• Lingua Humanitatis
• /
• v.1 no.2
• /
• pp.67-90
• /
• 2001

In the past few years, a trend has emerged emphasizing the interdisciplinary relationship between cultural and literary studies, and "memory" has been suggested as the central theme in this trend. According to Aleida and Jan Assmann, "memory" as collective memory (not individual recollection) has various functions and forms, of which communicative memory and cultural memory occupy opposite poles of a central axis. Whereas communicative memory relates to the living past shared among contemporaries, cultural memory relates to "recollected history" rather than factual history. Cultural memory finds transmission through symbolic media such as myths, festivities, and literary works. Literary works preserve critical and living memories as opposed to forgotten memories. In other words, literature should be better read as "criticism and memory" than "imitation and preservation." Works of literature are characterized by a turning away from repetition toward representation-the process of "making present" of what is past.

• Sijohaknonchong
• /
• v.24
• /
• pp.47-85
• /
• 2006

One of the famous Korean verses, Sijo 'In hemp clothes in winter(삼동에 베옷 입고)' is in thirty kinds of anthologies and ten kinds of Chinese writings. The major point in literary transmission of this work was the writer. The writer of this verse is Cho Sik(조식) in most anthologies. The writer of this work is recorded as Kil Jae(길재), Kim In-hoo(김인후), Kim Eung-jung(김응정), Lee Mong-gyu(이몽규) or Kim Ryung(김령) in Chinese writings. These people were famous for their studies and virtue, but they did not take office and retired from the world until they die. They were faithful to their principles serving their kings, though the country had wanted them to take a position in the government. Even though they did not in government service, they left some anecdotes and stories of lamentation after hearing their king's death. Because these stories and anecdotes can be easily connected with 'In hemp clothes in winter' which is about mourning over death of a king, they were known as the writer of this poem. Especially, their offsprings, juniors and followers often wrote these people as the writer of this work to represent their honor. Throughout the studies of several literary documents, this poem is written by Kim Eung-Jung, who lived in Kangjin(강진) in Jeonla province(전라도) and did not take office in all his life. He made this poem when he had heard the King Myoungjong(명종)'s death. Various transmission of literary documents with the records about 'In hemp clothes in winter' have a significance that can show the aspects of noble men's acceptance and transmission of Sijo.

• Journal of the Daesoon Academy of Sciences
• /
• v.48
• /
• pp.41-155
• /
• 2024

Among the records that attest to the period from July to August of 1863, when Suwun was believed to have transmitted the orthodox lineage to Haewol, the oldest documents are The Collection of Suwun's Literary Works (水雲文集), The Collection of Great Master Lord's Literary Works (大先生主文集), and The Records of Dao Origin of Master Choe's Literary Collection (崔先生文集道源記書, hereafter referred to as The Records of Dao Origin). The records regarding Suwun in these three documents are considered to have originated from the same context. The variances embedded in the three documents have led to arguments about which documents accurately reflect the fact of orthodox lineage transmission. Additionally, these variances highlight the necessity of a review regarding the characteristics of early Eastern Learning, such as its faith and organizational systems. Accordingly, by thoroughly examining these three documents, it is possible to elucidate the chronological order, establishment-date, accuracy, descriptive direction, and characteristics of the faith system of early Eastern Learning as these are reflected in each document. If successful, this examination would provide a clearer description of the developmental process of Eastern Learning from 1860 to 1880, facilitating a more in-depth analysis of the significance embedded in various forms of discourse on the movement's orthodox lineage transmission. In comparing the three documents and contrasting them with related sources, the results of the textual examination assert that the documents within the lineage of The Collection of Suwun's Literary Works, given they lack a clear record of the event regarding Haewol's orthodox lineage succession, may be the first draft of The Collection of Great Master Lord's Literary Works and The Records of Dao Origin, as these texts distinctly include that record. This reflects that Haewol's succession was not precisely recognized within and outside of the Eastern Learning order until the time when The Collection of Great Master Lord's Literary Works and The Records of Dao Origin were published. This is further attested to by the fact that during the late 1870s, when various Yeonwon (fountainhead) factions of Eastern Learning began to converge around Haewol, and his Yeonwon became the largest organization within Eastern Learning. At that point, the order's doctrine was reinterpreted, and its organization was reestablished. In this regard, it is necessary to view Eastern Learning after Suwun-especially the orthodox lineage transmission to Haewol-from a perspective that considers it more as competing forms of discourse than as a historical fact. This view enables a new perspective on Haewol's Eastern Learning, which forms a distinct layer from Suwun's, shedding light on the relationship between Haewol and the new religious movements in modern-day Korea.

