• Journal of Korean Philosophical Society
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• v.105
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• pp.373-400
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• 2008

This essay is an analysis on Daoist deconstructivism and Confucian constructivism about music and language. (1) Daoist criticizes that the Confucian constructive music and language fail to describe original sounds and original facts of doing nothing (wuwei, 無爲). According to Daoist, music and language can be an instrument to describe true facts in the world. So Daoists try to attain a state of 'seeing things as things themselves (yiwuguanwu, 以物觀物)' by 'forgetting oneself (wangwo, 忘我).' (2) However Confucian music and language is a part of one's life. Confucians try to get truth, goodness, and beauty by exercising one's music and language. Confucian music is associated with political and moral development in society. The Confucian genres of poetry (shi, 詩), appealing letter (shu, 疏), declaring writing (biao, 表), record (ji, 記), and written words (ci, 詞) are processes of developing one's life. Further, Confucian rhetoric of 'Xing (興)' in writing poem shows that one's language can be developed in contexts of one's life. (3) Although music and language is associated with human subjective narratives as if Confucians say, diverse narratives of different subjectivity cannot appear in one's lives if all kinds of narrative is absorbed in Confucian absolute ideological slogan to devide things into good and bad. Accordingly, the Confucian view of music and language can develop diverse narratives when it does not show an inclination toward moral dichotomy preunderstood by Confucian ideology.

• Sijohaknonchong
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• v.24
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• pp.259-278
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• 2006

In this study, I've researched the sijo written by Yukdang, Choi, Nam Sun, and Manhae. Han, Yong Woon who were the leading intellectual and the pioneers experiencing the time of flowering and the colonial period. Their lives had the common things in various way. They were involved in Independence movement as the intellectual at that time. They also showed the various activities such as modern poem. sijo, and even Chinese poetry. In this thesis, 1 compared their sijo and considered them. Especially, I've researched the two divided parts focused on the tone shown in the sin one part was focused on the 'lover', and the other was on the 'life'. The summarise which I've researched is as followings. First, I've researched the sijo focused on the 'lover' They have the common things in having the presupposition of farewell to their 'lover'. But there were significant differences as followings. In the case of Yukdang, he expressed the passive tone based upon the despondency and the loss with the absence of his lover. Meanwhile, Manhae tended to reveal the resigned and negative tone based to his lyrical world. The contrasted tone in their poems is considered to have something to do with their realistic matters. There should also be several things to be discussed in the future.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.261-267
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• 2021

The enlightenment project raised in both Korea and China during the modern period worked as a part of the patriotic enlightenment movement against the imperial powers. Among them, "boy" appeared as the subject of enlightenment, and "sea" appeared as a medium. Specifically, through "Boy Discourse," Liang Qi Chao ultimately envisioned a nation for "subjects", and Choi Nam-seon also seeked to overcome the national crisis as "New Korea" and join the ranks of powerful nations. Liang Qiqiao proposes the concept of a "Boy Nation" and an "Old Nation" through boy discourse, and wishing for the development of the "Boy Nation" through "proficiency training". Choi Nam-seon also recognized that the future of the nation depends on "boys", influenced by Liang Qi-qiao's discourse on boys, and argues that Choseon should cultivate skills to become a "Boy Nation". In addition, Liang Qi-chao and Choi Nam-seon actively spread the "boy discourse" through the creation of poetry. Liang Qi Chao introduced the world's geography and history through poetries related to the sea, while at the same time inspiring a sense of challenge to recognize and pioneer the sea as a pathway that connects the world in a broad sense. Namseon Choi also created a poem that directly linked "the sea" and the "boy" to promote the "adventure at sea" and "the progressive spirit of the sea and the boy".

• Cross-Cultural Studies
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• v.40
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• pp.159-183
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• 2015

This study examined the issue of criticism in Korean Chinese literature in 1990's. This is transitional time why China introduced a market economy system. It had an important effect on Korean Chinese society not the cultural climate but also literature. Besides, Diplomatic Relation between Korea and China in 1992 gave an impulsion to changing literature. So this study tried to take note of directionality of Korean Chinese literature through the Korean Chinese magazine Literature and Art(Munhakwayesul) and Zhangbaikshan. First issue of Korean Chinese literature in early 1990's is crisis and restoration of criticism genre. At that time criticism faced with what is modernity. Some critics insisted that criticism should to improve. So it was necessary to accept foreign theory. Then they were concerned postmodernism and deideology tendency. What was important thing is that they would find their culture identity. So few critics tried to communicated with world literature. Especially they emphasized communication with Korean writer who lives in other country. Ultimately they thought that Korean Chines literature must get literal universality and ethnic speciality. For example poet Nam-YoungJeon's totem poetry is representative work. The issues of Korean Chines criticism in 1990's are not directivity of literature but also directivity of culture identity. Korean Chines literature had departed from Socialistic realism little by little and had getting diversity. Above all things criticism aimed for international sense and ethnic culture identity.

