장서각위키 - 사용자 기여 [ko]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-02T05:15:44Z

Kyrie: /* 수강생 Participants */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || Korean History || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:삼의당고0.jpg|link=|thumb|150px|left|送二女子歸序 송이녀자귀서 ]]

==== VI-7. [[(Translation) 送二女子歸序|送二女子歸序 translated by Kyrie]] ====
'''Introduction to the Text'''

Kim Samŭidang was born in 1769 to the humble ''yangban'' family of Kim Inhyŏk (김인혁 金仁赫) in Namwon, North Chŏlla Province.<ref> "김삼의당." 한국고전여성시사. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=1979148&cid=60549&categoryId=60549 </ref> Although her family was not affluent, Kim applied herself to learning how to read and write and was praised for her quick intelligence. In 1786, at the age of 18, she married Tamraktang (湛樂堂) Hauk (河욱) <ref> 한국고전여성시사; Lee Hai-Soon, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, 241. </ref> (or Harip <ref>"김삼의당." 향토문화전자대전. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=2689676&cid=51949&categoryId=55214; Lee, Hai-Soon. ''The Poetic World of Classic Korean Women Writers''. Translated by Won-Jae Hur. Vol. 9. Seoul: Ewha Womans University Press, 2005, 63. </ref> ), a man from the same village who was born on the same day and year as she was.<ref> 향토문화전자대전.</ref> Hauk’s family was also a ''yangban'' family, but they had not produced a government official in several generations.<ref> Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, 288.</ref> Desirous of her husband’s advancement, Kim supported her husband’s long sojourn in Hanyang while he attempted to pass the civil service examinations. In the letters and poems which the couple exchanged during this time, Kim encourages her husband in his studies and chastises him whenever he thinks about his home and family.<ref> Lee Hai-Soon, ''The Poetic World of Classic Korean Women Writers'', 66-67.</ref> In order for her husband to remain in Hanyang and not worry about the expense, Kim even cut off and sold her hair and her hairpins.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241. </ref> Hauk never managed to pass the exams and get a government position, so in 1801, at the age of 32, Kim moved with Hauk to his family’s ancestral seat in Chinan, North Chŏlla Province.<ref> 향토문화전자대전; Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> She lived there until her death around 1823.<ref> 향토문화전자대전. </ref>

Kim Samŭidang is one of the most prolific women writers of the Chosŏn Dynasty. Her poems and prose offer valuable insights into her relationship with her husband, the raising of her children, the joys and sorrows of farming, and everyday life in the country. In 1930, 253 of her poems and 22 pieces of prose were compiled and published two volumes titled ''Samŭidangjip''.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> <ref> Also called ''Samŭidanggo'' (삼의당고 三宜堂稿) (향토문화전자대전.)</ref>

Among Kim Samŭidang's prose writings there is a letter which she wrote to her second daughter when she married. In her introduction to the chapter “Mothers’Letters of Instruction to Their Children,” in which another English translation of this letter may be found, Haboush points out that it was “common that a verbal admonition was accompanied by a written text, which was given to the addressee, and that the text was meant to be treasured by the receiver.” She also adds that, while the history of this particular text’s readership is unknown, other such letters were commonly circulated within the family and consulted by multiple people. There are many examples of instructions given to a daughter at the time of her marriage but, unlike other examples which are written in ''hankŭl'', Kim Samŭidang’s letter is rare in that it is written in ''hanmun''. <ref> Haboush, 288-289.</ref>

I have selected this text for my translation because it in an uncommon example of direct communication between women. Moreover, it expresses the relationship between mother and daughter and a woman’s duties within the family from the perspective of a woman.

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Lee Hai-Soon and Chŏng Hayŏng, 266) The same book also contains a Korean translation (264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, 290-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Lee Hai-Soon and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original ''hanmun'' text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Lee Hai-Soon and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarly translates it as “parents-in-law who are not yet old.” Again, I have decided to try and maintain the imagery of the original ''hanmun'' text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭidang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Lee Hai-Soon and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Lee Hai-Soon and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess is that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains ''Naech'ik'' as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Lee Hai-Soon and Chŏng Hayŏng describe ''Naech’ik'' as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to Lee Hai-Soon (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, 181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, 96) ''Naech’ik'' is a chapter of the ''Yegi'' (예기 禮記), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called ''Naech’ik'' consisted of various things which a married woman must know. (Lee Hai-Soon, ''조선 여성의 일생'',96).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Lee Hai-Soon and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae/ Chŏnju as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of Min Chonghyo (민종효), a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥 驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter was marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the ''Book of Poetry'' in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Lee Hai-Soon and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the ''Book of Poetry'' which extol women who protect their chastity are not jealous. Lee Hai-Soon and Chŏng Hayŏng say that the fourth poem also appears in the ''Book of Poetry'' but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Lee Hai-Soon and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the ''Book of Poetry''. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I think that Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Lee Hai-Soon and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Lee Hai-Soon and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (shoulder the yoke).” However, Haboush’s translation does not make any reference to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children <ref> 慈愛 means the love of an older person for a younger or devotion of a parent to their children. </ref>, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-02T05:01:39Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[(Translation) 送二女子歸序|送二女子歸序 translated by Kyrie]] ====
'''Introduction to the Text'''

Kim Samŭidang was born in 1769 to the humble ''yangban'' family of Kim Inhyŏk (김인혁 金仁赫) in Namwon, North Chŏlla Province.<ref> "김삼의당." 한국고전여성시사. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=1979148&cid=60549&categoryId=60549 </ref> Although her family was not affluent, Kim applied herself to learning how to read and write and was praised for her quick intelligence. In 1786, at the age of 18, she married Tamraktang (湛樂堂) