• Sijohaknonchong
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• v.24
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• pp.5-46
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• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• Sijohaknonchong
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• v.24
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• pp.259-278
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• 2006

In this study, I've researched the sijo written by Yukdang, Choi, Nam Sun, and Manhae. Han, Yong Woon who were the leading intellectual and the pioneers experiencing the time of flowering and the colonial period. Their lives had the common things in various way. They were involved in Independence movement as the intellectual at that time. They also showed the various activities such as modern poem. sijo, and even Chinese poetry. In this thesis, 1 compared their sijo and considered them. Especially, I've researched the two divided parts focused on the tone shown in the sin one part was focused on the 'lover', and the other was on the 'life'. The summarise which I've researched is as followings. First, I've researched the sijo focused on the 'lover' They have the common things in having the presupposition of farewell to their 'lover'. But there were significant differences as followings. In the case of Yukdang, he expressed the passive tone based upon the despondency and the loss with the absence of his lover. Meanwhile, Manhae tended to reveal the resigned and negative tone based to his lyrical world. The contrasted tone in their poems is considered to have something to do with their realistic matters. There should also be several things to be discussed in the future.

• Sijohaknonchong
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• v.42
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• pp.213-238
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• 2015

Jeongun(丁芸) Lee, Young-do (李永道), who is deemed a representative female poet of Korea, began her literary career in May, 1946 when she published in a publication called "Bamboo Sprout, (죽순)". Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work, and she remained a quintessential figure in Korea's female sijo poet circle for 30 years until her passing in 1976. Despite the highly acclaimed talent and her noble aspirations, it is undeniable that her works did not receive fair assessment due to her private life. Against this backdrop, it is necessary to deeply inquire the literary values and beauty of Young-do Lee's sijo. As mentioned, Young-do Lee is a solidly established figure in Korea's modern poetry. The following illustrates the spirit and the world of her poetry. First, Young-do Lee lived through turbulent times and it was her country that served as the source of her sijo work. Assessing the multitude of dramatic historical events such as Japanese colonization, 8.15 Liberation of Korea, division of the nation, 6.25 Korean war, 4.19 Revolution, 5.16 military coup, it is natural that patriotism was strongly present in her work who was one of the intellectuals at the time. Second, Young-do Lee is a poet who had experienced more pain than others in terms of the turbulence of the time. Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work. Third, Jeongun Lee, Young-do is a poet of longing. The abundance and richness of her emotions were fortified through the relationship with another poet, Chihwan Yu. Fourth, Young-do Lee is a poet opened up new horizons for the modennization. The transparency of image reflected in her work and the elaborate nature of her language are outstanding. In summary, Young-do Lee was a true artist, who has a strong presence in Korea's modern poetry society, and who was a poet of patriotism, poet who suffered the turbulence of the times, and a poet of longing.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.5-45
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• 2018

Today, in the case of literary works such as modern poetry, novels, 'literature production : literature acceptance' are relatively simple as 'writing : reading'. However, in classical literature, there are ways of 'singing, chanting, narrating, performing, public reading, writing : listening, reading.' Modern literary works such as poetry and novels are sole arts made up only of literature, but classical literature have many complex arts accompanied by music, theater, etc. In order to understand the way classical literature, it is necessary to consider music, theater, etc. also. There are a number of subjects to research today in relation to the accepting method of classical literature. There are such things at Hyang-ga (향가), Goryeo Sog-yo (고려속요), Sijo (시조) and Gasa (가사) in of classical poetry. There is a public reading in classical novels. There is securing video materialㄴ for narrators in oral literature. And there are Si-chang (시창. 詩唱) and aloud reading in chinese proses. 'Listening literature', such as the oral literature needs to have the A. Lord's 'formular theory' - 'formular' (general words), 'themes' (general subject), and 'improvisation.' It is the opposite of contemporary poetry and novels that value ' special words', 'special contents', and 'original text.' Classical literature with a great deal of 'listening literature' besides ' reading literature' needs to have this 'formular theory' too basically. In the case of 'excessive pornographic' oriented events in Goryeo Gayo (고려가요) and Pansori (판소리), a vision is required to set up a space for the realization of literature. The haman basic elements like a man and woman's body subject can be evoked as a literature means at open place for anonymous people. Unlike modern poetry and novels, which are 'reading literature', and contain only literature, classical literature have 'listening literature' besides 'reading literature', and have complex arts - classical poetry (literature and music), and oral literature (literature, music, theater etc.) These aspects are available to research modern mass media literature, which are all 'listening literature,' and all complex arts - pop songs (literature and music), movies (literature, drama, image, music etc.) and TV dramas (literature, drama, image, music etc.). Thus, a proper understanding and consideration of the accepting method is very important in understanding, researching and educating classical literature.

