• Sijohaknonchong
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• v.25
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• pp.49-73
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• 2006

The poetic theme is a unified principle of which a poet writes poems out in his work. Theme is a poet's central thought expressed in his works. And it was described on the basis of writer's view of the world and life. In this study, I divided the themes of modern Sijo into three kinds according to the materials for a poem. Especially I am interested not so much in the poems taking outer problems of human life for the subject of a poem as in poems dealing with fundamental problems of human life such as self-consciousness, death, God's presence. Firstly, in modern Sijo which deals with poet's self-reflection and self-consciousness as a poet, poets examine himself. And he intends to write poems more severely. The more poet reflects self-consciousness, the more earnestly he tries hard to write good poems. As a poet. he feels complication between real-self and ideal self, so he tries to conquer the shame made in the gab of them. And he takes writing poems into his divinely appointed work in life. A kind of meta-Sijo is written in this circumstances. Secondly, there are modern Sijo, which shows deep concerns in death problems of human life. Thanatopsis expressed in modern Sijo is connected with poet's personal experiences. In most cases, poet describes fragmentary thoughts, sorrows and agony after death of his intimate persons. In Sijo, however, poets don't dig Into the death problem deep enough because of the characteristics of genre. But it is very significant work to take various materials of death into poetic themes in Sijo in that it makes us to reflect of human attitude of life. Thirdly, the poetic themes of dealing with fundamental problems of human and God are expressed in Sijo based on Christian view of the world. In such a poems, poet complains to God who looks in illogical human situations as a spectator of vulgar realities of life. But ultimately. poet expresses deep affirmation and obedience of God in his poems. So he manifests Christianity by the poetic paradox. Such poems change over the theme of modern Sijo the superficial Problems of reality to the deep situation of life.

• Sijohaknonchong
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• v.25
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• pp.5-27
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• 2006

This paper aims at examining how sijo works, including ancient sijo works, those published before the 1960s, those written by China-residing Koreans, and those published in the 2000s, convey the poetic meaning in terms of sentence structure. Firstly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, have sentences. whose meaning the readers can easily grasp, with simple structures and little rhetoric words. But moderns works published In the 2000s (modern sijo works after) are mingled with too many rhetoric expressions, sometimes misused. Secondly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, having a clarified subject-verb context. are easily understood by the readers. But, in modern sijo works, there are many cases with an unclarified subject-verb context and redundant rhetoric words, which will cause misunderstanding of the meaning of the work. Thirdly, in ancient sijo works. those published before the 1960s and those written by China-residing Koreans, each of the three statements (called in) in a stanza is separate from the others in context. But, in some modern sijo works, the first and second statements (called chojang and jungjang) fall into just rhetoric parts for the last statement (called jongjang), and each of them is not read as an independent statement. Fourthly, there are some cases whose forms are distant from those of siio works. but are written in three statements like traditional sijo works. Regular poems, though written in regular rhythm, should be also acoustically regular. Sijo works should be easily understood when recited. If not, they are basically far from sijo works. If modern sijo works should overcome their easy expressions and simplicity of themes, they should be composed through using not complicated sentence structures but brand-new metaphors, clear images, and fresh themes.

• Sijohaknonchong
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• v.26
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• pp.243-261
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• 2007

In this study, I have looked though the Sijo made by Sowol and Jiyoung who were the frontiers of the Korean modern poetry. Through this study, I've tried to research the relationship between the free verse and their versifying Sijo. Sowol made the eight Sijo : six Sijo made in his early days. and the others made in later days. Sowol's early free verse tended to show the regular form. Although his 6 Sijo maintained the traditional form, he tried to make the formal changes. But the subject of those were in the way of view points of old Sijo. But the rest two Sijo strongly showed the problem of reality. Jiyoung made the 9 Sijo in his early days. But Jiyoung's is different from Sowol's. Jiyoung tried to make a new way of expressing the poetic images while Sowol was focused on the formal changes. Also, his final work 'Eun' had the feature of fixed form of verse. Through the research mentioned above, I confirmed that their tries to make the fixed form of verse were the background of developing and pioneering their free verse.

• Sijohaknonchong
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• v.24
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• pp.5-46
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• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• 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.