• (The) Research of the performance art and culture
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• no.32
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• pp.525-547
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• 2016

The purpose of this study starts searching a new method for preservation, succession, and research of folksongs in the situation that the function and transmission of folksongs are transformed or disappear by being behind modernization. Also, trying to develop a new method of study of folksongs along with a new view of them, I put fusion in the heart of the study. Fusion means a structural change in the middle of the process of combination from more than two things. Moreover, in order to practice the fusion method of study consilience in a view of study is necessary. The interdisciplinary study beings in accepting differences between academics as long as the differences have a meaningful value disassemble and differentiation are repeated. That is, fusion means rebirth through disassemble. According to this logic, we need to disassemble the folksongs for fusion study of folksongs, research the structure and component of folksongs in a new view and understand each part of the wholeness of folksongs. On top of that, we need to try combine the parts with anything else or interpret them with consilience. In this study, I researched the previous example in the fusion or integration of folksongs and Korean classic poetry in the time of enlightenment of Korea. In addition, I studied the way of fusion folksongs as culturology, bio-sociology, and sympathy. Looking back folksongs in a variety of view, we can realize folksongs are disassembled or differentiated at the same time they reborn and are interpreted in a new view.

• Cross-Cultural Studies
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• v.45
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• pp.7-32
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• 2016

This article considers the meaning of 'Zainichi (在日)' expressed in epic poem Niigata (1970) written by Korean-Japanese poet Kim Shi Jong. Kim sets two points in his creation of poetry. One is summer of liberation released from Japanese colonial domination in 1945. The other is Japan where he lives as a Korean-Japanese. These two points have made him think about the meaning of living in post-colonial era and the national division of Korea, his home country. His thought like this is well expressed in his epic Niigata. Niigata was written in 1959 when the ship returning to North Korea departed from Niigata of Japan. However, Kim couldn't return to his home country at that time. He stowed away from South Korea to Japan in 1949. He participated in antigovernment activities occurred in Jeju Island to block the national division between the south and the north after the liberation in 1945, the so-called 4.3 incident. Besides, he was having conflict with the organization of North Korea at that time because it required a doctrinaire belief and creation in Korean. Kim was writing poems in Japanese and pursued the life of existence as a Korean-Japanese. Therefore, he decided to remain in Japan instead of returning to North Korea. Of course, he could not return to South Korea because he was a refugee. Kim imagined in Niigata, the place located in an extension of the 38th parallel and the spot of national division. He could not cross the division line when he was in his home country, but he could do it in Niigata through imagination. The life as a Korean-Japanese makes it possible. 'Zainichi', which means living in Japan, has been recognized as a worse situation compared to living in Korea. However, Kim changed his way of thinking. Zainichi can embrace South Korea, North Korea, and Japan. This is the very reason why he lives there as a Korean-Japanese. His thought like this is well expressed by symbolic representations and metamorphose as well as the imagination of spatial extension.

• Journal of Korean Library and Information Science Society
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• v.49 no.4
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• pp.353-371
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• 2018

This paper aims to analyze the bibliographic characteristics and the material value of the recently introduced manuscript YoungNamRooSiun(嶺南樓詩韻). YoungNamRooSiun(嶺南樓詩韻) is a collection of six buildings including the Yeongnamroo(嶺南樓) main hall floor, Reulpadang(凌波堂), Chimryugak(枕流閣), Gaksadonghun(客舍東軒), Dukminjung(德民亭), and Namsujung(攬秀亭). And poetry. The number of artists listed here is 412, and the total number of works is 570 including 11 prose and 559 rhyme. Through the text, YoungNamRoo(嶺南樓) was able to confirm that it was a space where official affairs such as observatory, master's office space, and hospitality reception were held. Based on this, an attempt should be made to take the reliability of the YoungNamRoo(嶺南樓) Ruling through the comparison of the original texts of the YoungNamRoo(嶺南樓) Ruling Prize and the collected writers.

