「水村漫錄」의 風格批評 양상 고찰

鄭淑仁(Jung Sook-in) 우리문학회 2008 우리文學硏究 Vol.0 No.24

「水村漫錄」은 조선조 후기에 임방이 저술한 시화집으로 17세기 시비평의 한 단면을 잘 보여주는 저서라고 하겠다. 임방은 극심한 당쟁 때문에 정치적으로 불안한 시기인 숙종조에 활동했던 문인이다. 임방의 산문에 대한 관심은 『천예록』에 잘 나타나 있으며, 시비평에 대한 관심은 바로 이 「水村漫錄」에 담겨 있다고 하겠다. 서거정의 「東人詩話」이래 대다수 詩話集들은 우리나라 역대 시인 및 시들에 대한 비평을 싣고 있는 것이 일반적인데 「水村漫錄」에서는 저자인 임방 자신보다 좀 더 앞선 세대를 포함하여 주로 동시대 인물들에 대한 비평을 담고 있는 것이 특징이다. 또한 숙종조 환국정치의 파장 속에서 정치적 부침을 겪은 면모도 「水村漫錄」에서 엿볼 수 있는데, 대북 계열의 이서우에 대해 부정적 평가를 보이는 반면, 홍만종ㆍ김창협 등 같은 당론을 지닌 인물에 대해 우호적 평가를 내림으로써 17세기 시화집의 특징적 면모를 드러내고 있다. 「水村漫錄」에서 임방은 17세기 조선 문단의 흐름인 唐詩風을 선호하는 경향을 뚜렷하게 드러내고 있으며, 唐詩 품평의 기준인 格調, 調韻 등에 의해 典重雅健한 풍격을 선호하고 있음을 알 수 있었다. 『Soochonmanrok』 is poetry criticism book written by Imbang at the end of the Joeseon Dynasty, and can be called as a book showing one aspect of poetry criticism in 17th Century. Imbang is a literator who was active during King Sookjong period, a politically unstable period due to severe party strife. His interest for prose is shown well in 『Cheonyerock』, and his interest for poetry criticism is in this 『Soochonmanrok』. 『Soochonmanrok』 contains criticisms on mainly figures of the same age including earlier generation than Imbang himself rather than criticisms on poets and poetries of many generations in Korea as seen on many poetry criticism books. Also, since criticisms on figures who have the same party platform like Hong, Mann Jong, Kim, Chang Hyup, etc were amicable compared to negative criticism on Lee, Seo Woo, 『Soochonmanrok』 is difficult to be said as an objective valuation as it has strong coloring of party strife. 『Soochonmanrok』 can be called as poetry criticism book preferred trend of the period's literary world, Tang chinese styles, and kept Poonggyok(dignity) criticism as the standard of valuation.

추사 김정희의 영물시 고찰

정숙인(Jung Sook-In) 중앙어문학회 2010 語文論集 Vol.45 No.-

Kim Jeong-hui(1786~1856) is an excellent artist, a literary man, and an epigraphist in the late Joseon. His achievements, which were accumu1ated as a calligrapher based on documental archaeology, is what is great enough to draw one stroke in our country's art history. The purpose of this study was to closely examine literary characteristics that his poem has through Yeongmulsi(詠物詩 : Poetry on Objects), which was selected and recited the limited materials among not a few works left by Kim Jeong-hui. Yeongmulsi is one branch of Hansi(漢詩 : Chinese poetry), which revealed a poet's feeling and creative intention through recitation of a Chinese poem in objects such as tree, flower, bird and animal. The characteristic of Yeongmulsi by Kim jeong-hui is what acquires and precisely depicting on inherent characteristic of object. This characteristic is revealed even in material of Yeongmulsi that he selected. A plant is overwhelmingly holding a dominant position. This is associated with his precise and documental learning attitude, and can be said to be have a thread of connection even with 'Hyeongsa(形似),' which is creative method of Yeongmulsi. Also, it uses Jeongo(典故), which passed through accurate historical research with well-informed academic attitude, thereby revealing affection for our country's territory. Another characteristic of Kim Jeong-hui's Yeongmulsi is the aspect of artist. Jehwasi(題畵詩 : Painting Poetry) was much created among his Chinese poems. Especially, Jehwasi, which had Yeongmul as medium, is outstanding. This can be said to be characteristic peculiar to Kim jeong-hui's Yeongmulsi.

