• Sijohaknonchong
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• v.25
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• pp.5-27
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• 2006

This paper aims at examining how sijo works, including ancient sijo works, those published before the 1960s, those written by China-residing Koreans, and those published in the 2000s, convey the poetic meaning in terms of sentence structure. Firstly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, have sentences. whose meaning the readers can easily grasp, with simple structures and little rhetoric words. But moderns works published In the 2000s (modern sijo works after) are mingled with too many rhetoric expressions, sometimes misused. Secondly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, having a clarified subject-verb context. are easily understood by the readers. But, in modern sijo works, there are many cases with an unclarified subject-verb context and redundant rhetoric words, which will cause misunderstanding of the meaning of the work. Thirdly, in ancient sijo works. those published before the 1960s and those written by China-residing Koreans, each of the three statements (called in) in a stanza is separate from the others in context. But, in some modern sijo works, the first and second statements (called chojang and jungjang) fall into just rhetoric parts for the last statement (called jongjang), and each of them is not read as an independent statement. Fourthly, there are some cases whose forms are distant from those of siio works. but are written in three statements like traditional sijo works. Regular poems, though written in regular rhythm, should be also acoustically regular. Sijo works should be easily understood when recited. If not, they are basically far from sijo works. If modern sijo works should overcome their easy expressions and simplicity of themes, they should be composed through using not complicated sentence structures but brand-new metaphors, clear images, and fresh themes.

• Sijohaknonchong
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• v.23
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• pp.33-48
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• 2005

In my paper, the discussion focuses on the fact that sijo is distinguished from free verse as a separate Identity in that it has its own formal beauty, and the works that deviate from this poetic rule are guarded against. In the past ancient sijo, in terms of both music and literature, was a major genre in harmony with chang(songs) ; and in modern times, sijo been created irrelevantly with chug. But my point is that it will not futile if sijo is accompanied with chang, and, therefore, the latter should be adjusted to a modern taste and go together with the former ; and that, to attain this goal, Korean musicans should cooperate with sijo writers. With English-version sijo works, there are some that are put in accordance with the formality of Engish poetry. This paper indicates that, in this case, foreign readers can't feel the nuances the source text of sijo works could produce, so it is not proper to translate sijo works in accordance with the formality of English poetry. But there are other translations where the 3-jang(statements)-6-gu(phrases) form of the original sijo text is reproduced within the limits of English expressions, with each of the two gu(phrases) in a ing(statement) having an almost equal number of syllables, so that each phrase could be recited within the same length of time. The conclusion is that the Korean-English translations of sijo works should begin with the reproduction of its original formal beauty; but, to do this, sijo writers should create works in accordance with it original formality first. Therefore for good translations of sijo works there should be a mutual efforts between sijo scholars and English poetry scholars.

• Sijohaknonchong
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• v.19 no.1
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• pp.63-84
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• 2003

The purpose of the thesis is to clarify the basis and the substance in Sijo of the fixed form of verse. Sijo has the fixed form of verse in the national identity and the subjectivity of the culture up to now. To examine problems suggested above. at first in the point of the culture I researched the continuation of Sijo to the fixed form of verse in 21th centuries. And in the point of the education of Korean I classified into the subjectivity. Through the modem poetry I came to find out that the modern Sijo is displayed the originality between the modem poetry and the ancient Sijo today. To sum up I researched the substance and the originality in Sijo in 21th centuries. In order to study the originality in the basis and the identity in Sijo which have succeeded up to present without interruption, it is to gather more materials, widen an appreciative eye for our culture and deepen the till now study continuously.

