Dissertations / Theses on the topic 'Korean poetry'

This thesis explores Korean 'sijo', as both poetry and music. It surveys the different bodies of research on the topic that are the result of 'sijo' long being treated from one or other of the perspectives of literary and musicological scholarship by both Western (e.g. Rutt 1971, McCann 1988, O'Rourke 2002) and Korean scholars (e.g. Chang Sa-hun 1986, Kim Tae-Haeng 1986, Cho Kyu-Ick 1994). Placing both literary and musicological aspects together, this thesis discusses the form, origins and content of 'sijo'. The synthesis of the two aspects forms the basis of my exploration of 'sijo' performance during the 20th century. My focus is on the transmission of 'chongga' - 'sijo', along with 'kagok' and 'kasa', that together form Korea's classical vocal music tradition - during the turbulent times from the late 19th century through the colonial period to the post-liberation era. The important actors, that is, the singers, scholars and relevant institutions - governmental and private - have been discussed at least partially in various publications (e.g. Hahn Man-young 1990, Yi Pohyong 2004, Song Bang-Song 2007, Kim Minjong 2015, Moon Hyun 2015), but this thesis provides the first thorough account of 'chongga' in the 20th century, its teaching genealogies, institutions, aspects of its preservation, and its regional variants. This thesis demonstrates that the subtle aesthetic of 'chongak' literati music lies at the heart of what constitutes 'sijo' as a genre; reference to Confucian and sometimes Daoist influence on the aesthetic of literati music is frequent, but the nature of such influence has not been adequately discussed. I survey academic writings by Korean and Western scholars (e.g. Donna Kwon 1995, Lee Byong Won 1997, Byung-ki Hwang 2001) to address terminology and concepts relevant in the context of 'chongga' and then, based on my personal fieldwork, and in order to provide a comprehensive account of 'chongga' aesthetics, I complement previous writing by incorporating the views of contemporary 'chongga' singers.

This thesis is a study of the Korean woman poet Ho Kyongbon (1563-1589) and her poetry. In it, I investigate Ho's two brothers' active involvement in her literary life, particularly her younger brother Ho Kyun's publication of her poetry collection, the Nansorhon chip and promotion of her literary works to Chinese scholars. I also examine late Ming and Qing anthologies which include Ho's poetry to disclose how late Ming and Qing scholars evaluated her poetry and represented her life. I argue that the attention these critics paid to Ho's literary works and talent reflected a blossoming of women's literary culture and a rapid growth in the anthologizing of women's poetry. I also undertake an analysis of Ho's poetry, with particular emphasis on the influence of Tang poetry on her poetic practice. This analysis is accompanied by a discussion of Ho's relationship to the "Tang revival movement" in which her two brothers were fervently engaged. This relationship provides a context through which to better understand not only Ho's particular interest in emulating Tang poetry, but also the very textual qualities of her poetry.

Despite a recent global surge in the reception and translation of Korean women poets, there has been surprisingly little scholarship on this topic. This dissertation aims to expand the focus of Western scholarship beyond the Korean male canon by providing the first in-depth analysis of the works of Korean women poets in the 20th and 21st centuries. The poets I chose to examine for this study played a critical role in revolutionizing traditional verse patterns and in integrating global socio-political commentary into modern Korean poetry. In particular, by experimenting widely with forms from epic narrative, memoir in verse, and shamanic narration to epistolary verse and avant-garde styles, they opened up new possibilities for Korean women's lyric poetry. In addition, they challenged the traditional notion of lyric poetry as simply confessional, emotional, passive, or feminine. Their poetry went beyond the commonplace themes of nature, love, and longing, engaging with socio-political concerns such as racial, class, and gender discrimination, human rights issues, and the ramifications of the greatest calamities of the 20th century, including the Holocaust, the Korean War, and the Kwangju Uprising. Unlike the dominant scholarship that tends to highlight the victimization of women and their role as passive observers, this project shows Korean women poets as active chroniclers of public memory and vital participants in global politics and literature. The multifaceted and detailed reading of their work in this dissertation facilitates a more nuanced understanding of the complexity of 20th-and 21st-century women's lives in Korea.
East Asian Languages and Civilizations