金正喜의 〈小遊仙詞〉 고찰

정숙인(Jung Sook-In) 우리문학회 2010 우리文學硏究 Vol.0 No.31

유선시는 도교 생활을 반영하고 신선의 세상을 표현하거나 신선의 뜻을 빌려 범속한 정감을 초탈하려는 문학으로, 조선전기부터 중기까지 활발하게 창작된 분야이다. 그러나 조선후기로 접어들면서 유선시는 정형화된 틀과 고착화된 소재로 인해 더 이상 활발한 창작이 이루어지지 못하였다. 조선후기 도가사상은 연암 박지원이 〈김신선전〉에서 지적하다시피 세상에 뜻을 펴지 못한 자가 신선이라고 할 만큼 허황되거나 기복신앙적 차원에서 명맥만 유지되고 있는 실정이었다. 이러한 시대 상황 하에서 실사구시의 학문자세를 평생토록 유지했던 김정희가 남긴 〈소유선사〉를 통해 단편적이지만 전통적 유선시와는 다른 조선후기 유선문학의 한 단면을 살펴보았다. 조선중기 전통적 유선시는 시대와 불화했던 지식인들의 좌절과 갈등을 신선세계에 대한 동경이나 신비한 仙遊로 그려냈으나 김정희의 유선시는 사뭇 다르다. 형식적 측면이나 시의 제재적 측면에서는 전통적 유선시를 계승하고 있으나 내용적 측면에서는 김정희만의 유선시가 그려지고 있다. 조선중기의 유선시에서 보이는 초월선계나 지상선계가 아닌 그의 냉철한 현실 인식에 바탕을 둔 인간적이고 현세적인 유선시를 그려내고 있다. 그가 지금 머무는 유배지, 닫힌 공간이 바로 선계이며 이것은 마음에서 비롯되고 있음을 피력하고 있다. 그의 유선시는 전통적 유선시 형식을 계승하여 독자적인 자신의 정신세계를 구축한 새로운 경지를 보이고 있다. As a person of noble family, Chusa Kim Jeong-hee exerted his outstanding talents of liberal arts even when he was young in the late period of Joseon Dynasty. He played a role as bridge in cultural exchanges of Joseon's literati with Ching's ones. Moreover, he was well recognized as a prominent guru of domestic art world in the late period of Joseon Dynasty. However, he got unfortunately involved in his contemporary intense party squabbles, ending up in exile to Jeju Island at his age of 55 till he came back home after his life in 9-year exile. Such a 9-year life in exile was so cruel to him that he almost forgot even his arrogantly intelligent personality with a great pride. It is “Soyuseonsa” that was a fictional work written by Chusa in his life of exile in Jeju Island. Fairyland poetry was a literary category that demonstrates a world of literary works considered as yearning for hermit or evasion from reality. Fairyland poems were actively authored by many literati from early period to middle period of Joseon Dynasty. However, fairyland poetry did not develop any further with less writings due to its stereotyped framework and fixed materials in the late period of Joseon Dynasty. Taoistic thoughts popularized in the late period of Joseon Dynasty managed to maintain their slender existence as such a wild or fortune-oriented faith that hermit was popularly considered as any person who failed to achieve something meaningful in the world, as pointed out by Yeonam Park Ji-won in his novel titled “Kim Sinseonjeon.” Even in this historical settings, Chusa tried to keep an academic mindset based on scientific and empirical methodology throughout all his lifetime, and “Soyuseonsa” demonstrates even a fragment of his academic approaches based on bibliographical studies. Traditional fairyland poetry popularized in the middle period of Joseon Dynasty used a yearning for fairyland or a mystery of fairyland pleasure like hermit to metaphorically depict the frustration and conflicts of intelligent people who were in discord with their contemporary age. However, Chusa's fairyland poetry was quite different from his preceding one: Indeed, his fairyland is neither a world depicted as world-incompatible refuge for the frustrated any longer, nor a yearning for fairyland of hermits. Rather, his fairyland poetry was thoroughly characterized by human-oriented and worldly poems. But he emphasizes that the very land of his life in exile - as a closed space - is a fairyland and such an acceptance comes from his heart. His fairyland poetry succeeded to traditional forms of fairyland poetry, but revealed a new sphere of his established and independent spiritual world.

