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서종문(Seo Jong-moon) 국어교육학회 2010 국어교육연구 Vol.46 No.-
Teaching Korean classical literary works needs special consideration. Being composed of ancient Korean language in Chinese expression, they are difficult for students to understand. Students are heavily burdened in reading the texts and apt to lose motivation to study them. In general there are two parts of the learning Korean classical literary works. The one is cognition of the content, the other feeling of the sentiment. Weight of their unit in learning process is different genre by genre. In lyric poetry, the weight of unit for feeling is heavier than that for cognition. But the reverse holds in essay and novel, and they are equal weight in drama. Units of cognition are apt to integrate with feeling of the sentiment. The process of integration, feeling of the sentiment serves as a momentum to integrate units of cognition. Teaching Korean classical literary works needs this process of integration more than other parts. Teachers who plan a teaching program must take into consideration the special characteristics of the texts to be taught. With their sincereness and efforts they can lead students to integration of the recognition and the feeling.
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서종문(Seo Jong-Moon) 국어국문학회 2008 국어국문학 Vol.- No.149
Cultural changes can be observed through the window of language. The change in structure of Korean culture in the 19th century, either upper-structure or under-structure, gave impacts upon communication of the time, too. We can see the phenomena in oral as well as written literature. Korea witnessed collapse of class system and restructuring of economic system in the 19th century. Due to the corrupt politics there arose frequent insurrections in several provinces. In the process of the confused swirl, a new class emerged from the traditional middle class up to the active group of cultural production. A host of progressive intellects called ‘Silhakpa(實學派)’ formed the cultural upper-structure and tried to find out solutions to the confused reality. Some poets of Sijo(時調) who were from the middle class compiled anthologies of Sijo. Enjoying patrons of Pansori(판소리) expanded from lower class to the royal family. 'Kimsatgat'(김삿갓), a wandering poet, was an example who reflected the change of the upper-structure and the under-structure of Korean culture in the 19th century. He composed poetry by disorganizing spoken language into sarcastic and purposefully ungrammatical written Chinese. Some writers writing in Chinese produced novels to express fierce the change of social and economic base of the time. While Korea in the 19th century was in a critical situation, there were not a few who searched for new solutions. Jeongyakyong(丁若鏞), a progressive scholar, tried to find the solutions not only in Silhak but also in Western civilization. Choijaewu(崔濟愚), the founder of Donghak(東學), desperately endeavored to find out the solutions through a new religious movement. There was dynamic conflicts between dissolution of cultural inheritance and the formation of a prospect toward the new culture. It was an age of social disorganization and historical turbulence. The cultural dynamics paved way to new interactions between arts and literature, bringing about the diverse change in each field. It is regrettable, however, that the cultural dynamics of Korea in the 19th century could not be orderly connected to the culture of the following century. Responsibility of the ruling class and intellects could not be exempted for the cultural disconnection.
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서종문 ( Jong Moon Seo ) 판소리학회 2005 판소리연구 Vol.20 No.-
Shin Jae Hyo recomposed the literary components of Pansori(Pansori-saseol), assumed the role of patron working as Hyangri(a local public servant) of Gochang province in 19th century. He also founded the theory of Pansori and practiced the education of Pansori. We can comprehend his view of world and Pansori through Pansori-saseol which he had recomposed. He expressed a inclination toward culture of Yangban(upper class) and rational trend in his recomposed Pansori-saseol. He had exposed the standpoint of middle class to which he belong in it. The works which he had divided <Chunhyang-ka> into Namchang-text and Dongchang-text, Yoechang-text showed his view of Pansori as well as his prospect of Pansori. He would challenge to the foreign performance with that trial. His trial has a very important significance in the history of Pansori, although his recomposed Pansori-saseol had not been fully received in Pansori-performance. Now Pansori-performance is in an unfavorable situation as result of competition with the foreign performance. We must watch the aesthetics of Pansori what he had grasped `weeping as well as laughing` in <Kwangdae-ka>. We can acquire the power of challenge generating from the native culture as we accompany him with Pansori.
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徐鍾文 慶北大學校 師範大學 1991 敎育硏究誌 Vol.33 No.-
The aim of this thesis is to investigate the growth and change of Hangul Literature in the latter period of Yi-Dynasty. The Japanese Invasion of Korea in 1592 stirred the social and economic life of Korea. In a broad sense, it caused remarkably the growth and change of Hangul-Literature. The readers of Hangul-Literature increased a great deal with the popularity of Hangul. It were characteristically such changes in writers and readers that caused the real growth and change of Hangul-Literature. Writing and reading in Hangul, which only Yangban-Sadaebu, or the upper class, had been supposedly eligible for, were extended to the new rising class who had become wealthy lately. Literary works began to reflect the reality more concretely instead of the abstract ideas such as embodied in the works of the precedent times. Some of them have practical significance in the attempt to reveal the corrupt environment. On the other hand, the change of the form and-content of Hangul-Literature caused new literary genres to come into being. As a result, some genres had so similar functions that some originally different functions can be viewed as identical. We can find the examples in kasa, or "song word", and pansori, or "typed song". In case of kasa, with the increase of descriptive function, the lyrical and didactic functions gave more place to the narrative function. In pansori, on the other hand, the dramatic structure and narrative structure were combined into one when pansori was orally performed.
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