• Sijohaknonchong
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• v.19 no.1
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• pp.155-177
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• 2003

Jeong Geuk-in was a poet of the early Joseon period. He lived for 45 years before Hangeul was published and 35 years afterwards. So, he wrote poetry both in Chinese and Korean. He was a creative writer who wrote Korean poems and songs. There were only a few works written in Korean including and before him. His Korean poems are , and . He created Korean poems and songs by unifying three literary forms of Sijo, Gyeong-gi-che-ga and Gasa. This study was intended to examine written in Korean. For the study, the form of the Bul-woo-heon-ga was analyzed and it was considered as Saseolsijo (a form of sijo with no restrictions on the length of the first two verses) for genre classification. However, it is generally thought that the Saseolsijo appeared in the seventeenth century. Therefore, this study is to explain the reason why Bul-woo-heon-ga is included in Saseolsijo. Another problem is that the writer of Bul-woo-heon-ga is not Jeong Geul-in, because of the fact that the speaker who appears in Bul-woo-heon-ga admired Jeong Geuk-in. In general, people do not admire themselves. As Jeong Geuk-in is a subject to be admired in the book, it is thought that the writer of the book is considered as one of his pupils or friends.

• Sijohaknonchong
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• v.21
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• pp.47-76
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• 2004

Newly discovered ${\lceil}Gogeummyeongjakga{\rfloor}$ is a copy collection of the old poetry SI-JO, which is specified in the book of yellow Gojeongji. {$\lceil}Gogeummyeongjakga{\rfloor}$ is guessed to be copied before the 17th year of King Yeongjo's reign(1740) and thus it's the early collection in the history of the Korean verse, Shijo. According to our research, there are 78poems in the collection and nine out of them hasn't been yet reported to the Korean Academy. The characteristics of Shijo in the book are followed. First. The collection is different from other books since the book was written in Korean instead of Chinese characters, which shows the uniqueness of the Korean literature in the late 17th and the early 18th century. Secondly, there are different versions of a poem in the collection, which is quite unusual in the other collections. There are different words or phrases used in different versions and even the whole verse is modified in some cases. Thirdly. two out of newly discovered nine short lyric songs is transformed from and that are kind of Chinese Ak-Bu. By the way, the compiler of ${\lceil}Gogeummyeongjakga{\rfloor}$ seemed to understand the co-relation between Ak-Bu and Shijo. and that's why he chose transformed Shijo from Ak-Bu not Chinese poetry. Among nine poems, <9> and <10> are newly discovered responding songs unknown up till now.

• Sijohaknonchong
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• v.44
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• pp.57-74
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• 2016

This these studies on SiJo to be published Dongkwang magazine. Dongkwang magazine was published from 1926 to 1933 but in the concrete it proceeded for three years two month. It was published a little SiJo and SiJo would reflected a phenomenon of society and a character of literature. A representative characters of the Si-Jo in substance at that time was summed up three. First it described a warmth of farm village. Expecially make full use of a sensuous description expressed a landscape of farm village. Otherwise it revealed a life of austerity in farming area. Second it reflected a phenomenon of return to their home village. People who was familiar with their country loved to come back their old home. To relax their mind and body they came back home and they pursuit romantic life. Third it was a poetry of historical retrospect. Although their country was colonial situation they longed fot their country's independence. Because of this anxiety they expressed their heart by means of old sijo. Mainly using old castle, ring, historic site they revealed a hidden feelings thst they had. It was a sorrow, an eager, remembrance etc. In spite of a poor surroundings they sang hope, romance, an possibility of independence. and so SiJo reflected the phases of the times.

• Sijohaknonchong
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• v.42
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• pp.151-185
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• 2015

The purpose of this study is to reveal the aspects of "Children" in Saseolsijo and its historical implication in Korean Classical Poetry. What was discussed can be summarized as follows: There are two types of children in Saseolsijo, one is silent, and the other is speaking. The silent child characteristics are such as being called and addressed by the poetic narrator, customary audience, passive attitude, etc. The speaking child characteristics are speaking subject, active attitude as sign of modernity. These phenomenon simply expose the differences of aesthetic order. The silent children is mainly to be utilized as a device to maximize the lyricism of the text as an ideologically product by the inner request of the poetic narrator and show identification discourse. The speaking child, gives the dynamics in text by heterogeneous discourse and informs aesthetic distance between "the reader and the text" as well and show distance discourse. These fragments from Saseolsijo's children are also found in previous genres. In the case of Hyangga, 'children' speak for solving others' desire but are targeted by poetic narrator as well. In the case of Goryosokyo, 'children' show activity and efforts to break forced silence by the poetic narrator through voluntary speaking. In Sijo's case, unlike other genres, some literary works show contents about disciplining children and the growth of children. However mostly targeted children by the poetic narrator are predominantly appeared from the discourse perspective. These aspects of children in previous genres including some of works in Saseolsijo are mainly associated with the appearance of medieval children. Unlike these, the new aspects of Saseolsijo's children show the cross-section of the signs of transition contemporary, from medieval to modern. Even if there are few literary works in these, speaking children with activity reveals novelty over medieval-imposed 'child-ness' by showing 'self', 'individual desire' strongly. This novelty is far from infants of the modern concept as naive and innocent children but these children are noted in that they show a part of modernity through various voices in the text, the comic(laughter), multiple point views, etc.