• The Journal of the Korea Contents Association
• /
• v.14 no.10
• /
• pp.315-329
• /
• 2014

The purpose of this study is to examine a direction for contents choice and transmission strategies of radio literature reading programs. For this, 129 picturebook contents used for EBS program of "children books for adults" in recent 6 months were collected and analyzed quantitatively and qualitatively based on Nicholajeva's societal and aesthetic approach. In terms of external literary elements, there were unequal distribution of published period, nation, company and genre. In terms of literary inner factors, they were excellently reflecting the stream and the tendency of modern children literature. Finally, in the process of turning visual texts into auditory texts, the program used diverse auditory transmission strategies. Based on these results, it is suggested that this program need to take into account reforming the contents selection practice to provide abundant literary experience for listeners and sophisticating the transmission effects adapted for a digital era.

• Journal of the Korean Society for Library and Information Science
• /
• v.18
• /
• pp.157-212
• /
• 1990

Translation has attained an important role in transmission and maintenance of human culture. As the world gets closer translation is regarded as one of the most useful means to carry knowledge and information through the language barrier. Translations of literary works in particular have been regarded as one of the most valuable means of helping people to understand and cooperate with one another in the interest of world peace. Korea has maintained a very close relationship with the United States of America since she first opened her door to the States in 1882. No one can deny that American has had a strong influence on Korean culture, politics, economics and education through the long close relationship between two countries. This study has been carried to find out how many and what American literary works have been introduced into Korea through translation from 1882 to 1982.

• Journal of the Daesoon Academy of Sciences
• /
• v.41
• /
• pp.179-217
• /
• 2022

Concerning the differences in the tales between the Investigation of Historical Remains of Patriarch Jinmuk (hereafter, IHRPJ), as well as those which appear in Jeungsanist Thought and Daesoon Thought, previous studies view such differences as Jeungsan's intentional modification of the original intent of the narratives or as indicating differences in beliefs and values. This style of interpretation seeks to reconcile both Korean Buddhism and Jeungsanist and Daesoon Thought based on the premise that the former and the latter two exhibit differences in values. This study accepts the above view of the differences in description according to values. However, the differences between the tales of Jinmuk that appears in IHRPJ versus those in The Canonical Scripture can be approached from a new perspective, i.e., the differences that exist between literary and oral traditions; rather than only stemming from potential differences in the world views espoused by Buddhism and Daesoon Thought. These refer to the IHRPJ, which was constructed first as literary narratives in the 19th century; however, there was also folklore that had been handed down from the 18th century. As a result of examining the relationship between Jinmuk and Bonggok via this interpretive horizon, the contents of the IHRPJ are found to reflect the values and intentions of the intellectual class, such those held by Master Cho-ui and Kim Ki-jong, whereas oral traditions can be seen as a reflection of the hopes of the people of the late Joseon Dynasty. Jeungsan should also be interpreted as having utilized folklore in his teachings. Meanwhile, the circumstances and intentions behind publishing the IHRPJ are analyzed in the context of the text's historical background and the relationship between Confucianism and Buddhism during the 16th through 19th centuries. In particular, through the Compilations of Wandang and the collection of writings of Buddhist monastics, I have evaluated that Confucianism needed to purify and correct materials according to the ideology of the times in order to promote a spirit of morality and courtesy. Likewise, Buddhist Master Cho-Ui also embellished records to benefit Buddhism and deleted oral records that could harm the reputation of Buddhism. On the other hand, when viewing Records of Shrine Renovation and existing oral traditions, it can be shown that some Jinmuk tales existed in the 18 th century which were not included in the IHRPJ. Thereby, Jeungsan's description of Jinmuk tales can be reappraised as accepting the oral secular tradition that conveyed the wishes of the people. In other words, compared to the IHRPJ, which reflects only the harmonious content of Confucianism and Buddhism due to political and social factors, The Canonical Scripture reflects oral traditions that were widespread during the late Joseon Dynasty. As evidence, it can be suggested that there are many narratives about the relationship between Jinmuk and Bonggok that center on Bonggok's jealousy and the murder of Jinmuk. Jeungsan aimed to encompass people of all classes according to their minds and wills rather than their political positions or statuses. Therefore, Jeungsan did not need to rewrite the narrative content that had been passed down via oral tradition. Instead he embraced those narratives as a projection of the voices of the people.

