• Sijohaknonchong
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• v.24
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• pp.87-111
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• 2006

The purpose of this study was to delve into displaced people's consciousness of hometown by examining the Sijo Wu Suk-ja who was born in Gaeseong. North Korea. Specifically, it's attempted to look into displaced people's longing for hometown, their desire for the unification of South and North Koreas and their will to that. Few poets had ever coherently sticked to the themes of the pain arising from losing one's hometown and the division of the nation and of yearning for national unification. The division of the nation is a unique problem that only Korea is faced with in the world, and looking into how this issue is reflected in Sijo written by a displaced person is like shedding light on the problems with the nation. The matter of national unification is one of the absolute, unavoidable tasks in which every Korean people should be involved. and all of us should think of how it could be attained. Under the circumstances, the effort by this study to examine Sijos written by a displaced person to find out displaced people's longing for their hometown during the long period of time more than half a century, their pain resulting from separating from their families. and their long-cherished desire for the unification of the nation would serve as a chance to wake up to what problems we are confronted with and to let us direct more energy into national unification. When her nine collections of Sijo were investigated. it's found that her consciousness of hometown could be characterized by three things. The first Is the pain about losing hometown and yearning for that, and another is the pain caused by dispersed families and longing for them, and the third Is a desire for the unification of the nation and a will to that.

• Sijohaknonchong
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• v.21
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• pp.111-141
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• 2004

Jeung Wan-yeong expresses his perception of hometown in two ways. First, it is a nature-friendly pastoral place. His geographical hometown, a nature-friendly pastoral place, is Gimcheon; he produced many works in which he longed for nature in the place. These works have a large amount of lyric, pastoral, and bucolic contents, without any conflict, on the basis of peace, longing, and Oriental nature-friendly thought. Second, the hometown perceived by Jeung Wan-yeong is a rest place for both ancestors and descendants. According to his definition, 'Hometown is a village where the living and the dead coexist: Longing for a hometown immediately may be that for parents, and is often expressed as that for siblings and old friends. In other words, a hometown is a place where there are ancestors' graves, and parents, siblings, and relatives; in Jeung Wan-yeong's works where it is perceived as a place with memories for them. the hometown has eternal maternity.

• Cross-Cultural Studies
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• v.19
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• pp.127-147
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• 2010

Lee Chan's early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan's poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet's tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s' poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn't throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry's extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

• Sijohaknonchong
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• v.30
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• pp.109-146
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• 2009

It is academically recognized that Jeong Wan-Young's sijo better represent Oriental ideas. The purpose of this study is to investigate Taoistic characteristics of Jeong Wan-Young's sijo. This is an effort to succeed and further deepen and extend previous relevant researches. For the purpose, this researcher categorized the poet's sijo in accordance with such characteristics as above mentioned. Findings of the study can be summarized as below. Pieces of Jeong Wan-Young's sijo which are based on Taoistic ideas are largely classified into three groups. First, some pieces of Jeong Wan-Young's sijo represents an orientation of return to hometown which is brought by the sense of loss. His sense of loss is attributed to the facts that his home is not what it was any longer and that he can't return to the old home. To overcome the sense, nevertheless, the poet is dreaming of return to home. The home found in Jeong Wan Young's sijo is something fundamental and original that he purposedly provided against the feeling of loss. It complies with the concept of 'Bokgwigigen(復歸基根)‘ a pursuit of Taoism. Second, other pieces of Jeong Wan-Young's sijo are seeking purity to retrieve childish innocence. Their subjects include the season of spring, dreams of childhood and longing for mother all of which represent the poet's strong desire for such retrieval as above mentioned. It may be said that pursued by that pieces are 'Purity, Feebleness and Smoothness' that are sought by Taoism. Third, other pieces of Jeong Wan-Young's sijo are considering human as a part of nature and seeking human life in harmony with nature. In other words, they are seeking union between human and nature which means going beyond discrimination between self and external objects, that is, 'Mulayangmang(物我兩忘)'. This may refer to return to nature which is the ultimate destination of Taoism.