• Title/Summary/Keyword: Hwang Jin I

Search Result 568, Processing Time 0.034 seconds

Figuration of farewell and aspect of confrontation expressed in the poem of Hwang Jin I (황진이(黃眞伊) 시조(時調)의 이별(離別) 형상화(形象化)와 대응양상(對應樣相))

  • Kim, Seong-Moon
    • Sijohaknonchong
    • /
    • v.30
    • /
    • pp.319-332
    • /
    • 2009

  • The research on the poem work of Hwang Jin I may have been discussed relatively profoundly compared to the number of works left by her. On the prolongation of such result that has been made thus far, the author tried to investigate aspect of confrontation of figuration and situation of farewell revealed in the poem work of Hwang Jin I through this dissertation. The 6 poems of Hwang Jin I are works which are directly or indirectly related to the situation of farewell. Thus, the author began to discuss dissertation, thinking that the difference in aspect of confrontation in the farewell situation of Hwang Jin I projected in the work can be confirmed by analyzing the poem work of Hwang Jin I. First, with respect to the figuration of farewell in the poem of Hwang Jin I, it cannot be said that she left many poems. However, it could be confirmed that the universal human emotion felt in the situation of farewell was effective converted to figuration by personality of the author through the delicate symbol and simile felt in each work and diverse poetic devices. Then, the aspect of confrontation of farewell situation revealed in the poem of Hwang Jin I was investigated in 3 large divided aspects. First, it is the nature-compliant aspect of confrontation that does not artificially reject or disobey but accepts the moment of farewell by relying on the providence of nature with respect to the situation of farewell. Four works pertain to this category, namely, <니 언지 무언(無言)하여$\sim$>, <어뎌 니 일이여$\sim$>, <산(山)은 넷 산(山)이로디$\sim$> and <청산(靑山)은 내 뜻이요$\sim$>. Next, it may be challenge to the nature, that is, to cut time and space at own intention against the providence of nature. The work, <동지인(冬至人)달 기나긴 밤을$\sim$> pertains to this category. Finally, it is mixed aspect of confrontation in which the above-mentioned compliant aspect of confrontation is mixed with challenging aspect of confrontation. The work, <청산리(靑山裡) 벽계수(碧溪水)ㅣ야$\sim$> may pertain to this category. As explained above, the aspect of confrontation revealed differently in the situation of farewell may be due to the peculiarity of her status as official kisaeng. Furthermore, her magnanimous and affectionate character may be also quite influential on this matter. The matters to be supplemented to make the above discussion successful need to be studied in the subsequent research.

  • PDF

Neurophysiology of Amplification and Mutation of Poetic Sense: Focusing on Hwang Jin-yi's Sijo "I do not untrustworthy"

  • Park, In-Kwa
    • International Journal of Advanced Culture Technology
    • /
    • v.6 no.2
    • /
    • pp.100-106
    • /
    • 2018

  • Sometimes, literary therapy is to create an abscission layer at the mind and remove the signifier of love, by the abscission layer. The purpose of this study is to reveal the mechanism of literary therapy by mutation in human-created sentences and to activate literary therapy. In Gosijo, the abscission layer of Seo Gyeongdok's mind is present in the layer of the "falling leaf" of the his Sijo's last sentence, and the abscission layer of Hwang Jin-yi's mind exists in the layer of the "falling leaf" of the her Sijo's last sentence. The "falling leaf" created by the abscission layer of Seo Gyeongdok's sentence acts as an action potential to the nervous system of Hwang Jin-yi. In Hwang Jin-yi's Sijo, the abscission layer is also activated, forming a "leaf". Hwang Jin-yi's Sijo constructs a new sensory layer that is extended and mutated more than the meaning of space between lines of Seo Gyeongdok's Sijo. In her Sijo, Hwang Jin-yi twists and twists Seo Gyeongdok's sentences to squeeze the sound. She accepts the Seo Gyeongdok's sentences and twists in the first sentence and twists out of the second sentence once more to produce the mutation in the last sentence. As a result of her sentence twist, Seo Kyung-duk's visual sense of "falling leaf" is mutated into a "falling leaf's sound" of auditory sense. This mutation process works as a healing mechanism in the human body. If this study will continue in the future, it will be possible to activate literary therapy by Sijo.

  • https://doi.org/10.17703/IJACT.2018.6.2.100 인용 PDF KSCI

A study on Korean creative dance costumes design through analysis of Jin-Yi Hwang's Sijos (황진이 시조 분석을 통한 한국 창작무용 의상디자인 연구)

  • Kim, Yun Ji;Kim, Hye Kyung
    • The Research Journal of the Costume Culture
    • /
    • v.27 no.4
    • /
    • pp.353-367
    • /
    • 2019

  • These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.

  • https://doi.org/10.29049/rjcc.2019.27.4.353 인용 PDF KSCI