other hand, a new literary method of modern realism was tried. Chunhyangjeon written by Jang Hyukju shows the cross penetration of empire and colony. And in his Japanese-language literature, the literature of Chosun is coexisting and playing variation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.1-11
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• 2011

Located in Namwon-si, Jeonlla Bukdo, Gwanghallu Garden is created around Gwanghallu, which was a government office in the period of Joseon Dynasty and shows its looks as a government office building of the times. However, Gwanghallu Garden is recognized rather as a background site of Chunhyangjeon, representing a local culture, than the features and picture as a government office garden in the period of Joseon Dynasty because Gwanghallu appeared as the background of Chunhyangjeon in its Chinese character script and, after 1930s, Chunhyang Sadang was built up and Chunhyang Festival held, and it's recognized rather as a site for arousing national consciousness and cherishing Chunhyang for its integrity in the Japanese ruling era of Korea than as a government office building in the period of Joseon Dynasty. With it being more recognized as the background of Chunhyangjeon than an ancient government office building, Gwanghallu has been managed as a private house garden or event place of folk festival as the background of Chunhyangjeon than preserved and managed as ancient government office building, and now the looks and features as a garden of government office are hardly seen because of indiscriminate trees and making of structure and spaces. Therefore, to preserve and maintain Gwanghallu Garden as the garden of government office in the period of Joseon Dynasty, it's required to survey the trees, structure and spaces created in Gwanghallu Garden and compare the true condition with its original looks by studying its literature and it's suggested that the garden area created around Gwanghallu should be repaired and managed by separation from as the background of Chunhyangjeon. Such means of management may keep the looks of Gwanghallu as the ancient office garden while Chunhyangjeon can also settle down as a local culture in the background.

• (The)Study of the Eastern Classic
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• no.34
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• pp.387-414
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• 2009

This paper seeks to provide an overview on the newly-discovered manuscript in gasa style. It is significant in that the entire in gasa style has not been seen before, although occasionally scripts incorporate sijo or gasa as inserted songs. The author of this manuscript is believed to be Bae Hyung (裵珩: ?-?), who lived in Daegachon, Yongdu-Myun, Sunchon-Gun in Jeonra-Namdo Province. It is estimated that the manuscript was written in April of King Gojong 37 years (year 1900). This , so-called the Yang Jee-Uk Collection Script, applies Samdan Pyunun Daewoo Method (三段片言對偶法), using Jongbae style (縱排法) to over 27 pagesof the book. The author seems to have collected the main scenes of and changed them into gasa style. It is also possible to postulate that the author might have simply divided the lines to make it resemble the existing gasa style, as the original was already in the form of lyrics. There are a few mistakes found in the manuscript. They seem to have been made while the author was recording the sung P'ansori, rather than while copying from a different manuscript.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.47-85
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• 2017

In literary works, space plays a background role, but in geography, it becomes the target of study. Space could, therefore, be a matter of common interest in literary and geographic education. "Chunhyangjeon" contains a great amount of geographic information, such as landscape, itineraries, and spatial consciousness. This information is a part of narrative development and represents the geographical situation of the late Yi-dynasty. Thus, "Chunhyangjeon" could be the common material for literary and geographic education. Using "Chunhyangjeon" as the common material, through narrative incidents, learners in a literature class can appreciate the role of geographic information in narrative development, and the same learners can, in geography class, recognize the geographic information and gather the sense of place that the characters experience. For the construction of common realm of the two subjects, it is necessary to compare the aims of two subjects and systematically ensure that the aims correspond. This systematic correspondence of aims could be the foundation for curriculum integration.