The first Korean art song was composed in 1922 during the period of Korean history that has now come to be known as the Japanese Occupation Period (1910-1945). This project focuses on art songs which were based on poetry written during the Japanese Occupation Period, and on the compositions of various Korean composers who integrated both western music and Korean poetry into a European-established genre that has existed for hundreds of years. Three poets: Jeong Ji-Yong (1902-1950?), Kim Sowol (1902-1934) and Yun Dong-Ju (1917-1945) who were all active during this period have been selected. Their poetry was set to music by thirty-nine Korean composers from different generations with the years of composition ranging between 1927 and 2017. Most art songs based on Jeong’s poetry were composed from 1933 and a significant number of Kim’s poems were set to music with Korean traditional music influences between 1937 and 1979. Yun was recognized as a poet posthumously, but his works are continually chosen by contemporary composers in Korea whose works display some of the traits of modern Korean art song compositions. Using the compositions based on poetry written under political oppression, this study will trace the development of the art song genre in Korea.

Kim Kirim was the most prominent figure ~n the Korean literary world during the 1930s. He was a poet and critic, well versed in major western literary theories and poems of that time, and a pioneer in employing the techniques of western Modernism in literature. Kim believed the Modernism of western poetry could be very useful to reinvigorate the Korean poetry of the time. This study compares several important concepts of modern western poetics and poetry, as understood by Kim Kirim, with those of the western poets and critics who originally created and employed these new concepts. Kim's poetics are analyzed in detail to trace his theoretical understanding of western literary criticism and to show how he used them in building theories of modern Korean poetry. Several of his "misconceptions" exist unquestioned even at present and are strongly influencing modern Korean poetry. It is therefore essential in understanding the present state of Korean poetry that one begin with a study of Kim Kirim, since he contributed so much to providing new models for Korean poetry. This· work begins with a discussion of the nature of Korean poetry before the influence of Modernism. A discussion of elements of new poetics in Korea as introduced by Kim with special attention to areas of possible misinterpretation, leads the way to analysis indetail of "Kisangdo", Kim's most famous work, in relation to Eliot's poem "The Waste Land". Poetic concepts of unity, rhythm, and objectivity in modern poetry are the final areas of focus due to the importance that both Kim and the western Modernists placed on them

Poems Easily Written in a Hard Life is an English-language translation of Yun Dongju’s 40 poems. This work of literary translation is proceeded by a translator’s preface which seeks to situate the work in its specific social and linguistic context and to render the translator’s work visible.

Korean calligraphy went through tremendous changes during the twentieth century, and Jung Hyun-bok (1909-1973), a gifted calligrapher, played an important role in bringing about these changes. This thesis focuses on one of Jung's most mature and refined works, "Using the Peak of the Five Elders as a Brush," owned by the Jordan Schnitzer Museum of Art. In addition to translating and explicating the poems on the screen, through a close examination of both the form and content of the work I explore how it reflects Jung's values, intentions, and background. This thesis also addresses the question of why some critics have classified Jung as a professional artist and considers some of the ways in which he actually cultivated and projected an image of himself as a traditional literatus.

DICTIONARY OF STORMS is a collection of poetry that explores the dynamics of one family through their son’s absence. Using recurring images of skin, water, dragonflies, and pearls, the poems examine distance and absence, wanderlust and filial obligation from different family members’ perspectives. Desires are sloughed off, replaced by new ones, re-cultivated as mythos. The architecture of many individual poems, and the collection as a whole, are structured by meditative lyricism reminiscent of Li-Young Lee. Robert Hass’s poems and translations serve as a model for articulating both the difficulty and beauty of longing. Personae such as “Admonishing Brother Returns as Chrysanthemum” and “Hungry Brother Returns as Octopus” are influenced by Ai and Louise Glück. In the spirit of Emily Dickinson and John Keats, DICTIONARY OF STORMS reflects upon longing, grief, and desire.

