• Journal of Korean Classical Literature and Education
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• no.35
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• pp.5-46
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• 2017

This study aims to investigate the context of materials in literature textbooks and the awareness about the educational value of classical literature, as part of an interest in literature education phenomena. This study accepts the premise that textbooks affect the practice of classical literature education and, in particular, materials in textbooks are chosen according to the intentions, demands, and perspectives of education in specific social conditions. I divided the educational value of classical literature into two categories, classical and literary value, and investigated the actual conditions and context of materials of literature textbooks based on the 2009 revised curriculum and the 2011 revised curriculum. Classical literature is generally alienated and excluded; contemporary literature materials are mostly included and organized in the domains of 'the role of literature', 'reception and production of literature' and 'literature and life.' In addition, the tendency to heighten classical value and diminish literary value is deepening. In order to solve the problem that classical literature is only included as the product of the past, changes must be made not just to the curriculum, which are external changes, but to the awareness of the essence of classical literature, which are internal changes. Above all, generality as 'literature' and the sense of distance about space and time as 'classic' should be connected to various relationships which respond to problematic situations and the demands of learners. Based on the relationships, we can expect a rich diversity of contexts and aspects of included classical literature. In addition, an extension of the width and scope of included classical literature is anticipated. The reduction of workload, the advent of the concept of capability and the dissolution of traditional literature concepts are the changes of external environment, which is continuously requiring renewed investigation into classical literature beyond simple appropriateness.

• (The) Research of the performance art and culture
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• no.35
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• pp.125-174
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• 2017

The Cheondeok-Song (religious songs of Cheondo-Gyo) of the Japanese colonial period shown on Cheondo-Gyohwe-Weolbo, the monthly magazine of Cheondo-Gyo Church were examined in this paper. The results are as follows. There are scores of songs, lyrics, and articles related to Cheondeok-Song in the monthly magazine. The five-tone scale or Korean traditional rhythm style was partly used, but western music form was dominant in most of the songs. Especially the four-part form of Christian hymns became usual since 1931. This shows how people thought of the new trends. The reception of the new trends being emphasized, but they recognized tradition as an object of overcoming rather than of succeeding. The lyrics contain religious contents and the spirit of the period to restore national self-respect and contribute to the world peace through overcoming Japanese imperialism. But the rhythm of seven and five syllables which is suspected to have been introduced by Japan was spread after the 1920s. Cheondeok-Song have been sung in the three grand anniversaries and other anniversaries, the Prayer-day, in Cheondo-Gyo church services on Sunday, ceremonies, and in lecture. There are various kinds of songs and their status is very high. Especially, Cheondeok-Song have been used actively in mission works and edification for women. Cheondeok-Song actively reflected the domestic and international trends and the demands of that times. They could sing self perfection through enlightenment and also the social reform based on it. These are the reasons why I think Cheondeok-Song of those days are so important. Cheondeok-Song reflected modern elements actively, but couldn't succeed the national form and the traditional elements properly. The problem of cultural identity is not only a specific group's but also that of the whole humanity of maintaining cultural diversity. This is also a task that Cheondo-Gyo Cheondeok-Song have to solve in the future.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.