• SUVANNABHUMI
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• v.6 no.1
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• pp.193-221
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• 2014

Archipeligiality, a concept continuously being developed by the scholar, is one that attempts to articulate the Filipino sense of place as discoursed in/through its literatures. As a country composed of 7,107 islands, the very fragmentation and division of the country, as well as its multiculturality and multilinguality, have become the very means by which Filipino writers have "imagined" so to speak-that is, also, constructed, into a singular, united frame-the "nation." This, the author supposes, is an important aspect to explore when it comes to discoursing the larger Southeast Asian imagination, or poetic, as similar situations (i.e. Indonesia, Malaysia, and Singapore), may soon compel for a comparative critico-literary perspective. This paper continues this exploratory "geoliterary" discourse by looking at a Filipino canonical work in English by Cirilo F. Bautista, the epic The Trilogy of Saint Lazarus, the title of which already signals a geographic allusion to the first map-name granted by the Spanish colonizer to the Philippines in the region, and consequently the first signification of the country's subjected existence in the colonial imagination. The work, published between 1970 and 1998, is composed of three parts: The Archipelago, Telex Moon, and Sunlight on Broken Stones, which won the 1998 Philippine Independence Centennial Literary Prize. In these epics, notions of Philippine history and situation were discoursed, and Filipino historical figures were engaged in dialogue by the poet/the poet's voice, with the end of locating the place [where history and time had brought it; or its direction or trajectory as a nation, being true to the Filipino maxim of ang di lumingon sa pinanggalingan, di makararating sa paroroonan (the one who does not look back to his origins would not reach his destination)]. of the Philippines not only in the national imagination, but in this paper, in the wider regional consciousness. The paper proposes that the archipelagic concept is an important and unique characteristic of the Southeast Asian situation, and thus, may be a means to explicate the clearly connected landscapes of the region's imagination through literature. This paper focuses on Sunlight on Broken Stones.

• Sijohaknonchong
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• v.43
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• pp.5-39
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• 2015

Shijo (Korean poetic form) is a representative literature genre of a short poem among the literary works of Korea in the late Chosen Dynasty. The format of Sijo is Normal-Shijo in the form of 3 verses, 6 sections and 12 sound, and the lyrics of one Normal-Shijo has within or without 45 words. But Saseol-sijo, a type of Sijo, there is a work that has more than 100 letters due to the number of lyrics were a lot increased. Among those Saseol-sijo there is a work with 'solemn and elegant feeling' borrowing some verses even from Chinese poem, using a lot of Chinese vocabulary, but there are a lot of works with 'salacious and explicit contents'. Literary work, Shijo, is used for lyrics of vocal music as Gagok (a genre of Korean vocal music for mixed female and male voices) and Sijochang, however, there are many cases that the same Sijo poem is used as lyrics of Gagok and Shijo. But those music that use Saseol-sijo as lyrics among Gagok, the vocal music, are mainly songs with 'solemn feeling' rather than 'salacious work'. This study looked into the reason why the Saseol-sijo with 'salacious and explicit contents' are hard to be used as lyrics in Gagok, confirming the fact that most music singing Saseol-sijo among Gagok that are being handed down till now use lyrics with 'solemn and elegant feeling'. The most important thing among those reasons seems to be irregularly increasing lyrics, and in accordance with accompaniment. Gagok accompanys a number of instruments the fixed melody recorded and delivered in score. So it's almost impossible to play unless it depends on the steadily made song melody and accompaniment melody according to the chosen lyrics in advanced. Also, appreciation of literary works is usually made privately through a private reading activity, but Gagok is conducted through public performance in an open space for many people. Especially, it would have been hard to sing a salacious and explicit song gathered together with men and women of different social status in social system and custom of the late of Chosen Dynasty. This study confirmed the fact that folksy and popular character that was praised for literary characteristic of Saseol-sijo can't be easily found from Saseol-sijo that was called Gagok.

