• Economic and Environmental Geology
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• v.2 no.4
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• pp.73-90
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• 1969

The area studied is a southwestern part of Okcheon geosynclinal zone which streches diagonally across the Korean peninsula in the mid-central parts of South Korea, and is bounded by Charyeong mountain chains in the north and by Sobaek mountain chains in the south. The general trend of the zone is of NE-SW direction known as Sinian direction. Okcheon system of pre-Cambrian age occupies southwestern portion of Okcheon geosynclinal zone, and Choseon and Pyeongan systems of Cambrian to Triassic age in northeastern portion of the zone. It was defined by the writer that the former was called "Okcheon Paleogeosynclinal zone" and the latter "Okcheon Neogeosynclinal zone," although T. Kobayashi named them "Metamorphosed Okcheon zone" and "Non-metamorphosed Okcheon zone" respectively and thought that sedimentary formations in both zones were same in origin and of Paleozonic age, and C.M. Son also described that Okchon system was of post-Choseon (Ordovician) and pre-Kyeongsang (Cretaceous) in age. According to the present study two zones are separated by great fault so that the geology in both zones is not only entirely different in origin and age, but also their geolosical structures are discontinuous. Stratigraphy and structure of Okcheon system are clearly established and defined by the writer and its age is definitely pre-Cambrian. It is clarified by present study that the meta-sediments in and at vicinity of Charyeong mountain chains are correlated to Weonnam series of pre-Cambrian age which occupies and continues from northeast to southwest in and at south of Sobaek mountain chains, and both metasediments constitute basement of Okcheon system. Pyeongan, Daedong and Kyeongsang systems were deposited in few narrow intermontain basins in Okcheon paleogeosynclinal zone after it was emerged at the end of Carboniferous period. Granites of Jurassic and Cretaceous ages and volcanics of Cretaceous age are cropped out in the zone. Jurassic granite is aligned generally with the trend of Okcheon geosynclinal zone, whereas Cretaceous granite lacks of trend in distribution. Many isoclinal folds and thrust faults caused by Taebo orogeny at the end of Jurassic period are also parallel with Sinian directieon and dip steeply to northwest. Charyeong, Noryeong, Sobaek, and Deogyu mountain chains are located in areas of anticlinorium, and Kyongsang system in narrow synclinal zones. Folds in Okcheon neogeosynclinal zone are generally of N 70-80W direction but deviate to Sinian direction at the western parts of the zone. This phenomena is interpreted by the fact that the folds were originated by Songrim disturbance at the end of Triassic period and later partly modified by Taebo orogeny. Thrust faults of Taebo orogeny coentinue from Okcheon paleogeosynclinal zone into neogeosynclinal zone, forming imbricated structure as previously described. Strike-slip faults perpendicular to Sinian direction and shear faults diagonally across it by 55 degrees also prevail in neogeosynclinal zone. It is concluded from viewpoints on geology and geological structure that l)Okchon geosyncline had changed its location and affected by numerous disturbances through geologic time, and 2)mountain chains in the area such as Charyeong, Noryeong, Sobaek, and Deogyu were originated as folded mountains. Differing from others, however, Sobaek range was probably formed at the time of Songrim disturbance and modified later by Taebo orogeny. It is cut by Danyang-Jeomchon fault at the vicinity of Joryeong near Munkyeong village and does not continue to southwest beyond the fault, whereas southwestern portion of erstwhile Sobaek range continues to Taebaek rangd northeastward from Deogyusan passing through Sangju, Yecheon, and Andong. From these evidences, the writer has newly defined the erstwhile Sobaek range in such a way that Sobaek range is restricted only to northeastern portion and Deogyu range is named for the southwestern portion of previous Bobaek range.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.