• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.31-37
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• 2020

This study examines the way poetry text is inserted in dramas and the way poets represent themselves through the drama "The climax" (2011). The drama features Lee Yuk-sa, a poet and independence activist, as a central figure and chooses a narrative structure that follows his life. The drama maximizes the lyricity and visual beauty of the drama by inserting his poems with fantastic images at the most dramatic moments of the poet's life. The image presented with the poem maximizes Lee Yuk-sa's intense hardship, while portraying the poem as a crystal of this hardship. Thus, the drama "The climax" uses Lee Yuk-sa's poetry to visualize the inner world of the central character Lee Yuk-sa. Lee Yuk-sa's poems are used in conjunction with his image to simultaneously represent the beauty of poetry and the upright spirit of the poet. This is the result of a balanced portrayal of Yi Yuk-sa, a poet and independence activist, as an intellectual who acts. The drama "The climax" is the main text that sincerely performed the representations of poems and poets through video.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.29-36
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• 2019

Lee Sang's poems and his portraits are being used in various video media. Depending on the characteristics of the medium and genre, the representation of the poet or higher and his poems are selected and variations in different ways. In a modern era where literature communicates with various media, reviewing how a poet's portrait is shaped is also the process of reading what text wants to convey to the public through a single person. This study examined aspects in which representations of poets or higher were utilized in various image media, and compared and analyzed how poet aberrations are represented in each text. In particular, the discussion centered on the movie and the drama . In the movie , the above poem is used as a hidden puzzle. The film uses the popularly known 'genius' representation to track down Yi Sang's secret. Because of this, the film represents its ideal in a way that is faithful to the genre's custom of Thriller In comparison, the drama was about to re-emerge as a young man with a passion for the inner workings. The cynical attitude shown in the above text is also a reflection of the love for the nation and the times. These different typographical methods are worth noting in terms of the literary man's public perception of "Yi-sang" and the strategy of the new portrait attempt.

• (The)Study of the Eastern Classic
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• no.57
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• pp.41-66
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• 2014

The Purpose of this paper is, through the character-figuration aspect of existing Yeoheon Jang Hyungwang(旅軒 張顯光, 1554~1637)-related folk tales, to determine the relation between the people's awareness on Yeoheon and the change in the folk tales. Only 4 pieces of Yeoheon-related folk tales are existed ; ; Forgiving a rude son of the provincial governor generously. ; Predicting 'the frost of May' and Preventing the cold-weather damage, when he served as Euiseong governor, and ; The folk tales of origins of the place name - Chimabawi Rockand Yeoheondae. shows the great scholar's liberal-hearted and generous personality. One day Jang Hyungwang looked shabby and a young person was quite rude to him. But Jang Hyungwang forgive him generously. Also Yeoheon teach him the thrift and modesty. described him as a governor filled with a love for the people. He tried to edify the people with the Confucian ethics and improve the life's work of the people. embodied him as a government official of high integrity. When his wife received the silk slip from the people, as farewell gift, he ordered his wife return that. and show the images of the Predicting the future and an extraordinary moralizer. Generally These folk tales are based on his personality, whereabouts and the real case. So we could find his images in the folk tales are close to his actual feature - thrift, modest, noble-minded, well-versed in Iching and practicing moral statesmanship.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.209-216
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• 2024

This study examines the drama "Still in Marronnier Park"(2005) to examine the strategies by which the drama communicates Korean society and literature of the 1960s to the public. The drama focuses on three characters to characterize the historical upheavals of the 1960s and the literary response. In particular, the drama tackles the historical events of the time head-on by introducing characters who are real-life politicians. Therefore, the drama explains historical events through narrators, interviews, and video footage, and at the same time, it helps us understand how political and social events affected the inner lives of Koreans. Through the narratives of Kim Ji-ha and Kim Seung-ok, the drama also conveys how Korean literature responded to unjust realities in the political and social context of the 1960s. Kim Ji-ha's rebellion against those in power and Kim Seung-ok's depiction of her inner landscape are used to portray the response of literature to political reality. Although the drama has the limitation of being somewhat typical, it raises meaningful questions about the meaning of literature in the political and social context of the 1960s and how the memory of the 1960s has left a trace in the minds of Koreans.