Notre questionnement porte sur l’imaginaire coréen, et plus largement sur l’apport de l’anthropologie culturelle éclairant l’imaginaire sociétal et culturel coréen. Notre méthodologie est bâtie sur les écoles philosophiques et mythologiques françaises du XXe siècle pour la raison qu’elles sont le mieux à même de nourrir notre réflexion et de révéler sous un jour inédit et complémentaire les travaux sur ces questions déjà effectués en Corée. Nous pouvons ainsi démontrer que les symboles coréens ont une portée universelle. Notre corpus réunit des œuvres littéraires coréennes desquelles sont tirées des images archétypales. L’analyse en est faite à partir des conceptions de G. Bachelard (1884-1962) sur l’image symbolique et sur l’anthropologie de l’imaginaire de G. Durand (1921-2012). Tout en décrivant la rationalité scientifique, Bachelard valorise l’image mentale en la considérant comme une force créative et pas seulement comme un obstacle épistémologique. Il évoque plusieurs « complexes » dans son œuvre sur l’imaginaire poétique dans une conception proche de celle de C. G. Jung pour qui le complexe ne se ramène pas à un blocage psychique mais inclut la créativité. Le complexe bachelardien ne se sépare ainsi pas de la pensée freudienne du pansexualisme. Quant à Durand, dans Les Structures anthropologiques de l’imaginaire (1960), il élabore une grammaire de l’imaginaire en proposant une trentaine de complexes qui viennent enrichir ceux établis par Bachelard, O. Rank (1884-1939), M. Bonaparte (1882-1962) ou C. Baudouin (1893-1963). Pour Durand, la notion de complexe s’apparente à celle du mythème, comme étant la plus petite unité du discours et est mythiquement significative en révélant un symptôme psychique de l’inconscient collectif. Durand développe sa Mythodologie dans sa deuxième période avec les deux concepts de mythocritique et de mythanalyse. La mythocritique est une méthode de critique littéraire et la mythanalyse une méthode d’analyse socio-culturelle de l’imaginaire. Notre exploration de l’image littéraire de l’Antiquité au début du XXe siècle intègre ainsi les mythes, les contes populaires, les légendes et les chansons folkloriques afin de cerner l’identité culturelle du peuple coréen et montrer son caractère d’universalité. Les deux axes qui caractérisent la mythologie coréenne sont le mythe de fondation de l’État et le mythe chamanique. Pour le premier, la grande œuvre du Samguk yusa (1283) est indispensable car elle relate deux mythes de fondation notamment, le mythe de fondation de l’État du royaume de Kojosŏn et celui de Koguryŏ. Ces deux mythes sont référents à cause de leurs figures archétypales qui se déclinent par le mythème de l’ours et celui de l’œuf et les personnages féminins divins d’Ungnyŏ et d’Yu-hwa qui sont en relation avec ces mythèmes. Nous observons leurs redondances dans les époques ultérieures, notamment dans les récits sur les souffrances endurées par les femmes. L’histoire de Changhwa et de Hongnyŏn sont exemplaires car elles induisent un fait social marquant la dynastie Chosŏn et qui typifie ainsi la société coréenne en faisant de la figure féminine un bouc-émissaire du pouvoir masculin pris dans le système du patriarcat confucéen. Ce motif apparaît dans le récit de la « princesse Pari » qui est un chant chamanique et dans le récit de « Sim Ch’ŏng » qui est l’expression d'un rite chamanique, ou p’ansori, ou roman. Parmi les chansons folkloriques, la plus célèbre est l’Arirang ou sijipsarinorae qui reprend également le même schéma du dépassement des souffrances moyennant un sentiment particulier et proprement coréen, le han (恨). Le Han a la particularité d’être dynamique et contradictoire en étant fondé sur une dialectique subtile qui introduit une force vitale contre la dépression ou l’anxiété. Le Han a une fonction de régulation de la société en tant que figure de l’imagination symbolique et qui apparaît comme universelle