• Cross-Cultural Studies
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• v.27
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• pp.225-253
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• 2012

Mikhail Vrubel' has written three Hamlet paintings in his extraordinary tragic lifetime. The first watercolor painting , which he has written in 1883, remained unfinished. He could not complete the second version of , which he painted in oil in the next year, neither. Finally, he has completed the third version of in 1888. As is generally known, is not widely known Vrubel's work. This work is mainly mentioned from the point of view that it is the first literary hero whom Vrubel' has created in his literatureoriented art world, and it is a presage of the Demon, Vrubel's central hero's advent. In this paper, we analyzed Vrubel's three from a different angle, nothing but from the angle of Russian Hamletism. For this, in the second chapter, we've researched Vrubel's main artistic credo. In the next chapter, we've analyzed Vrubel's three in detail from the view of Russian Hamletism.

• East European & Balkan Studies
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• v.43 no.1
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• pp.3-30
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• 2019

In order to understand the various cultural interactions caused by the wave of globalization, we need a proper lens that can observe and transmit correctly these phenomena. The result of understanding very differs depending on which lens is used. Translation can be regarded as a lens to communicate with each other in the world where language barriers exist. Literature is a kind of universal cultural heritage combined with the intellectual, artistic and social lifestyle of each society. Introducing this cultural complex, namely literature and impregnating people from other languages with the value of our Korean literature, begin with the correct translation. Translator should act as a literary missionary, not merely a simple communicator. The process of literary translation cannot be achieved by simple linguistic ability because it is a highly human scientific work that requires diverse talents from translators. The right translator for Korean literature in Romania is a person with diverse abilities and social experiences within the cultural framework of Korea and Romania. As the requirements of the translation environment from each country are different, the paradigm of foreign translation literature that Romania wants to accept may be very clear distinctively. With recognizing this characteristic environment of Romania, the value of Korean literature can be effectively spread in Romania. Translators are the creators of another original work. With this in mind, the education of Korean studies in Romania should pay more attention to the nurture of right and capable translators.

• (The)Study of the Eastern Classic
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• no.41
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• pp.61-90
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• 2010

In this paper, I focused on analyzing Yeoheon Chang Hyeon-gwang's literary theory and his prose in the genealogy of Confucian scholars in Chosun. Through this study, I would like to examine the trend of concentrating on 16th century when we treat the literary tendency of Confucian scholars. With this goal, I tried to seek the direction which was pursued by Confucian scholars who lived during the 17th century. Yeoheon tried to construct the spirit of humanities cosmically as an aim of his life, study, and literature. And he had a new understanding of human independence by suffering from Japanese invasion in the late of 16th century. He insisted that only human can realize the spirit of humanities on a cosmic base. He also thought that the morality(道) could be settled only by literature(文). We may interpret this concept as a progressive idea about literature comparing to the former Confucian scholars. On the other hands, Yeoheon tried to accept the literary theory of former scholars such like Park Young, Cho Sik, and Seong Woon who embraced Taoism. Yet he erased the color of Taoism in the field of topic, and he also tried to keep his distance from them in the field of literary form. This concept actually came from Lee Hwang's opinion, while Yeoheon tried to rouse scholar's independence. Through above, we may realize that the Confucian scholars of 17th century were not just imitators of 16th century. They tried to examine the former study and also tried to renew the theory.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.151-184
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• 2018

The purpose of therapeutic approach of humanities, including literary therapy, is ultimately encourage the growth and the development of human being rather than the development of therapeutic techniques for eradicating symptoms. This paper is noteworthy as to the fundamental work for using folktales at therapy sessions. It may be argued that therapy is the process of searching clients' own development history and accepting current challenges in relation to overall context of their own lives and this may lead to the growth clients. In this regard, this paper attempts to set up the selection criteria for folktales to be effectively applied in therapy sessions. The author of the paper argued in her previous paper that folktales may be effective in terms of self-understanding of clients. Folktales can assist clients regarding the objectification of their issues by projecting and exposing their problems. Therefore, this paper argues the method for selecting proper folktales to stimulate of clients" developmental challenges and ultimately to expose them. The first groundwork for this is understand contents of folktale as to general problems of life and view it as the development of one's entire life. The challenge of client is personal and unique but at the same time it is problems of general development process. The author examines the need for developmental approach of literary therapy and attempts to compose a classification framework for understanding folktales as to developmental process. This may use at literary therapy sessions to select proper folktales based on clients' complaining issues and their developmental age. The criteria also can be used as the basis of clients" reaction on folk-tales.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.221-247
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• 2020