• Sijohaknonchong
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• v.26
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• pp.55-75
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• 2007

Sijo is the essence of Korean literature and the most ideal poetic form through which we can express our images gracefully in three lines. Hence it deserves special emphasis either in creative writing and appreciating it from elementary school to middle school. In this paper observes how Sijo is taught in the schools and suggests the direction of educating Sijo. There may be three kinds of Sijo performance, namely, recitation, reading, and singing. In this paper. it is claimed that the performance of Sijo in the twenty first century should be recitation. Sijo education may be effective when it focuses on a way of recitation in which, with natural and long breath, a piece of Sijo is recited at length. Nevertheless, it is not practiced as the way of recitation because of following two reasons. Firstly. the analysis on rhythm, which is on the base of its recitation, is extremely difficult. Secondly, the theoretical ways, which is obsolete and lacks vividness, are ineffective in education. By these reasons. 1 studied how to give a recitation following my preceding studies on rhythm and rhythmical reading of Sijo. As a result, this paper suggests a reading method as a solution to the problems. In fact, we Korean can discipline our mind and body through reciting Sijo to the rhythm which is transcendental to Korean and at the same time, Sijo education helps to enhance our pride as koreans in the process of studying Sijo.

• Sijohaknonchong
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• v.30
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• pp.53-90
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• 2009

This study discusses the aspects of Korean-American Sjjo writers' consciousness of sijo and its significance, focusing primarily on the Sijo-Anthologies of Korean-American authors, "The Moon of the Desert" (1989), "The Dandelion of the Desert" (1994), and The Stars of the Desert" (1996) published by the Sijo Society of America. For this purpose, I thoroughly examined "Notes of Writing Sijo' attached to the authors' works and some other sijos added at the end of the paper. They started writing sijos quite early. Sijo has been recognized as a typical traditional genre of literature, and even foreigners came to write them in English. The following is the summary of the view on sijo propounded by Korean-American authors. Firstly, they follow traditional view on the theory of sijo in terms of its nature and utility, and at the same time they emphasize the utility of katharsis through self expressions. Secondly, their recognition of the value of sijo boils down to its formal patterns. Lastly, they develop the idea of national literature through their significance of writing sijos. They think that they can contribute to the development of national literature as well as the expression of patriotism through writing sijos. Therefore, they recognize themselves as spreaders of Korean culture to the local residents, and as the main stream enhancing the status of Korean culture through the competition with other nations.

• Sijohaknonchong
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• v.20
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• pp.29-50
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• 2004

When we discuss the literature of traditional era in view of ecological mode, Saseol sijo and its common writers were not objects of interests because they were thought only as having the view of the world or nature the same as the noble class and their normal sijo writings had. Also the living things in Saseol sijo were not paid attention to. They were ignored and degraded because they were unfittable and unnatural poetic diction, or they were nonpoetic results of objects. Any critics could not recognize the breathing things as 'the living ones' or 'the subjective things' in the text. In Saseol sijo, the appearance of experienced, substantial and usual animals attract our interest, which is a clue to compare the noble class' sijo with having the ideal and imaginary living things. This study discussed the writer's view and recognition of 'the living things' in Saseol sijo. In this essay 'the living things' mean living and moving creatures. First 'the living things' in Saseol sijo were the creatures of daily life and experience. They were not ideal or dreamy creatures any longer to the writers of Saseol sijo. In Saseol sijo it's possible for creatures which ecological symbiosis cannot be made to appear together. On the contrary there are texts which had outstanding recognition of 'the living things' that were accustomed to the human life. The writers of Saseol sijo understood 'the living things' as creatures familiar to human beings. Their warm and affectionate eyes toward the creatures made 'the living things' the objects of identification and sympathy. There are some works which were complicated with love and hatred toward 'the living things'. In conclusion, the life of Saseol sijo writers were the same as the symbiosis with the living creatures.