The purpose of our investigation is the Korean imaginary, and more broadly the contribution of cultural anthropology illuminating social imaginary and Korean culture. Our methodology integrates the contribution of French philosophical and mythological studies of the 20th century, because they are the best ones to nourish our reflection and show in a new and complementary way the work already done in Korea. We can therefore show that Korean symbols are universal in scope. Our study material incorporates Korean literary work which comes from archetypical images. To analyze them, we will rely on the conceptions of symbolic imaginary thinking from G. Bachelard on symbolic images and on the anthropological of the imaginary elaborated by G. Durand. All the while describing scientific rationality, Bachelard valued the mental image, considering it as a creative force and not only as an epistemological obstacle. He evoked several “complexes” in his work on poetic imaginary in a conception close to that of C.G. Jung for whom the notion of complex does not amount to a psychic block but includes creativity. The Bachelardian idea of complex therefore does not demarcate from Freudian thinking on pansexuality. According to Durand, in The Anthropological Structures of the Imaginary (1960), the author elaborated a grammar of the imaginary by proposing thirty complexes that came to enrich those established by Bachelard, O. Rank, M. Bonaparte and C. Baudouin. For Durand, the notion of complex is similar to that of the mytheme, as the smallest unit of discourse mythically significant, that reveals a psychic symptom of the collective unconscious. Durand develops his methodology in his second period with two concepts: mythocriticism and mythanalysis. Mythocriticism is a method of literary criticism, or rather a method of literary studies, and mythanalysis is a method of socio-cultural analysis of the imaginary, the two complementing the other. Our exploration of the literary image from Antiquity to the start of the 20th century integrates myths, popular tales and legends, allowing us to determine the cultural identity of the Korean people and show its universality. The two axes that characterize Korean mythology are the foundation of the state and the shamanic myth (the narrative song of the shaman). For the first axis, the great work of Samguk Yusa (1283) remains essential as it relates two foundational myths, notably the myth of the foundation of the Kingdom of Kojosŏn and that of Koguryŏ. These two myths are references because their archetypal figures take the form of the mytheme of the bear and that of the egg and the divine feminine characters of Ungnyŏ and Yu-hwa in relationship to these mythemes. We observe their repetitions in ulterior epochs, notably in the stories of suffering endured by women. The story of Changhwa and Hongnyŏn are exemplary as they induce social facts of the Chosŏn Dynasty, which marks Korean society by making the female figure a scapegoat for masculine power in the Confusion patriarchal system. This motif appears in the story of the “Princess Pari” in the form of a Shamanic song but also in the story of “Sim Ch’ŏng” expressed in the form of shamanic rite, or the p’ansori, or the novel. Among folkloric songs, the most famous are those of Arirang or Sijipsarinorae which equally pick up on the same patterns of overcoming suffering through a particular and properly Korean feeling, the “han (恨)”. The Han has that distinction of being dynamic and contradictory as it is founded on a subtle dialectic that introduces a vital force against resignation, depression, and anxiety. The Han serves a societal regulatory function as a figure of imaginary symbolism and that appears as universal