• Journal of Sasang Constitutional Medicine
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• v.11 no.2
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• pp.39-50
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• 1999

The Chinese poems written by Je-Ma Yi may be categorized into two different facets: one is about a broad spectrum of a man's feelings covering from delight to sorrow; and the other is about self-caution. He has been known to be a warrior having strong self-respect and a man of tough personality reluctant to compromise with others. As a result of analyzing his poems, however, it was confirmed that he was an ordinary person who got along with his neighborhood, took a pleasure in appreciating natural beauty and wandered around in agonies of pain. The literary features reflected in his self-caution poems are compatible with his own philosophical thought. Through these poems, he revealed his autonomous perception of life, and its ultimate goal was placed on the fulfillment of moral obligation, the highest value that a man should achieve as an individual. Je-Ma Yi's Chinese poems are in full harmony with the general tendency shown in the area of poetic literature during the late Yi dynasty. As pointed out above, particular qualities are represented in his poems, and thereby, from comparative perspectives with his unique literariness, future research activities should be directed to a well-defined study on other contemporary writers.

• (The)Study of the Eastern Classic
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• no.59
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• pp.57-92
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• 2015

This study looked into the process by which Haseo(河西) Kim In-hoo(金麟厚:1510~1560), a neo-confucian scholar of mid Joseon Dynasty, was recognized and adored as an inheritor of traditional academic genealogy of neo-confucianism of Joseon Dynasty. I intended to examine the process of personal embodiment affected or excluded in certain manners by various materials covering the lifetime of bygone persons based on the process of such embodiment. The part related to childhood of Haseo was arranged newly to highlight solid relationship between Kim In-hoo and King Injong(仁宗). That was because Kim In-hoo raised the issue of loyalty and fidelity, one of the most important and most contentious issues at that time, in connection with reinstatement of GimyoSarim(己卯士林, progressive political faction with young officials), and King Injong was the king who reinstated Gimyo Sarim. That played a decisive role in establishing the image of Haseo, a classical scholar with unwavering integrity and loyalty. During the Late Joseon Dynasty, canonization of Haseo was made under the leadership of King Jeongjo(正祖) and Seoin(西人) in royal court. In the 17th century, Seoin scholars revised the materials related to lifetime of Kim In-hoo in various way and proofread and published the collection of literary works by Kim In-hoo. That aimed to establish scholastic system associated with Seoin and legitimacy of study as pursued by Seoin. This made progress with adoration towards scholars affiliated with Seoin, including Yulgok(栗谷) Lee Yi(李珥). Finally, King Jeongjo showed strong intention to take the lead as sovereign in the process while Haseo was canonized into national academy in the 18th century. That came from the desire to solidify his status as a teacher who took pride in taking responsibility for the dynasty's authentic study, as well as the king heading the dynasty politically.

• (The)Study of the Eastern Classic
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• no.43
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• pp.93-123
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• 2011

is a work of art that was composed through fluid and laminating by being passed down orally for a long time like other ancient songs. As well as, it is given a history of literature's value in the point that it is a Korea's first poetry work, it is considered it casts a long shadow to establishing traditionality of our country's poetry. Even today, has been transformed and recreated into a variety of genres because its literary subject carry the universal emotions and win the sympathy. This manuscript examines modern poetry, modern novel and modern songs that consist of changed ancient song and looks modern writers' perspective about through characteristic that each of works has and then aims checking special situation and meaning that is implicit and recognizing the value of the original. As the has been recreated as modern poetry, it shows the current chaotic situation specifically by embodying it and actively seeks expressing human character, agony and longing, etc, by excluding factor of the original mythical interpretation. Also it rouses situation of reality as detained and repressed. , recreated as modern novel, expands narrative structure and shows portrait of various characters and speaks diverse human condition about reality and suggests plan for dealing with that. Basic emotions of the original is strongly passed to modern popular song . It makes us know that universal emotions which human has across generations can touch people transcending time and space and it is a fresh discovery and possibility that reaffirms the emotion of our people. Ancient song has been studied with emphasis on resignation and grief by focusing on the subject, simply parting and death. But recently, through transformation between a wide range of genres. it carries the spirit of the times that author toward, showing realistic and specific situations. Flexibility of ancient song is expected to continue its vitality transcending generations. Ancient song is assured that it can lead various aspects through active groping in era of change with a various possibility, that the original has, through communication between genres.

• Journal of the Korea Convergence Society
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• v.9 no.4
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• pp.127-135
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• 2018

Men are ambivalent since they have good and evil at the same time. To concretize this evil further, men created symbolic icons of evil with formative elements by giving shape to it. Thus, this researcher would investigate and analyze the concept of evil and the formativeness appearing when the essence of humans' evil is expressed as symbolic icons. For this purpose, items for the classification of formativeness were constructed, and questionnaires were prepared to draw the results of an analysis as follows. As for the type of composition, symbolic icons of evil were expressed by pictures or signs, rather than letters. The objects of expression were characters and animals in myths. As for the layout, most were expressed in a radial shape. As for the method of description, most were in the forms of simplicity and complexity, and as for the outer form, most were circles. It was noted that the symbolic icons in which items with these types of composition had high scores, were drawn, used and developed in formative relations with each other.