• Sijohaknonchong
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• v.30
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• pp.301-318
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• 2009

This article aims to interpret the meaning of the sentence "The night a green frog ached its stomach to death $\sim$", based upon the characteristics of certain Shijo poems which featured handicapped animals. Many Shijo poems feature animals, but they rarely feature them in a handicapped state. In those cases, readers usually try to identify the intentions of the author with the unjust and wrongful situations of the time the poem was written, but yet another interpretation could be presented, considering the premises necessary for understanding Saseol Shijo poems. Only among Saseol Shijo poems handicapped animals can be found in a Shijo text, and they are referred to and sung not in the stage of 'serious outbursts' being fired but during the stage of 'hollow jokes' being made. Any handicapped condition that an unhandicapped one could imitate could be imitated for humor, so the actions of a frog, a toad or an ant which forgot their own inabilities can be considered very comic and farcical in the eyes of the readers embracing the contents of the poem. In "The night a green frog ached its stomach to death$\sim$-"(#2834), the death of the green frog is no ordinary death. This particular frog could be referring to the baby frog which appeared in #3160, or the entire sentence could be referring to the fact that a particular figure which had already disrupted the atmosphere of the world inside the poem is no longer present in that world. Considering all these conditions inside the poem's own world, Shijo poems which featured handicapped animals were not meant to be delivering any kind of educational or critical messages, but they were rather either maintaining or heightening the mood inside the poem's own world.

• Sijohaknonchong
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• v.22
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• pp.173-194
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• 2005

Studying on the history of korean ancient poetry, we come in contact with a series of verses which 'Jejisarim's Kangho Shijo'. In the 16th century are the representative works among them. Sarim were involved in the domestic discords so that they brought about severe party strifes after all. 'Jejisarim's Kangho Shijo' profoundly dealt with the various problems concerning nature and human beings. Lee, Hyunbo and Lee, Whang are closely related with the philosophical attitudes of Confucianism. After this, Kyun, Homun and Jang, Kyungse can be largely summarized as the dual theory of reason and spirit. From the standpoint of natural principles, the epistmology of Confucianism. the theory of reason has characterized by ideality and reality. It can be said that the problem of harmonizing and uniting nature with human beings was solved in the unity of space and man. 'Jejisarim's Kangho Shijo' in the 16th century prominently express not only the courses of character cultivation but also the pride and close relationship between nature and human beings. We can say that 'Jejisarim's Kangho Shijo' in the 16th century are divided into both types of the conservative idealism and the reformative realism in the Jejisarim. Kangho Ship. the epistmology of Confucianism nature and human beings. ideality and reality political status and that such ships can be separated into types ideality and reality in the philosophical context.

• Sijohaknonchong
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• v.21
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• pp.47-76
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• 2004

Newly discovered ${\lceil}Gogeummyeongjakga{\rfloor}$ is a copy collection of the old poetry SI-JO, which is specified in the book of yellow Gojeongji. {$\lceil}Gogeummyeongjakga{\rfloor}$ is guessed to be copied before the 17th year of King Yeongjo's reign(1740) and thus it's the early collection in the history of the Korean verse, Shijo. According to our research, there are 78poems in the collection and nine out of them hasn't been yet reported to the Korean Academy. The characteristics of Shijo in the book are followed. First. The collection is different from other books since the book was written in Korean instead of Chinese characters, which shows the uniqueness of the Korean literature in the late 17th and the early 18th century. Secondly, there are different versions of a poem in the collection, which is quite unusual in the other collections. There are different words or phrases used in different versions and even the whole verse is modified in some cases. Thirdly. two out of newly discovered nine short lyric songs is transformed from and that are kind of Chinese Ak-Bu. By the way, the compiler of ${\lceil}Gogeummyeongjakga{\rfloor}$ seemed to understand the co-relation between Ak-Bu and Shijo. and that's why he chose transformed Shijo from Ak-Bu not Chinese poetry. Among nine poems, <9> and <10> are newly discovered responding songs unknown up till now.