원발성 식도이완 불능증에서 공기 확장술의 효과 - 식도 내압검사 소견을 중심으로 -

정숙향(Sook Hyang Jung),김주성(Joo Sung Kim),윤정환(Jung Hwan Yoon),이풍렬(Poong Lyul Rhee),정현채(Hyun Chae Jung),송인성(In Sung Song),최규완(Kyoo Wan Choi),김정룡(Chung Yong Kim) 대한내과학회 1991 대한내과학회지 Vol.41 No.3

N/A Pneumatic balloon dilatation is generally accepted as the preferred method of onoperative treatment for idiopathic achalasia of the esophagus. l he purpose of this study was to present the results of forceful pneumatic dilatation of 18 cases of idiopathic achalasia and to evaluate the manometric findings associated with the effect of treatment and would be suggested as a prognostic indicator. Out of the 14 patients who could be evaluated before and after dilatation, 13(93%) showed clinically satisfactory results and 10(71%) showed radiologically definite improvement. During the mean follow-up period of 14,3 months, all 6 patients who could be traced, remained without clinical or radiological sign of relapse. Dilatation-associated esophageal perforation occurred in 2 patients out of 18(11%). On the other hand, we found a case demonstrating complete relaxation of LES and another case which showed return of normal peristaltic wave after pneumatic dilatation. The manometric findings associated with the successful dilatation were a decrease in the LES pressure, a reduction of resting esophageal pressure and a decrease in the frequency of spontaneous wave. Whether these manometric findings are useful as prognostic indicators will need further long-term follow-up.

惺수詩話에 나타난 許筠의 風格批評

정숙인(Jung Sook-In) 우리문학회 2006 우리文學硏究 Vol.0 No.19

Heo Gyoon boycotted Shong's poetical style that focuses on transfer of meaning and does nothing but excessive words used and imitation and respected Tang's poetical style that freely expresses own poetical idea. Also, Heo Gyoon preferred his own creative and unique poetical world and expressed it through Heo Gyoon's Poetry. It could know that his reviewing viewpoint also had subjective and unique standard by which the poetry having creative poetry world is valued high. The most noticeable one in his literary viewpoint is not in the theory to learn Tang's poetry or Shong's poetry but in Heo Gyoon's Poetry where he took pains to form his own poetry world.<br/> The Shihwa, which were started to be written since Koryo Dynasty, placed its major viewpoint of description on appreciation of authors and works and on discussion of their dignity, in the review style until the mid of Chosun Dynasty. He had the assessment standard on the tone and temper and applied such standard in the assessment of the value and superiority of actual works; such dignity review would reach the top in the Seongsoo-Shihwa by Heo Gyoon. Two terms, Cheong and Ho, were reviewed which were the most frequently appeared among the terms on character in Seongsoo -Shihwa. Cheong character shows clear emotion of poetry and aims clear scenery of esthetic sense; it has the characteristic that did not consist of difficult authentic precedent but consisted of easy poetry words. It could be found that the temper of external expression of strong internal full power is felt in the large and wide spatial background but, in terms of expression, Ho character has the characteristic that raises the rhythmical sense through the arrangement of long or short phrases and through appropriate utilization of the parts of speech. The most frequent use of such Cheong character and Ho character had close relationship with his poetry viewpoint preferred Tang's poetry character.<br/> That is, the Cheong character expressing the poetry that seemed to escape from common customs as well as forming clear and beautiful poetry boundary and the poetry world that consisted of harmonized open-hearted temper that looks unworldliness with no binding by minor matters of common world would be called the very poetry idea that was preferred by Heo Gyoon for expression in Tang's poetry.

