• 중국학논총
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• no.68
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• pp.115-139
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• 2020

颐斋自10岁开始一直到63岁去世, 坚持进行记录, 留下了《颐斋乱稿》这一庞大的著书。根据该书, 我们可以把握他对《诗经》的众多观点。他的《诗经》诸说主要引用了陆机的《毛诗草木鸟兽虫鱼疏》, 朱熹的《诗传》, 星湖李瀷的《星湖僿说》, 根据自己的观点进行了整理与批评, 简单明了地进行了说明。从研究结果来看, 颐斋黄胤锡的《诗经》诸说具有以下特征:第一, 提出了毛诗的圣贤传授说, 毛诗通过孔子-子夏-孟仲子这样的传授过程, 一直保留至当时。第二, 关于《诗经》大序和小序的作者, 颐斋支持衛宏說, 坚持比较合理的观点。第三, 对于"郑风"淫乱说, 颐斋认为淫乱是因为音乐的演奏方式与所奏之乐导致的, 与诗的内容无关。第四, 颐斋在日常中对《诗经》进行了灵活引用。这是继承了《诗经》断章取义的遗风, 颐斋在日常生活中教授《诗经》, 并对其进行活用和意思疏通, 他对《诗经》有着深入了解。第五, 颐斋对《诗经》的演唱具有很大的关心, 对其进行了说明, 特别是对弹奏玄鹤琴演奏《诗经》的情况进行了阐明。

• Sijohaknonchong
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• v.44
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• pp.165-195
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• 2016

This paper is compare to the enjoyment of way on Si-jo and Ga-sa in Lyric poetry. Si-jo and Ga-sa were created in Joseon Dynasty. Si-jo and Ga-sa is the Lyric poetry in traditional genre, representing Korea. These forms include the lyric genre but have a difference between the fixed verse and the long-poem in Joseon Dynasty. However, the two genres are the two genres had opened the possibility of communication from the very beginning in terms of gentry layer is the main writers. Joseon Dynasty those who enjoy the fixed verse and the long-poem, the literature of singing songs and reciting literature, in terms of the principle of metaphor and metonymy rhetoric will reflect the era of awareness and enjoyment of contemporary perception of reality characters. It can be said that performing Si-jo and Ga-sa of enjoyment fashion and work to compare with realistic about the versification principles but check ahead a lot of data, and add to the task of finding a logic that can explain clearly remain. This paper will have to complement the many points made in an attempt to unravel the complex issues in an integrated and comprehensive on-pronged approach and enjoyment of the fixed verse and long-poem Si-jo and Ga-sa and similar expressions are writing and testing the various parties of the enjoyment of culture in today's era of change in the 21st century can be the compass to navigate a new world culture.

• Journal of the Korea Computer Graphics Society
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• v.30 no.3
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• pp.23-41
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• 2024

Recently, various virtual avatar music content that showcases singing and dancing have been produced, and as virtual artists gain popularity, offline virtual avatar concerts have also emerged. However, there are few examples of virtual avatar band content where avatars play instruments. In addition, offline virtual avatar concerts using large screens at the front are limited in their ability to utilize the fantastical effects and high degree of freedom unique to virtual reality. In this paper, inspired by these limitations of virtual avatar music content, we introduce the production case of virtual avatar band content and immersive interactive concert of virtual band idol Verse'day. Firstly, we present a case study on creating band performance animations and music videos using motion capture systems and real-time engines. Then, we introduce a production case of an immersive interactive concert using projection mapping technology and a light stick that allows real-time interaction in an offline concert. Finally, based on these production cases, we discussed the future research directions of developing virtual avatar music content creation. We expect that our production cases will inspire the creation of diverse virtual avatar music content and the development of immersive interactive offline virtual avatar concerts in the future.

• Sijohaknonchong
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• v.20
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• pp.173-195
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• 2004

In this thesis I tried to unearth some Korean Akjang, written and sung by Korean language, not by the form of Chinese verses. In 19th century they used the Korean Akjang at Court banquet cerymony in Chosun Dynasty. I had got four meaningful conclusions through this study, as follow. 1. There are various banquets but they used Korean Akjang only at YaYeon, a sort of night banquet. 2. The Akjangs arranged at YaYeon are called Ak-ka-Samn-jang which means three songs at the banquet. 3. These Akjangs were usually composed of 3 pieces of Gagok, the Korean traditional vocal music, as one. 4. The Kings and princes wrote all the words of these music.