• Journal of Fashion Business
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• v.9 no.4
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• pp.79-93
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• 2005

'Chunhyangjeon' was written by an anonymous author in the mid-period of Chosun Dynasty. The personalities of characters and the styles of dress of men in 'Chunhyangjeon' recreated their clothing to one that is more similar to the descriptions in the literature text can be described as follows. Lee, Mongyong was a young man, but he was a man of integrity and honor. In outwear he wore 'Hat(Heulip)' and 'Dopo' and Taesahae. When he earned his title, he wore 'Pokdu' with flowers and 'Angsam(ceremonial robe)'. After he became a secret royal inspector, in order to disguised on himself as a poor man he wore worn-out 'Heuklip' and 'Dopo' and Jipsin. Bangja who was a servant of Lee, Mongyong wore 'Beonggeoji' and 'Kwaeja' and 'Mituli'. Byun, Hacdo was a rash and greedy character, he wore 'Oklolip' and 'Cheopli' and 'mokhwa' when he was on the way to his post. Yeokjol was low grade official wore 'Jeonlip' and 'Cheopli' and 'Red shoulder band' and 'Mituli'.

• Journal of Korea Multimedia Society
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• v.20 no.6
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• pp.969-977
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• 2017

Through Rene Girard's theory of triangle of the desire, this research investigates the mimetic nature of desire as shown in the main character of the movie The Servant. This paper analyzes the structural transformation of desire in the character, which is revealed by the process of reinterpretation via the medium change and convergence from Chunhyangjeon, a classic oral novel in Korea, to The Servant, a movie created by director Dae-woo Kim in 2010. The Servant is a meaningful research subject as the transformation of the inner desire of the character is accomplished by boldly designating Bangja, who is supposed to be a minor character, as the protagonist. In particular, Rene Girard's argument on the indirectness of desire in the theory of triangle of the desire helps understand the point where the character' inner desire, which naturally occurred in the existing narrative, transforms into the mimetic desire by an intermediary. This indirectness of the mimetic desire of the main character suggests a similarity with modern men's vanity which is offered by the capitalist era. Through this, the modern meaning of the mimetic aspect of desire as revealed by the transformation from the movie The Servant to Chunhyangjeon can be understood.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.24 no.2
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• pp.113-128
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• 2013

This study targets ten titles of Hangul banggakbon novels in the Harvard Yenching Library to examine the bibliography, system, and characteristics. Among the ten titles, gyeongpanbon Guunmong, Leehaeryongjeon, Chunhyangjeon, Janggyeongjeon, two titles of Sodaeseongjeon, Honggildongjeon, anseongpanbon Yangpungunjeon, and two titles of wanpanbon Hwaryongdo have been found in Korea, too. However, gyeongpanbon Chunhyangjeon, 30 jangbon of Hyogyosingan(孝橋新刊), and wanpanbon Hwaryongdo seogyeseopobon are the ones that can be hardly found in Korea, and the library has possessed it there so far. With the two titles of Hangul banggakbon novels, it will be needed to reexamine the aspects of publishing Hangul banggakbon novels afterwards. Hangul banggakbon novels that Harvard-Yenching Library has now are mostly the ones that can be easily found in Korea, too. It is because the data started to be collected from the 1950's. In comparison with the materials in England, Russia, or Japan in the early 1890's, there are no rare books that cannot be found in Korea. The reason for this may be found from this.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.227-237
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• 2020

In the 30th edition of , Chunhyang is conventionally presented as a woman who tries to protect her chastity and it eventually bears the fruits of her love. On the other hand in , Chunhyang is reinterpreted as a woman who strives to protect feminist self-consciousness and beliefs, even in unreasonable social situations. By comparing the two different works, we can see differences in the behavior of the characters in how to overcome various obstacles, such as irregularity, gender discrimination, and identity conflict. By reinterpreting the emotions of the characters in the classic novel into the emotions of the modern characters, we can see the how the characters grow when trying to overcome the situation and find a solution, even though there is no change yet. This can be seen as the emotions of the characters become different as time goes by. As the times go by, the world's values and inclinations also change, and the irrationalities of the world will also go in various directions. Through the fusion of culture into history, even though it's irrational but we become familiar with it and will clearly understand the absurdities, and we can look forward to changes in the process.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.