『靑丘風雅』에 나타난 김종직의 選詩意識

정숙인(Jung Sook-In) 우리문학회 2010 우리文學硏究 Vol.0 No.29

조선조 개인이 엮은 최초의 시선집인 김종직의 『청구풍아』에 드러난 選詩意識에 대해 살펴보았다. 시인들의 시를 가려 뽑아 엮은 詩選集의 간행은 이미 고려 말부터 있어왔는데, 이런 詩選集의 계보를 잇는 작품집이 김종직의 『청구풍아』라고 할 수 있다. 기존에 전래된 金台賢의 『東國文鑑』과 崔瀣의 『東人之文』, 趙云?의 『三韓詩龜鑑』에서 이룩한 전통을 잇고 부족한 점을 보완하여 『청구풍아』를 精選하였다. 또한 文運이 융성한 성종조는 건국 이래 안정된 문화적 기반을 토대로 명나라와 문화적 경쟁관계에 놓이는데 이러한 시대적 흐름에 부흥하여 자국문화에 대한 자긍심 또한 選詩의 기준으로 작용하였다. 김종직은 본격적인 것은 아니지만 부분적이나마 시인과 작품에 評語를 사용하여 품평하고 있는데, 주로 사용된 '麗'풍격을 통해 당시풍을 選詩의 기준으로 삼았으며 그 가운데서도 특히 성당풍을 시의 전범으로 삼고 있음을 알 수 있었다. 그러나 김종직과 같은 시대의 서거정이 주도한 시선집인 『동문선』에 실린 작품과 작가가 다르게 나타나는 부분과 아버지인 김숙자의 시를 실음으로써 객관성을 의심케 한 점은 『청구풍아』가 지닌 한계라 할 수 있다. Cheonggoopoonga that Jeompilje, Kim, Jong Jik compliled is including the literary ability accumulated until the age since the garland appeared after Koryo. Then, it plays the role of bridge to connect the garland compiled in Korea period and the collection of selection of poems compiled in the middle period of Korea. In this thesis, thropugh the anakysis of Cheonggoopooga compiled in the preceding term of Korea by observing the evaluation about aughors and works recorded in Cheonggoopoonga in the tradition of selected poems which was established sicce Koryo, this researcher aimed at studying the position. The contents discussed in this thesis is as follows: In the chapter Ⅱ, Kim Jong Jik compiled Cheonggoopoonga from the intention to try to present the model of poem in the ancient and modern poem of our country, succeed to the tradition of garland of poem.