• Sijohaknonchong
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• v.19 no.1
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• pp.85-106
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• 2003

Recently, the sonnet and the shijo, each representing French and Korean formal poetries, are tend to be read with the eyes only, as were more accustomed to written literature. But even after almost three millennia of written literature and increased use of digitalized poems, poetry retains its appeal to the ear as well as to the eye. To read a poem only by eyes might be wrong because it is designed to be read aloud by mouth and understood by ear, and will decrease the aesthetic sense otherwise. It is essential to find the right way to recite a poem in this dramatically changed society, and is especially important when many shijos are changing into digitalized forms to adapt the new wave of our society. The sonnet and the shijo emphasize the importance of the harmony of sounds and rhythms with certain structure, and have their own prosodies. The emotions of the speaker in poems are expressed with words. When they are pronounced. each phoneme has its own phonemic characteristics. When comparing the The Broken Bell(Baudelaire) and Chopoong ga (Jong Seo Kim) in terms of prosody and phonetics. the speakers emotions are closely related with the phonetic structure of each word. In The Broken Bell, the phonetic value of rhymes, repeated phonemes, concentration of front and back vowels. rhythms of onesyllable words shape the overall image of this poem describing the productivity of bells as appose to the sterility of the soul. Chopoong ga also shows the determined and strong will of the speaker by frequent glottalized sounds. distribution and concentration of certain vowels. and frequent use of plosives. As you see in these examples, phones, beats, and rhythms are not the mere transmitter of meaning but possess their expressive values of their own and should be the first to be considered when reciting a poem.

• Sijohaknonchong
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• v.43
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• pp.5-39
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• 2015

Shijo (Korean poetic form) is a representative literature genre of a short poem among the literary works of Korea in the late Chosen Dynasty. The format of Sijo is Normal-Shijo in the form of 3 verses, 6 sections and 12 sound, and the lyrics of one Normal-Shijo has within or without 45 words. But Saseol-sijo, a type of Sijo, there is a work that has more than 100 letters due to the number of lyrics were a lot increased. Among those Saseol-sijo there is a work with 'solemn and elegant feeling' borrowing some verses even from Chinese poem, using a lot of Chinese vocabulary, but there are a lot of works with 'salacious and explicit contents'. Literary work, Shijo, is used for lyrics of vocal music as Gagok (a genre of Korean vocal music for mixed female and male voices) and Sijochang, however, there are many cases that the same Sijo poem is used as lyrics of Gagok and Shijo. But those music that use Saseol-sijo as lyrics among Gagok, the vocal music, are mainly songs with 'solemn feeling' rather than 'salacious work'. This study looked into the reason why the Saseol-sijo with 'salacious and explicit contents' are hard to be used as lyrics in Gagok, confirming the fact that most music singing Saseol-sijo among Gagok that are being handed down till now use lyrics with 'solemn and elegant feeling'. The most important thing among those reasons seems to be irregularly increasing lyrics, and in accordance with accompaniment. Gagok accompanys a number of instruments the fixed melody recorded and delivered in score. So it's almost impossible to play unless it depends on the steadily made song melody and accompaniment melody according to the chosen lyrics in advanced. Also, appreciation of literary works is usually made privately through a private reading activity, but Gagok is conducted through public performance in an open space for many people. Especially, it would have been hard to sing a salacious and explicit song gathered together with men and women of different social status in social system and custom of the late of Chosen Dynasty. This study confirmed the fact that folksy and popular character that was praised for literary characteristic of Saseol-sijo can't be easily found from Saseol-sijo that was called Gagok.

• Wind and Structures
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• v.7 no.4
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• pp.281-291
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• 2004

The flutter characteristics of long span bridges are discussed from the point of the unsteady pressure distribution on bridge deck surface during heaving/torsional vibration related to the aerodynamic derivatives. In particular, it is explained that the coupling terms, which consist of $A_1^*$ and $H_3^*$, play a substantial role on the coupled flutter, in comparison with the flutter characteristics of various structural sections. Also the effect of the torsional/heaving frequency ratio of bridge structures on the flutter instability is discussed from the point of the coupling effect between heaving and torsional vibrations.