• Journal of Korean Library and Information Science Society
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• v.49 no.4
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• pp.373-404
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• 2018

The purpose of this study is to investigate the overall situation related to the engravings included in Buddhist scriptures produced in the Goryeo Dynasty. at the wooden board in Hae-in Temple(海印寺)'s ${\ll}$Hwa-eomgyeong(華嚴經)${\gg}$ are Ju-bon(周本) 80sheets(5sheets duplicates), Jin-bon(晉本) 12sheets, and ${\ll}$Ye-sugyeong(豫修經)${\gg}$ 44sheets, and There is a print of ${\ll}$cheon-tae-eun-sa-han-san-seub-deug-si-jib(天台隱士寒山拾得詩集)${\gg}$ at Songgwang Temple(松廣寺). Also ${\ll}$Uhjebijangjeon(御製秘藏詮)${\gg}$ included in the Koryo period Chojo Tripitaka is the Emperor $T{\grave{a}}iz{\bar{o}}ng$ of $S{\grave{o}}ng$ Poetry collection owned by Japan's Nanzanji(南禪寺). In each book from volume 1-20(volume17 is not there), there were 5 sheets of engravings and most of them are located in the same locations (1,5,9,13,17). And than 50 engravings that are contained in volume 1-10 are used repetitively in volume 11-20. In Volume 21 that corresponds to appendix, 3 engravings. This has a big value in that this is a Booljeondo(佛傳圖) of the fastest period that was made in Korea. In Chapter 3, we looked at the publications of the Goryeo Dynasty by century. We have confirmed that among 19 types of the 12 kinds of printed materials.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.216-239
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• 2021

Inlay (入絲), a poetic technique of digging grooves in the surface of crafts and decorating them with metal materials, was used throughout the royal daily routines, ceremonies and government officials of the Joseon Dynasty. The government-owned handicraft industry in the Joseon Dynasty was composed of craftsmen belonging to central and local government offices and was operated mainly by government-owned craftsmen. The inlay craftsman was transferred to the central government office and was in charge of inlay poetry for crafts. The current records of Korean inlay craftsmen are concentrated in the state-owned handicraft industry. In the state-owned handicraft industry, the government offices of inlay craftsmen can be divided into Kongjo (工造), Sangeuiwon (尙衣院), and the military. Here the election of a temporary government office for airspace is added. The government offices and military inlay craftsmen who use inlay crafts are assigned, and the inlay craftsmen are placed separately in the temporary office where the fine division of labor is developed. It can be made by utilizing craftsmen. The operation of these production systems was indispensable in pre-modern Korean society, where crafts had to be produced by hand. In this paper, we investigated the roles and job types of craftsmen in the state-owned handicraft industry during the Joseon Dynasty, focusing on inlay craftsmen. Although the details applied to the characteristics and materials of the field, labor supply and demand, etc. are different, Korea pursued crafts for various purposes through craftsmanship within the framework of the basic state-owned handicraft policy . The institutional equipment for implementation was almost common. We believe that adding and analyzing some literature records and relics will help us to study the crafts of the Joseon era in more detail.

• (The)Study of the Eastern Classic
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• no.33
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• pp.159-191
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• 2008

This study aims to look into the three-dimensional characteristics of Euniljisa (a scholar who lived in a hidden place) demonstrated in the poems of Myeongam Jeong-Sik (1683-1746, the 9th year of King Sukjong to the 22nd year of King Yeongjo), who was a scholar in the region of Yeongnam in the 18th century. Myeongam Jeongsik had a very righteous aspect in terms of integrity. He was born about 40 years after the Ching Dynasty was established. However, as shown in his pen name of 'Myeongam', he still used the Ming Dynasty as a subject of adoration and reverence, and he lived as an integral man of scholarly virtue in seclusion while refusing to have a government post during his lifetime. In his poems, there may be various discussions, but this study focused on following two aspects. First, the study reviewed his attitude toward the world, that is a retiring attitude, in looking into his works. Second, the study did not merely keep the existing two-dimensional perspective in simply reviewing a hermitage poem in the analyzing of a poem. Instead, the study attempted a three-dimensional review in seeking to see whether three items involving the fidelity and integrity of a dignified and daring person (a person who does not care about worldly views), the ambivalent emotion of Jo Wul reflected in the poem, and the delicate description and the expression of emotions, are placed in a serial relationship.