象村 申欽의 <和陶詩> 중 <飮酒> 20首 연구 : 陶淵明의 <飮酒>, 蘇軾의 <和陶飮酒詩>와의 비교문학적 관점에서

정숙인(Jung Sook-in) 우리문학회 2012 우리文學硏究 Vol.0 No.35

고려시대와 조선의 역대 문인들의 문집을 살펴보면 도연명의 시에 차운한 화도시 몇 편은 손쉽게 찾을 수 있다. 화도시란 도연명 시작품의 제목과 韻字를 사용하여, 지은 시를 가리킨다. 조선의 문인들에게 화도시는 하나의 문화 코드로 자리 잡을 정도로 창작이 왕성하게 이루어졌다. 그러므로 화도시에 대한 연구가 미진한 현 상황에서 한문4대가로 불리운 신흠의 화도시 연구는 의미가 있을 것이다. 신흠은 계축옥사에 연루되어 김포로 쫓겨났고, 후에 다시 강원도 춘천의 소양강가로 유배되었다. 이 시기에 소동파의 화도시를 읽고 여기에 동화되어 자신도화도시를 창작하게 되었다. 인생에 대한 깨달음과 혼탁한 시대에 대한 인식, 탈속적 자세를 '飮酒'라는 우회적 제목에 가탁하여 서술하고 있다. 신흠은 화도시에서 광해군의 폭정으로 문란해진 정치와 현실을 탄식하고 이상정치를 꿈꾸었다. 그러면서도 도연명처럼 전원에 완전히 귀의하지 못하고 현실에 복귀하고자 하는 마음도 접지 못해 갈등을 내비치고 있다. 신흠은 현실에서 느끼는 좌절과 울분을 극복하기 위한 방편으로써 화도시를 창작했기에 도연명과는 술에 대한 견해가 달랐고, 飮酒시를 썼음에도 술이 한 번도 드러나지 않고 있다. 또한 화도시 안에는 친구에 대한 그리움이 녹아있다. 더불어 대화할 사람이 없음을 토로하고 있는 점은 도연명의 原詩와 닮아 있다. 달관적 자세와 깨달음을 평이한 어조로 토로한 의경은 도연명의 작품과 흡사하지만, 出仕에 대한 견해, 음주관 등은 도연명 보다는 소동파와 닮았다. Several pieces of Hwadosi(화도시 following the rhymes of Tao Yuan-ming's poetry) that modeled after the rhyme characters of Tao Yuan-ming's poetry can easily be found in the collections of literary men's works in the Goryeo and Joseon Dynasties. Hwadosi refers to a poem that uses the titles and rhyme characters of Tao Yuan-ming's poetry. Numerous pieces of Hwadosi were created by literary men in the Joseon Dynasty to the extent that it was entrenched as one of contemporary cultural codes. Not many studies have ever examined Hwadosi, and it's worth doing to make research on Shin Hum's Hwadosi who was rated as one of the four greatest Sino-Korean literary men. Shin Hum(신흠;1566-1628) was expelled to Gimpo for being involved in Gyechookoksa, and then was exiled to a place around the Soyang River in Chuncheon, Gangwon Province. At that time, he read Sodongpa's Hwadosi, and he composed Hwadosi as well, being moved by his poetry. Tao Yuanming's drinking poems could be said as his masterpieces, and the purpose of this study was to compare the drinking poems of Shin Hum, of Tao Yuan-ming and of Sodongpa. Shin Hum lamented in his Hwadosi over contemporary politics and reality that became chaotic due to Lord Kwanghae's tyranny, and he dreamed of an ideal politics. Unlike Tao Yuan-ming, however, he couldn't simply enjoy the pleasure of rural life, and he couldn't give up his desire to return to reality, either. His poetry revealed his conflicts. As he composed Hwadosi primarily to overcome his frustration and resentment over the reality, his view of alcoholic drink was different from that of Tao Yuan-ming and of Sodongpa, and he never wrote about alcoholic drink though he composed drinking poems. And his Hwadosi showed his longing for friends. His longing for friends was attributed to his lonely life at the place of exile, and that also resulted from his own unique personality. Altogether, his Hwadosi was similar to Tao Yuanming's original poetry in that both described that there was nobody whom they could talk to.

〈崔致遠〉揷入詩歌의 양상과 기능

정숙인(Jung,Sook-in) 중앙어문학회 2011 語文論集 Vol.47 No.-

In terms of various styles of Korean classic literature, the combination of epic and lyric category came originally from earlier period of ancient days than commonly estimated. Legendary story or chuanchi story (傳奇小說), one of ancient Korean early epic styles, is characterized remarkably by the combination of prose with verse. In particular, inserted poems play such a crucial role in romance stories that a flow of epic narration cannot go on with only prose writings except those poems. Historically, these characteristics become established from the period of Tang dynasty in ancient China Based on these characteristics, this study took an approach of epic mechanism, i.e. inception, development and denouement to examining such different aspects and characteristics of inserted poetry as shown in ‘Choi Chi-won’ that is contained in “Taepyeong Tongjae.” But there are many theoretical controversies about literary styles of ‘Choi Chi-won’ in Korean academic world of ancient Korean literature world Aspects and characteristics of inserted poetry contained in ‘Choi Chi-won’ don’t appear to be different so much from ‘Geumo Shinhwa.’ Conclusively, it is reasonable that ‘Choi Chi-won’ should be considered as a sort of legendary stories in that it typically has early epic styles of ancient Korean literature.

