• Sijohaknonchong
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• v.30
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• pp.219-240
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• 2009

Jasan An Whak did research on the essence of Sijo to show that Sijo has some features as a literature. I tried to show the formation process of Sijo theory in 1930s through Jasan's Sijo theory. As a preparatory step for it, I introduced Jasan's Sijo theory released in early 1930s and examined the characteristic aspects of it. Jasan recognized a literature as a directing post that reveals the history of our national spirit. He thought a literature as a foundation for satisfying new age. Also, he recognized the essence of a literature as a emotional expression. He emphasized that a new literature in Joseon age should have not only particularity of Joseon literature but also universality of modern literature. Jasan studied style of Sijo. Because he was at the time of modernization, he used the term, 'style', instead of 'poongkyeok', which had used before modern time. He tried to show linguistic artistry of Sijo through the series of his works about the style of Sijo. Jasan tried to find formal beauty of Sijo in the aspect of rhythm instead of rhyme. And he claimed that poetic words can be lengthened or shortened to be harmonious with the melody of Sijo. In other words, it is possible to change the words of Sijo for harmonizing with a tune. Jasan recognized that the words of Sijo have a musical function as well as a semantic function.

• 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.

• Sijohaknonchong
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• v.20
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• pp.97-111
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• 2004

It is extremely crucial in academic researches to clarify exact spellings and original contents of the works under analysis. In the case of Sijo, the works in different collections of poems with the same title prove to have been transformed in its spellings and expressions through the long period. Therefore it has been a very important step which should be taken prior to a research of Sijo that spellings and expressions of those works be compared and checked. In this point of view, I believe the book titled A Full Collection of Sijo. Yokdae Sijojunseo, written by me can be of great help to identify the expressions and contents. Moreover this book enables us to check authors and melodies of the works. This is a study on the aspects and phases of transformation of an original work by examining 'Eobusasisa'. The findings are the following: first of all, the number of collections including 'Eobusasisa' is unexpectedly small; secondly, how the original work was transformed and modified in various collections. A representative collection including 'Eobusasisa' as a transformed style into Sijo is Haedonggayo, where 38 poems out of 40 of 'Eobusasisa' are collected. All the modifications and changes have been checked in this study. To sum up, it is very important to compare the variations of a Sijo work with each other. It enables us to check up and to identify the writers, spellings, expressions, and melodies.

• Sijohaknonchong
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• v.44
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• pp.7-28
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• 2016

Music was made popular through the modern mass media. Nonetheless, if a period of high standard performances and appreciation by a minority of culture connoisseurs can be qualified with the expression "gentrification of culture", then a period when anyone can access culture through the mass media can be qualified with the terms "popularization of culture" and in this period the reorganization of performance culture can only be driven by the public. In fact, the Jabga, which is a type of traditional song that received strong public adhesion by means of phonograph records and radio broadcasts at the time, stands as a typical example to it. Gagok and Sijo up until the 1920s and even the 1930s are believed to engage actively in the changing media environment and the new modes of music enjoyment and transmission. The Album recording of faster rhythm music and the inclusion of the Sijo, Jabga, and folk songs in one broadcast programme can be seen as reflecting such an effort. However, it can only be hard for the Sijo and Gagok to challenge the predominance of the Jabga which made its lyrics more popular and the new songs written in accordance with the new media environment. Until the 1930s in this changing environment of music enjoyment, Gagok and Sijo performers rather sought to distinguish themselves from the existing popular song style by reproducing traditional forms. The album recording and broadcasting of Lee Wangjik Aakbu, the beginnings of local singers, the participation of male performers not only contributed to the diversification the enjoyment culture of songs and sijo, but also made the 'difference in standard' with the popular songs even more salient.

• Sijohaknonchong
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• v.43
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• pp.41-66
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• 2015

A study on rhythm of a sijo was mostly conducted based on rhythm theory. As it is considered to define the rhythm of a formal sijo based on three verses, its significance has been recognized. However, if rhythm is understood to be superior to cadence or versification, it seems necessary to examine the rhythm of a sijo as a verse with a fixed form as well as a highly individual rhythm of each and every lyric poet, which is informal rhythm, in order to fully understand them. In this case, prosodie analysis by H. Meschonnic (1932~ 2009) can be a significant methodology. As this study gropes for a possibility to examine the rhythm of a sijo from a new perspective instead of existing rhythm theory through the application of H. Meschonnic's prosodie analysis, it can be regarded as an essay. Prosodie newly suggested by Meschonnic is referred to as linguistic organization of consonants and vowels and indication of their paradigm, and it conflicts the perspective that traditionally separates linguistic sound from meaning for dichotomous understanding. It is due to the fact that the organization of consonants and vowels is a unit that constitutes a complicated layer of significant sound and meaning. Accordingly, prosodie analysis that is irregularly and aperiodically distributed within poetic text can be considered as methodology aimed at explaining how a poem is integrated in terms of sound and semantics. The core of prosodie analysis is to examine how the phonologic system stands against the theme of a poem. It ultimately has the same way of establishing literary style of a poet as it is to explain a unique aesthetic structure that individual poems have and show distinct characteristics of linguistic use by a poet. Prior to application of the prosodie analysis to sijo in general, the study preparatorily conducted prosodie analysis on < Ouga > by Gosan Seon-do Yun.

• (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.

• (The)Study of the Eastern Classic
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• no.59
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• pp.9-32
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• 2015

The purpose of this paper is to study the development process of our native verses from the Three Kingdoms Period to the Goryeo Dynasty. The contents of the discussion can be summarized as follows. Typical form of "Sanega" from the Three Kingdoms Period to the late Silla/ early Goryeo Dynasty is a well organized 3-layered structure representing the contents of enlightenment of a high priest. Sanaega has a poetic style characterized by distinct literary features compared to other native verses in the same era. The reason is that 10-line Hyangga improves its poetic level as it is aware of Chinese poetry. As it enters the Goryeo Dynasty, this literary composition starts to change. In other words, Sanega declines and quatrain emerges in the front of literary history. Unlike the Three Kingdoms Period ~ the late Silla/ early Goryeo Dynasty, development of quatrain results from that native verses enhances the characteristics of song rather than poem in the Goryeo Dynasty. Native verses form the mutually complementary relationship by adjusting the position as the song rather than competing with it as the poem as Chinese poetry becomes more common. In the Goryeo Dynasty, Sanaega declines and Sijo emerges in literary history, because native verses have been developed in the poetic form to freely express general emotion and to be more loved from the public. It is in the same vein as a native verse in the form of quatrain raises its vitality by enhancing the characteristics of the song through the adjustment of its position compared to Chinese poetry.