• Journal of the Korean housing association
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• v.13 no.1
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• pp.10-18
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• 2002

The purpose of this study is to discover the meaning of water and traditional water space by the literature review and field study of the water space in Korea. The water and water space were symbolized by mythology, elm-yang-oh-hang, feng-shui, taoism and confucian ideas, buddhism, shin-sun ideas, shijo and landscape panting. That is, the symbolic meanings of water and water space are melt in arts and thoughts. According to literature review and field study, the water and water space represent symbolic meanings, integration with nature, reflection of nature, territoriality, role of boundary, purgation, centralization and practical application.

• Sijohaknonchong
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• v.22
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• pp.115-142
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• 2005

Woman is individual than social. passive than active and defensive than offensive. In addition. they taught that these characters are femine in the middle ages and the feudal ages. The closed and limited society was common to women in the feudal society. But there were many classes in women society from the humble maids to the queen in Chosun Dynasty. And Kisaeng(a singing and dancing girl) was free in comparison with the noble women. But Kisaeng were also limited as woman. They could write literary works according to the playing with poems and something like that with the men of intellectual class. But this also gave them sorrows. In the feudal Chodun Dynasty. men recognized the noble women specially and this is the special quality of Chosun. The Confucianism which was the existense thought of Chosun. discriminated between men and women. But women studied secretly and wrote poems pouring their thoughts and emotions. Maechang wrote many Shijo (Korean verse) with the delicacy description and the real expression. The reason Chosun woman Maechang could wrote Shijo which is free from the feudal limitations is that she was Kisaeng, She had a love as a Kisaeng who had to play with the intellectual men. But she loved Yu hee-kyoung. So she preserved chastity for him and waited only him. This is the love of both body and soul. And love with Hu kyoon friendship which is far from love. The limited love because of the spatial parting and the discrepancy of the social position is the most sorrowful. 10 years love with the intellectual men such as Hu kyoon is a friendship with poems. It was not love, so they had to temperate. So they love each other as a literary friend. We can see the feminist Hu kyoon, and see Hu kyoon who loved the literature and assert the renovation. Maechang was free from the chastity but she preserved it because of her proud. She dreamed the fairyland as Hunansulhun. Because she couldn't realize love. She ended her literature and Kisaeng life at 38 years old. There are literature of nansulhun as a noble woman and of rnaschang as a Kisaeng in Chosun Dynasty.

• Sijohaknonchong
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• v.25
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• pp.211-237
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• 2006

Mansebo[만세보] contains a total of 111 old shijos under the title of Haedongyeongeon[해동영언]. This dissertation presumes Haedongyeongeon[해동영언] as early 20th century shijo text and surveys its literary characteristic and its significance in relation with anthological compilation. Haedongyeongeon can be seen as both newspaper serials and a short anthology. The basic pattern of the serials shows an organization of 'title. musical designation, author. text. and a brief review. Of these, the review is what most clearly shows the characteristic of the serials. The review is written in Chinese followed by Korean letters to designate the sound of the Chinese. which is presumably designed to attract more readers for the newspaper. On the other hand, Haedongyeongeon[해동영언], when seen as a collection of works printed in serials, clearly shows an intention of compiling an anthology, particularly in its way of overall classification of works or arranging works according to their authors, and thus may well be defined as a short anthology. This anthology somewhat excessively pursues perfection in formality, and is characterized by its strong intent to be read as popular literature, and therefore could be said to manifest the general characteristic of 20th century anthologies. The planner of the serial Haedongyeongeon[해동영언], or the compiler of the anthology is thought to be one of the core figures of Mansebo[만세보], that is, O Sechang[오세창], Lee Injik[이인직], Choi Yeongnyeon[최영년], Shin Gwanghui[신광희], but of them all, considering all circumstances, Choi Yeongnyeon[최영년] is most likely to be the one. Lastly, it is presently unknown what anthology was used as the basis of Haedongyeongeon[해동영언] and accordingly any judgement on that head has been deferred.