• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.305-311
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• 2019

Does the healing of life lead to a grave, or can death heal life? The healing in life exists in the emotional circuit of the space of life. So what kind of space does healing in death exist? For now, healing in death exists beyond life. Imje (林悌, 1549-1587) is famous for reciting Sadness Sijo in his beloved Hwang Jin-yi's Grave. For the Literature Therapy, this time we're trying to code the Emotions of Sijo "The Valley Which is Covered With Blue Grass", which Imje is said to have recited in the Hwang Jin-yi's Grave. This Sijo sings the love of Sadness such as Love and Death, Grave and Sadness. That is, how fuse human Emotions, which are caused by conflicting concepts of love and pain or love and separation. Imje's Sijo fuses signifiers such as Grave, Love and Sadness to code 'The Transience of Human Life.' This 'The Transience of Human Life' is a function of this Sijo's Literature Therapy. 'The Transience of Human Life' has a role of healing that relaxes the human body. With the Literature Therapy in place like this, no matter how painful life is, we have some leeway. This is because the sadness of 'The Transience of Human Life' delivered by Sijo conveys the effect of the Literature Therapy, which contemplate and tolerate the entire life. We look forward to continuing this research and achieving Emotion Coding for new life.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.