• Acta Via Serica
• /
• v.7 no.1
• /
• pp.53-82
• /
• 2022

The Hebrew word for silk, meshi, is mentioned in the Bible only once and there is a possibility that the item to which it referred was made of local wild silk. Although Jewish historical sources from the Roman and Byzantine periods mention silk many times, only a few silk textiles have been discovered at a sited dated to the Byzantine period (4^th-7^th centuries CE). The word "silk" occurs in the New Testament, although only once. A turning point in the history of the Negev (Southern Israel) occurred around 400 CE when it underwent a period of prosperity related to the advent of Christianity and pilgrimage, which enabled the purchase of imported silk textiles. The Early Islamic period (7-8th centuries CE) yielded four (out of 310) silk textiles from Nahal 'Omer on the Spice Routes joining Petra, in the Edom Mountains of modern Jordan, and the mercantile outlets on the Mediterranean Sea, notably Gaza and El Arish. The most important silk textile assemblage in the Southern Levant was found near Jericho at Qarantal Cave 38 and dates to the medieval period (9th-13th centuries CE). Linen textiles decorated with silk tapestry originating in Egypt date back to the 10-11th centuries CE. Mulham textiles - silk warp with hidden cotton wefts - were discovered in the medieval fortress on Jazirat Fara'un (Coral Island) in the Red Sea, 14 kilometers south of Elat and today located in Egypt. Mulham is mentioned in literary sources of the ninth century in Iraq and Iran, whence it spread through the Islamic world. The article will present aspects of the origin, transmission, and exchange of these textiles.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.165-203
• /
• 2016

This study attempted to reconsider the existing viewpoint on the history of Pansori transmission and suggested a new viewpoint on lostPansori transmission. Untill now, lost seven songs have been criticized for failure in Pansory's transmission history because it ceased to satirize negativity of abnormal character without creating a bearer of new value goals in the new age this paper resulted in another conclusion which extends Pansori history's process to modern times in the point of succession and duration of Pansori esthetics. Currently the above reason creats a problem ofcomplete nonmention that confront Pansori's twelve songs which does not apply to lost seven songs. If the evaluation standard of literary history used for lost seven songs is applied to inherited five songs, The inherited five songs also failed in the esthetic cultural history of present times. To resolve this issue, this study suggested a new viewpoint to replace the existing viewpoint that label Pansori's history as a historical structure consisting of success of inherited five songs and failure of lost seven songs repetitive replacement cycle of float and flow. This study provided constructive on lost Pansory of premodern times and presented entire Pansori as a flowing state. This paper futher identified the stages of decline the lost seven songs since the 20thcentury but sets the stage or finding a new qualitative possibility. This new theory was suggested through extant aspects of the movie that was a reproduction of in the present media age.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.186-205
• /
• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• Journal of the Daesoon Academy of Sciences
• /
• v.49
• /
• pp.157-186
• /
• 2024

This study aims to understand the symbolic meanings of dragons in the contemporary period through the painting featuring poetry based on the Hwaryong (paintings of dragons) and to analyze the literary representations and characteristics of dragons. First, the shape and aura of the dragon in the paintings should be confirmed. In dragon Painting Poetry (Paintings Featuring Poetry), the shape of the dragon is embodied in the aura of 'spirit.' However, people in previous eras customarily believed that dragons were real. In addition, the main spirit of the Hwaryong was in the representation of the dragon's aura, or "Jeonsin (transmission of spirit)," such as the creature's dragonly virtue or Heavenly Perfection. Next, the rhetorical representation of the dragon in the painting is to be examined. In the actual Painting Poetry, dragon images were relatively common in descriptions of pines, bamboo, and plum trees. The pine-bamboo-plum motif is known as Sehan Samwu (the three friends of the cold season), and since the Northern Song Dynasty, it has become a symbol of literary incision. Manifested as a dragon, the pine-bamboo-plum motif has a common denominator of winding branches, tangled stems, and bluish jade coloration, and like the dragon, it is used as a backdrop for weather phenomena such as rain, wind, and lightning. In the schematic that connects the Hwaryong, dragon Painting Poetry, the original meaning of the dragon is transformed into shapes and language. This is the meaning conveyed by the dragon, and this symbolic meaning was shared among the writers of the period who viewed the poems and paintings.