• Sijohaknonchong
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• v.42
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• pp.93-115
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• 2015

Dynamics of Sijo was regarded as a genre of 'closed nature' once. But ironically thanks to the 'closed nature', today dynamics of Sijo is refocused in diverse fields. Sijo is quoted not only in its original field of literature, but also in writing study. Quite remarkably, it is often referred to in the field of literary therapy, further in emotional healing. This article discussed the dynamics of Sijo as a manifestation of emotion especially called Gamsung in the process of the refocus. It is to show effectively that as a literary genre, Sijo can interact and share what is reasonal as well as what is emotional and sentimental in a poem as an emotional container beyond the lyricism Sijo has. Of course, it is also clear that the concept of lyricism may limit the dynamics of Sijo itself. Thus, the key word 'Gamsung' mainly referred to in this article was used to show the dynamics which Sijo has as much as possible, overcoming the limitation. That is, the purpose of the study is to prove that Sijo is the genre to represent human emotion most dynamically by reviewing the reasonal aspect of Sijo in addition to its emotional disposition which has been estimated to focus on sentiment or emotion. In the process of reinterpreting the structure of Sijo, the specific analysis on such emotional disposition and reasonal aspect was conducted by structurizing that as '(1) Facing, (2) Feeling dynamical, (3) Interpellating by feeling, and (4) feeling by sensation'.

• Sijohaknonchong
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• v.24
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• pp.199-221
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• 2006

Daseuk Yeungmo Ryu, the author of the most Sijo poems in the history of Korean Literature, and his Sijo poems were once introduced by me. which is a small part of his world of Sijo, though. The goal of this study is, as its succeeding research, to reveal the features of Daseuk's Sijo poems and their significance in detail. There have been not a few poems which accepted religious contents in the history of Korean literature. Especially, Gesong In the Buddhist Zen is a typical example of the encounter between literature and religion. What is more. Buddhism was in alliance with Hyang-go in the Silla dynasty and with Gasa in the Chosun dynasty. Gasa was effectively used in accepting Buddhism as well as Taoism and Catholicism. Sijo has seemed to be farther from religion than Gasa has. However, Daseuk, a renowned religious thinker in the 21st century. expressed his religious ideas in Sijo, which has not been found in the history of Sijo before. Considering Hangeul as a special tool of expression, Daseuk delivered his condensed ideas in poetic dictions in a unique way. Each word in his Sijo poems implies his religious ideas, which are marked in a special transcription. It makes his Sijo difficult to understand. Yeungmo Ryu's Sijo poems should not be left unnoticed just because they are hard to understand but should have follow-up researches so that Daseuk's Sijo, which is the most in number and the most unique in its style, have to be embraced in Korean literature.

• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.188-194
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• 2019

Always, emotion is mutant. This is principle of literary treatment. In the literature, sadness is not sadness, and 'loving emotion' is not 'loving emotion.' Despite loving of our, loving is sadness. Also loving is to cry. This crying becomes love. This study is to show the mutant emotion which is to be able to code Deep Learning AI. We explored the Sijo "Streams that cried last night", because this Sijo was useful to study mutant emotion. The result was that this Sijo was coding the mutant emotion. Almost continuously, the sadness codes were spawning and concentrating. So this Sijo was making the emotion of love with the sadness. If this study is continued, It is believed that our lives will be much happier. And the method of literary therapy will be able to more upgrade.

• Sijohaknonchong
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• v.21
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• pp.5-22
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• 2004

If Sijo poetry is referred to a text which is composed of sentences. its textuality can be explored in terms of 1) the figurative words used in each line. 2) the logical sequence between lines. 3) the syntactic composition of each line. With the ancient Sijo poem. 1) it is composed of logical sentences as a result of extremely restraining from using figurative words that could prevent the reader from grasping the logical sequence within the work; 2) there is a clear cohesion between lines that can make each work perfectly coherent; 3) each line has a balanced syntactic structure, so the entire structure of a Sijo poem is '6 phrases in lines'. With the modem Sijo peom. 1) it abounds in figurative words, which prevent the work from having a logical sequence, and sometimes even from having three lines; 2) there is a loose cohesion between lines which can't make each work coherent; 3) it sometimes destroys the syntactic structure, '6 phrases in 3 lines', unique to traditional Sijo poetry. I think that this trend of modern Sijo poetry can cause haphazard the existence of modern Sijo poetry.