Cette thèse s’intéresse au corpus d’énoncés reconnu légitime pour asseoir un parler dit « normatif ». L’engouement pour la langue des Arabes et son apprentissage s’est fait - depuis la propagation de l’Islam - de plus en plus fort. L’arabe devient alors objet d’étude. Très tôt, à une époque encore discutée, s’organise une grande collecte des éléments constitutifs de ce qui allait servir de base à l’établissement des codes linguistiques de la langue arabe. En parallèle, s’effectue également une autre collecte : celle des récits sur les dits et faits du Prophète Muḥammad, composant le corpus du Hadith (ou de la Tradition dans une plus large mesure). Ainsi, le Hadith est-il incontestablement devenu une des sources les plus importantes, presque incontournable dans les sciences arabo-islamiques. À la mesure de la place qu’il occupe dans beaucoup de disciplines, on aurait pu s’attendre à ce qu’il ait une légitimité prépondérante dans le domaine de la grammaire arabe mais il n’en est pas ainsi. Contre toute attente, le Hadith semble n’arriver qu’à une place subalterne. Le grammairien, qui tient un discours ou une discussion sur la langue, se base sur un corpus d’énoncés reconnu légitime pour asseoir des règles grammaticales et celui-ci regroupe essentiellement le Coran et les propos arabes (poésie et prose anciennes). Dans le discours grammatical, le Hadith n’est peut-être pas absent, mais il voit sa légitimité extrêmement discutée. Nous avons essayé d’éclaircir ce point en inscrivant cette polémique dans un questionnement plus global. Nous nous sommes intéressé à l’étude du rapport entre la légitimité de la langue et les différents corpus qui forment son assise. Quels ont été les critères d’inclusion et d’exclusion entrant en compte pour la constitution de ce corpus ? Quel outil représentait chacun des textes (Coran, Hadith et Kalam al-ˁArab) pour le grammairien ? Au-delà des assertions, nous avons observé l’attitude du grammairien avec ces différents textes prenant soin de mettre en exergue à la fois les particularités mais aussi les points communs de ces sources
This thesis deals with the corpus of statements recognized as legitimate in order to establish a so-called "normative" speech. The enthusiasm for the Arabic language and its study became increasingly strong with the spread of Islam. Arabic becomes an object of study. Very early on, at a time still being discussed, a large collection of elements constituting what would serve as a basis for the establishment of the linguistic codes of the Arabic language was organized. At the same time, there is also another collection: that of the narratives on the said and the facts of the Prophet Muḥammad, composing the corpus of Hadith (or Tradition to a greater extent). Thus, the Hadith has undoubtedly become one of the most important sources, almost impossible to circumvent in the Arab-Islamic sciences. Given the major role it plays in many disciplines, one might have expected it to have a preponderant legitimacy in the field of Arabic grammar, but this is not so. Against all expectations, the Hadith seems to arrive only at a subordinate place. The grammarian, who holds a discourse or a discussion on the language, bases himself on a corpus of statements recognized as legitimate in order to establish grammatical rules. This corpus essentially groups together the Quran and the words of the Arabs (ancient poetry and prose). In grammatical discourse, the Hadith may not be absent, but its legitimacy is extremely debated. We have tried to clarify this by putting this polemic into a more global questioning. We are interested in studying the relationship between the legitimacy of the language and the different corpuses that form its foundation. What were the inclusion and exclusion criteria for the constitution of this corpus? What tool did each of the texts (Qur'an, Hadith and Kalam al-ˁArab) represent for the grammarian? Beyond the assertions, we have observed the attitude of the grammarian toward these different texts taking care to highlight both the peculiarities but also the common points of these sources