무증상 한국 성인의 대장 용종과 비만의 임상 고찰

지정훈 ( Jeong Hoon Ji ),박범준 ( Bum Joon Park ),박영수 ( Young Soo Park ),황진혁 ( Jin Hyeok Hwang ),정숙향 ( Sook Hyang Chung ),김나영 ( Na Young Kim ),이동호 ( Dong Ho Lee ),정현채 ( Hyun Chae Jung ),송인성 ( In Sung Song ) 대한소화기학회 2007 대한소화기학회지 Vol.49 No.1

목적: 대장암은 생활환경과 식생활의 변화와 더불어 최근 암 발생률, 사망률 모두 증가하고 있다. 이번 연구에서 대장암의 전구 병소로 잘 알려진 선종용종과 체질량지수를 이용한 비만과의 연관성에 대해 알아보고 대장 용종의 수, 크기, 조직 분류와 생화학검사 수치들을 비교하였다. 대상 및 방법: 2002년 3월부터 2005년 4월까지 분당서울대병원의 건강증진센터를 방문한 검진자에서 에스자결장경 검사를 시행했던 환자 6,706명과 이 중 대장내시경을 시행한 860명을 후향으로 분석했다. 체질량지수가 25 이상인 군을 비만군, 25 미만인 군을 대조군으로 정하였다. 이외의 변수로는 성별, 연령, 콜레스테롤, 중성지방, 당화혈색소, 고밀도지질단백, CRP 등이 있으며 이들과 함께 대장 용종의 육안 및 조직병리분류, 용종의 해부학 분포, 크기와 수 등을 체질량지수와 비교하였다. 결과: 대상 환자의 평균 연령은 51.1±10.5세였으며 연령분포는 18세에서부터 83세 사이였다. 남녀 비는 1.1:1이었다. 선종 빈도는 정상군 16.0%과 비만군 20.4%로 유의한 차이를 보였다. 대장내시경을 시행한 860명을 용종군과 대조군으로 나누어 비교하였을 때 대장 용종의 유무에 따른 체질량지수의 평균은 대조군에서 23.9±2.8, 용종군에서 24.3±2.8로 차이를 보이지 않았고 용종 크기에 따른 체질량지수 차이도 없었다. 체질량지수에 따른 대장 선종 빈도는 정상군에서 32.5%였으며 비만군에서는 38.5%로 차이를 보이지 않았으며, 관상선종군과 융모선종군의 체질량지수의 평균치는 각각 24.3±2.7, 24.4±3.1로 통계적인 유의성은 없었다. 그러나 대장내시경 검사에서 선종수가 4개 이상으로 증가하는 경우 체질량지수와 유의한 관계를 보였다. 이 외에 연령, 중성지방은 대장 용종의 유무에 따라 의미있는 차이를 보였다. 결론: 대장 선종 유무에 따른 체질량지수의 차이는 관찰되지 않았으나 대장 선종 수가 증가할수록 체질량지수의 차이가 있었으며 연령, 중성지방 등도 대장 선종 발생의 위험요소일 수 있음을 확인하였다. Background/Aims: Obesity is a rising problem in industrialized countries. Numerous epidemiologic studies have shown a positive association between obesity and colorectal polyps. There are few studies investigating the association between colorectal adenomatous polyps and body fat composition in Korea. We tried to examine the relationship between body fatness and colorectal adenomatous polyps in health check-up subjects in Korea. Methods: Six thousand seven hundred and six routine health check-up subjects, who visited our hospital between March 2002 and April 2005 and underwent distal colon examimation with sigmoidoscopy, were enrolled in this study. Among them, colonoscopy was done in 860 patients to evaluate the entire colon. We tried to reveal the relationship between body mass index (BMI) and size, location, number and histopathological type of polyps. BMI was used as an indicator of obesity. Results: The mean value of BMI in total polyp-free group (23.8±2.9) was not different from that of the polyp group (24.5±2.8, p=0.09). The frequency of rectosigmoid polyps in obese patients (20.4%) was higher than that in non-obese patients (16.0%, p<0.05). The frequency of adenomatous polyp was not different between obese and non-obese group. Number of polyps (≥4) correlated well with obesity. Moreover, age and triglyceride level in patients with colonic adenoma were significantly higher than in patients without colonic adenom. Conclusions: This study shows that obesity is not associated with colonic adenomatous polyp in Korean population. However, we observed that obesity may be associated with rectosigmoid colon polyps. Furthermore, age and triglyceride level might be the risk factors of colonic adenomatous polyps in Korean population. (Korean J Gastroenterol 2007;49:10-16)

