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    령재(聆齋) 유득공(柳得恭)의 한역시가 <동인지가(東人之歌)> 연구 = On Dong-in-ji-ga; A Collection of Translated Korean Vernacular Poems by Ryu Deukgong

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    https://www.riss.kr/link?id=A60244888

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    This paper aims to clarify the characteristics of Dong-in-ji-ga, a collection of translated Korean vernacular poems by Ryu Deukgong, a prominent poet in the late Joseon period. Dong-in-ji-ga was recently found in a book of Ryu Deukgong, which is presently owned by Tenry University in Japan. I compared the preface and the poems of Dong-in-ji-ga to other critical comments and translations of Korean vernacular poems, which were created before or after Dong-in-ji-ga. Firstly, I investigated the progressiveness embedded in the preface of Dong-in-ji-ga. In this preface, Ryu Deukgong presented more progressive thoughts than his predecessors. He proclaimed that some kinds of false poems composed in classical Chinese must disappear and be substituted with Korean vernacular poems. He also argued that the vernacular poems of vulgar commoners overrode those of the literati i n terms of l iterary value. Secondly, I s crutinized the l iterary characteristics embedded in Dong-in-ji-ga. Most of the poems in Dong-in-ji-ga are about secular pleasure, especially the love between a man and a woman. Those blunt love poems had never before been translated. Ryu Deukgong was able to grasp the true characteristics of commoners` poems by selecting these kinds of poems in his collection. However, Dong-in-ji-ga also had limits with regard to its poetic f orm. It stuck to a c omplicated p oetic form o f the classical Chinese poetry for no apparent reason; because of this, it could not adequately represent the contents and expressions of the original vernacular poems. Lastly, I examined how the fruition and limits of Dong-in-ji-ga were inherited or overcome by later generations. Most of all, I emphasized the fact that Dong-in-ji-ga became a precedent for a series of translations of Korean vernacular poems accompanied by criticism, which became a cultural phenomenon in the literary world of the late Joseon period. In conclusion, Dong-in-ji-ga was a pivotal work that mediated the important literary criticism and translations of Korean vernacular poems, which were created in the late Joseon period.
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    This paper aims to clarify the characteristics of Dong-in-ji-ga, a collection of translated Korean vernacular poems by Ryu Deukgong, a prominent poet in the late Joseon period. Dong-in-ji-ga was recently found in a book of Ryu Deukgong, which is prese...

    This paper aims to clarify the characteristics of Dong-in-ji-ga, a collection of translated Korean vernacular poems by Ryu Deukgong, a prominent poet in the late Joseon period. Dong-in-ji-ga was recently found in a book of Ryu Deukgong, which is presently owned by Tenry University in Japan. I compared the preface and the poems of Dong-in-ji-ga to other critical comments and translations of Korean vernacular poems, which were created before or after Dong-in-ji-ga. Firstly, I investigated the progressiveness embedded in the preface of Dong-in-ji-ga. In this preface, Ryu Deukgong presented more progressive thoughts than his predecessors. He proclaimed that some kinds of false poems composed in classical Chinese must disappear and be substituted with Korean vernacular poems. He also argued that the vernacular poems of vulgar commoners overrode those of the literati i n terms of l iterary value. Secondly, I s crutinized the l iterary characteristics embedded in Dong-in-ji-ga. Most of the poems in Dong-in-ji-ga are about secular pleasure, especially the love between a man and a woman. Those blunt love poems had never before been translated. Ryu Deukgong was able to grasp the true characteristics of commoners` poems by selecting these kinds of poems in his collection. However, Dong-in-ji-ga also had limits with regard to its poetic f orm. It stuck to a c omplicated p oetic form o f the classical Chinese poetry for no apparent reason; because of this, it could not adequately represent the contents and expressions of the original vernacular poems. Lastly, I examined how the fruition and limits of Dong-in-ji-ga were inherited or overcome by later generations. Most of all, I emphasized the fact that Dong-in-ji-ga became a precedent for a series of translations of Korean vernacular poems accompanied by criticism, which became a cultural phenomenon in the literary world of the late Joseon period. In conclusion, Dong-in-ji-ga was a pivotal work that mediated the important literary criticism and translations of Korean vernacular poems, which were created in the late Joseon period.

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