The story of Joseph (in the Bible), Yusuf (in the Quran), has inspired literatures in many languages. This paper explores how some Swahili writers and translators have dealt with this inspiration, the implications for their language use and the way they have interpreted Yusuf as a theme for their writings. After a brief introduction on the importance of the story itself and putting the focus on a major theme of the plot, the following works are discussed: the new Quran translation by Sh Ali Muhsin (1995), a short novel by Mzee Salim A. Kibao (1975), two short stories by Amur bin Nasur il-Omeiri (1894), the utenzi Qissat-il Yusuf (l913) and Abdulrazak Gurnah\'s English written novel Paradise (1995). The paper concludes with the observation that in analyzing how these Swahili writers have integrated the story of Yusuf in their writings, prose as well as poetry, it becomes clear that attempts in defining what is ‘foreign’ (or ‘Oriental’) and what is ‘indigenous’ (or ‘African’) are bound to fail.

碩士
國立臺灣師範大學
東亞學系
103
The overseas Chinese who have immigrated to Korea long before have usually imagined the Republic of China (ROC) in Taiwan as their homeland. Two things explain this homeland imagination. One thing is that Korean government has adopted a policy of discrimination against foreigners due to the Cold War and Korean Conflict after World War II. This policy made the overseas Chinese who have lived in Korea over 100 years stay there as a status of foreigners since 1948. The other thing is that the government of ROC in Taiwan aggressively planned and held many activities related to Chinese education and culture in Korea in response to the policy of discrimination against foreigners by Korean government. These two aforementioned things got the overseas Chinese in Korea transfer their homeland imagination from China to the government of ROC in Taiwan. Moreover, such a transfer of homeland imagination made them strongly identify the government of ROC in Taiwan and thus attach themselves to this government. For the overseas Chinese having lived in Korea, their identificationwith the government of ROC in Taiwan and its culture, however, has been seriously affected by the localization happening on the island of Taiwan in the 1980s, which caused the divergent identities of national consciousness. Thus, their national and cultural identity was shaken by such an impact, and they could not avoid feeling depressed, thinking about the question of where their homeland is. The poet Chu An-Ming, who has grown up in Korea, has come to Taiwan for studying since 1977. He is a creative poet and an editor-in-chief in the magazine of INK. He published his poetry collection A Heart Intoxicated with Sorrow in 1985 and The Road Southbound in 2001. He offered an in-depth description of strong identity and love to his homeland in his poetry collection A Heart Intoxicated with Sorrow. Also, he used a biographical method to describe the experiences and dilemmas he encountered in the changing process of the society and politics in Taiwan. In his poetry collection The Road Southbound, he provided deep reflective thinking and criticism for the society and politics in Taiwan after its localization. The current study aims to explore the homeland imagination and cultural identity of the overseas Chinese poet Chu An-Ming by analyzing his two poetry collections on the basis of three stages of his growing-up in Korea, his coming back to Taiwan, and his undergoing the localization in Taiwan. It is hoped that the strong national and cultural identity of the poet Chu An-Ming is able to be further understood by investigating his life experiences and works. In addition, the current study hopes to enrich the investigation of the national and cultural identity of the overseas Chinese immigrating to Korea.

From the point of view of literary qualities, Prophetic Traditions stand out among Arabic literature. This study aims at selecting some unique words the Prophet used, and search for their presence or absence in the Arabic Although several sources were used, the reliance for the choice of words is mainly on An-Nihayah fi gharib al-Athar of Ibn al-Athir; and for comparison, several published works. literature. The objective is to find out how the Prophetic words affected the literature. An analysis is attempted to arrive at the meaning of these words as used in Hadith literature, literatures preceding or following it, and compare to find whether they have been used at all, and, if used, in the same meaning or not, or whether they are used in a unique sense. Thus, this study brings to light differences between Prophetic literature, and literatures other than it.
Arabic & Islamic Studies
M.A. (Islamic Studies)

From the point of view of literary qualities, Prophetic Traditions stand out among Arabic literature. This study aims at selecting some unique words the Prophet used, and search for their presence or absence in the Arabic Although several sources were used, the reliance for the choice of words is mainly on An-Nihayah fi gharib al-Athar of Ibn al-Athir; and for comparison, several published works. literature. The objective is to find out how the Prophetic words affected the literature. An analysis is attempted to arrive at the meaning of these words as used in Hadith literature, literatures preceding or following it, and compare to find whether they have been used at all, and, if used, in the same meaning or not, or whether they are used in a unique sense. Thus, this study brings to light differences between Prophetic literature, and literatures other than it.
Arabic and Islamic Studies
M.A. (Islamic Studies)

碩士
東海大學
中國文學系
105
Modernism is the European culture movement originated in the 19th century. There were the impacts of civilization and capitalism in Taiwan and Korea on Japanese Colonial Period similarly. Especially, Literary realms in Taiwan and Korea were entered into the stage of maturity in the 1930s. In addition, it was so definite that tendency about the import of modernism on the poetic circles in Taiwan and Korea. Thus, this thesis, focuses on a comparative study about the aspects of modernism between Taiwan and Korea through the status of poetic circles in Japan, Taiwan and Korea in the 1930s. Yang Chi-Chang(楊熾昌) and Jeong Ji-Yong(鄭芝溶), both of them are the pioneers of Modernism on poetic circles in Taiwan and Korea. Though the intension about technical reform of two poets were different, they used form of prose poems, represented images of city, and realized localization of modernism. Furthermore, Yang Chi-Chang established ‘Le Moulin’(風車詩社) in Taiwan , and Jeong Ji-Yong established ‘Guinhoe’(九人會) in Korea. Both of these groups strived to spread of modernism, each of them caused frequent communications among the members between one another. ‘Le Moulin’ promoted surrealism poetry and blending with Taiwanese scenery. ‘Guinhoe’ was filled with experiment, diversity, and artistry.