『해동죽지(海東竹枝)』에 나타난 세시풍속(歲時風俗) 고찰(考察)-「명절풍속(名節風俗)」을 중심으로-

정숙인 ( Jung Sook-in ) 한국어문교육연구회 2005 어문연구(語文硏究) Vol.33 No.4

崔永年의 『海東竹枝』는 국문문학이 근대문학으로 정착되는 시기에 지어진 작품으로 竹枝詞의 일대 집대성이란 성격을 지닌 작품이다.竹枝詞는 중국에서 유입된 이후 조선 후기까지 지속적으로 창작된 형식 중 하나이다. 이것은 조선 후기 민중과 민족에 대한 자각에 의해 民謠風 漢詩라는 형식을 잘 담아낼 수 있는 그릇으로 인식되어, 다량으로 창작되는 특징을 지닌다. 이러한 죽지사의 계보를 이은 『海東竹枝』 중 「名節風俗」을 중심으로 우리 민족의 생활상이 어떻게 나타나고 있는지 살펴보았다.이 작품은 지금까지 전해진 竹枝詞 가운데 20세기 우리 민족의 고유한 정서와 농경생활을 객관적이고 사실적인 표현으로 잘 묘사하고 있음을 알 수 있었고, 또한 기존의 竹枝詞와는 달리 양반의 시각에서 서술한 부분도 드러나고 있다는 특징을 지녔다. Jukjisa which is a kind of Korean poetic folk song that was sung at the end of the Choseon dynasty shows the characteristics of that time period well. Jukjisa is a kind of Akbu poetry regarding the folk culture of a certain area, it began to emerge at the beginning of Choseon as a type of Akbu poetry, but it became popular near the end of Choseon after illustrious officers realized the importance of the public and ethics. It is because the illustrious officers of Choseon didn't pursue the Chinese poetry as before and found the subject of poetry about the lives of normal folks such as our nature and folk culture. In this trend, Jukjisa was made until the end of Choseon, and the representative final poem is Haedongjukji of Choi, Yeong-nyeon. We studied the characteristic of the end of Choseon and folks' life mainly about Customs of Seasonal Holidays in the Haedongjukji. Customs of Seasonal Holidays consists of a total of 64 poems, and each poem has a three letter subject for the custom and describes its origin and contents, with the Korean name on it, then uses a quatrain with seven word lines. It describes many Korean customs which have continued until today such as ; foods such as rice cake soup, fruit punch, flavored glutinous rice, and various entertainments such as seesaw, a game called yut, swings, etc. It is valuable because we can understand our customs and life culture, also we can feel the situation at that time by reading the poetry. And one of the major characteristics of the Jukjisa is that it isn't only about the customs of a certain area, it is about the customs of Korea.