This paper examines the meaning of Pyeongsari, the main stage of the novel 'Toji (Land )' and the original experience space engraved in the lives of the characters and suggests the direction of Pyeongsari as a 'Toji (Land )' content platform. Pyeongsa-ri, an imaginary space in the novel, starts from the background of the original work and turns into a representative tourist space for Ha Dong-gun. However, it is necessary to provide cultural experience-type contents that visitors can experience in person. In the original work, Pyeongsari is an ideal community and a symbol of the Korean modern history of suffering and pioneering. Therefore, taking advantage of this meaning, it is necessary to prepare a cultural experience space that shows Confucian culture, women's labor culture, and shamanic culture to draw on visitors' experiences. In addition, the app should be developed in connection with transformed works that have been the driving force behind the reorganization of Pyeongsari, and education and experience spaces using augmented reality are provided on the web. This interaction between digital and reality makes the meaning of the original or transformed works contemporaneous, while contributing to the visitor's own experience. In addition, through this, Pyeongsari can evolve into a cultural experience content platform that reflects the meaning of Korean culture and life. This paper is significant in that it suggests the direction of Pyeongsari's space planning for the 'geography of meaningful places'. In addition, while showing how the imaginary space of the original literary work has reorganized the space of reality, there are implications for the media content of the literary work and the terrain of the culture and arts industry.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.24-33
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• 2022

The travel notes and nature poems found in historic literary men's works can be considered historical records related to scenic sites. Such travel notes and nature poems are based on the writers' personal characters, experiences, learning and etc. Such works clearly show the characters of each literature, information of the related objects and the writers' thoughts of the objects. This study, thus, looked into Euisang on Xīsāishān Mountain that could be the origin of Eobusa(漁父詞) loved and sung by Korean historic literary men, and found that the Korean and Chinese literary men's thoughts were shown through their ways to enjoy Xīsāishān Mountain and their Euisang on the mountain, which was different between the Korean and Chinese literary men depending on the geographical locations described in their poems. In detail, the study results are: 1. Such difference of the ways to enjoy Xīsāishān Mountain, the scenic site described in historic Korean and Chinese literary men's work is broadly classified into the ways to enjoy the scenic site by seeing it in person and the ways to enjoy it under the mental structure of speculation. 2. Xīsāishān Mountain in Wuxing is the background of Yújiāzi(漁家子) of the painting Zhāngzhìhé, is boasting its distinguished beautiful nature, and is the place where the Confucian Study of Hú(湖學) was originated. It is also the place known of its warmhearted climate. Therefore, Euisang on Xīsāishān Mountain under such beautiful and warmhearted circumstance are realized as the complete freedom and seclusion in Taoism and the satisfaction with the given environment and position in Confucianism. 3. Xīsāishān Mountain in Wǔchāng is a military strategic point with rugged mountain terrain and scenery that has been a historic ferocious battlefield and related with the loyal civil servant Qū Yuán. The Euisang on Xīsāishān Mountain in Wǔchāng, therefore, represents the nature scenery of a rugged fortress and patriotism of Confucianism. 4. The Korean literary men's way to enjoy Xīsāishān Mountain is Shinyu(神遊: spiritual travel), so that their Euisang is formed according to the direction of the writer's values. Especially it is noted that Korean Euisang on Xīsāishān Mountain is originally based on the painting Zhāngzhìhé that shows the complete free mood of Taoism; and the Euisang on Xīsāishān Mountain that came from the mindful image by the poet monk Qíjǐ of Tang dynasty and Kim Si-seup appears with such Buddhist ways to seek the truth as SakGongIlYeo(色空一如: Being full is essentially as same as being vacant) and GyeonSeongSeongBul(見性成佛: Everybody can become Buddha by enlightenment).

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.771-777
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• 2023

This study examines the strategy of using literary works to effectively present the emotions, narrative, and characters of a drama through the drama "I'll Visit You When the Weather is Good" (2020). The drama uses poetry to effectively show the internal conflicts of the characters, allowing the viewers to understand the characters much more closely. It also shows the narrative of relationship change and growth between the characters through the narrative of a fairy tale. On the other hand, by showing still cuts of the characters' diaries in each episode, it creates a lyrical effect, as if watching the drama is like reading a literary work. In this way, the drama "I will visit you when the weather is nice" actively utilizes literature to help viewers relate to the narrative of growth and healing and experience it as their own, thus creating a three-dimensional image of the healing effect of literature.