• Sijohaknonchong
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• v.25
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• pp.75-100
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• 2006

This treatise puts with ecology that important topic is becoming in Multimedia age today. Is appearing to some meaning that symbol that. Is nature friendship and nature assimilation in korean verse and modern novel. And is the purpose to draw diachronic and synthetic thought between age and genre is forming by ecological imagination how. Our korean verse thinks of nature as residing space, and is singing life that is nature friendship and nature assimilation in relation of indivisibility sto of human and nature. And nature space of metaphor or symbol is forming by ecological imagination in the modern novel. Therefore, these two genres see that traffic is available in diachronic synthetic relation. First, must escape resolutely in ideas that literature is basing in actuality and search the literature-ecological imagination. Therefore, forward literature may have to look for the literature-ecological imagination with many interests to green literature ecology and show image that move constantly. And must approach appearing common view of nature and the literature-ecological imagination in principle of integration of expropriation and production now all round to our literary productions. Therefore, must do so that can be nature friendship and become practical education model that expropriation of ecological literary productions and production activity foster literary sensibility and imagination. Also, lively research and groping about each genre of a Korean literature are to premised in diachronic and synthetic veins I will. Method groping that adapt on New Age as defending peculiar special quality that founder is keeping korean verse with opened thinking may have to be spread more hard. Therefore, genre of novel can may ready the one clue to grope confrontation method naturally to secure new identity in new literature environment of digital age.

• Sijohaknonchong
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• v.22
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• pp.225-247
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• 2005

This article is aimed at reviewing the series of 'Gakssi (각씨)$\~$' Sijo or Saseolsijo. We can find the word 'Gakssi' having a very close relationship with alcohol. side dishes and the space where music is played in a record published before the late Chosun dynasty and it was recited in Korean verses. 'Gakssi' appeared in the verses did not mean average woman but a character raising the singing climate at the 'Juyeonseok(주연석) or Pungnyujang(풍류장)', as a mood-maker. $\lceil$Gaksine nae cheobi doena(각시니 내 첩이 되나)$\rfloor$($\#48$), the forerunner among the 'Gakssi (각씨)' verses, is no exception. In this context, we can come to the conclusion that this verse is closely related to such places as 'Juyeonseok(주연석) or Pungnyujang(풍류장)‘. Therefore, the others coming after $\#48$ can provide reasonable bases to consider this song associated with people who were able to visit those locations.

• Sijohaknonchong
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• v.26
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• pp.223-242
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• 2007

This thesis is to review 'Manhoengcheongnyu,' $\ulcorner$Cheongguyeongeon$\lrcorner$ in which sexual organs have appeared. The result of the review shows that a male narrator wants a large organ and a female narrator, a small one. Although there seems to be a difference between the male and the female with the framework of the size of the organs, they have the similar standpoint, Yeohapbujeol(如合符節), that they give and take the sexual feelings to satisfy their mates each other. As a consequence. $\ulcorner$eokgogeomgokuikeungurenarotgeugeotjochagilgoneopda$\sim$(#1993, *569)$\lrcorner$, refers to the other's satisfaction about the sizes of their own organs rather than the idea that the female sexual life is unilaterally oppressed by the male one. Sijo(時調) touches on organs which are 'bawdy and trifling,' and includes obscene comments. Eumdampaeseol(淫談悖說). Mentioning Eumdampaeseol(淫談悖說), the participants in a banquet of the singing space can be a part of its atmosphere, and by being protected by it, they can recite the sexual organs openly or they can grasp the inner meaning of the verse-joke in a refined and humorous fashion-which expresses organs indirectly. Thus, $\ulcorner$aheunahopgommeogeun老丈濁酒geolleo醉kemeokgo$\sim$(#1854, *534)$\lrcorner$, is not related with 'remorse about old age', but is merely a kind of Sijo(時調) about a sexual organ.

• Sijohaknonchong
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• v.22
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• pp.115-142
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• 2005

Woman is individual than social. passive than active and defensive than offensive. In addition. they taught that these characters are femine in the middle ages and the feudal ages. The closed and limited society was common to women in the feudal society. But there were many classes in women society from the humble maids to the queen in Chosun Dynasty. And Kisaeng(a singing and dancing girl) was free in comparison with the noble women. But Kisaeng were also limited as woman. They could write literary works according to the playing with poems and something like that with the men of intellectual class. But this also gave them sorrows. In the feudal Chodun Dynasty. men recognized the noble women specially and this is the special quality of Chosun. The Confucianism which was the existense thought of Chosun. discriminated between men and women. But women studied secretly and wrote poems pouring their thoughts and emotions. Maechang wrote many Shijo (Korean verse) with the delicacy description and the real expression. The reason Chosun woman Maechang could wrote Shijo which is free from the feudal limitations is that she was Kisaeng, She had a love as a Kisaeng who had to play with the intellectual men. But she loved Yu hee-kyoung. So she preserved chastity for him and waited only him. This is the love of both body and soul. And love with Hu kyoon friendship which is far from love. The limited love because of the spatial parting and the discrepancy of the social position is the most sorrowful. 10 years love with the intellectual men such as Hu kyoon is a friendship with poems. It was not love, so they had to temperate. So they love each other as a literary friend. We can see the feminist Hu kyoon, and see Hu kyoon who loved the literature and assert the renovation. Maechang was free from the chastity but she preserved it because of her proud. She dreamed the fairyland as Hunansulhun. Because she couldn't realize love. She ended her literature and Kisaeng life at 38 years old. There are literature of nansulhun as a noble woman and of rnaschang as a Kisaeng in Chosun Dynasty.