The education for Goryeosokyo has been focused only on its private circulation, which may disrupt appropriate recognition on the types of Goryeosokyo and understandings of individual works. Goryeosokyo had ambivalent features: it started from the priv... The education for Goryeosokyo has been focused only on its private circulation, which may disrupt appropriate recognition on the types of Goryeosokyo and understandings of individual works. Goryeosokyo had ambivalent features: it started from the private sector with the characteristics of popular-song and, simultaneously, absorbed into the court and performed as court song. Therefore, this study suggests that the education for Goryeosokyo is required to consider its contexts, exploring an educational method dealing with these two characteristics as popular song and court song. To supplement the existing educational contents, this study investigated the Goryeosokyo works with the circulation contexts as court song. The approaching methods were classified into the following three categories, given that Goryeosokyo was based on the Ye-ak ideology and included in Soakbu under the format of Chinese poetry: the first approach was based on the Chungsinyeonjujisa one. Considering the specific objectives and reasons for songs on romantic love, such romance songs seemed to be easily transformed into Chungsinyeonjujisa. It was plausible that, for performing the song in front of a king, a poetic narrator singing for love could be shifted into a servant and the beloved one could be shifted into the king. The second approach was Sondo/Songchuk approach for Goryeosokyo, which had been performed in court parties as a part of Sok-ak of court music. The court music in the Goryeo Dynasty and Joseon Dynasty was differentiated from the modern music since they were on a basis of the Ye-ak ideology. It was taken for granted that court music aimed to sing for admiring the virtues and graces of kings and countries. The individual works were analyzed based on the direct expressions on songdo/songchuk (blessing and celebration). The third approach was related to the awareness of reality and reflective views of political administrators on Goryeosokyo. It seemed that there were some revisions in the flow process from the private sector to court. These amendments were conducted by the political administrators, namely, the court servants. Therefore, there were likely to recognize the situations of ordinary people in reflective ways and recorded the song in order to reform the public customs. The fact that a part of Goryeosokyo was included as a Chinese-Korean translated poetry in 『Soakbu』 lend substantial support to this assumption. Moreover, the educational approach on Goryeosokyo was attempted to consider its the circulation contexts, which could lead to more proper recognition on its types and accurate comprehension and appreciation. Also, since Goryeosokyo was characterized as Ak-jang when considering the circulation contexts in the court, it could contribute to more acute understandings on not only the existing Ak-jang education but also the overall trends on the literature history in Korea. Furthermore, the revisions and transforms of Goryeosokyo according to its circulation contexts resulted in the conclusion that it was not simply confined into an established literature work from the ancient time but could be accepted as literature work depending on the recent circumstances of learners, which implied that learners could improve their consciousness as successors and participants of national culture and literature with the expansion into other classical poetry genres. ，韩语论文，韩语论文题目 |
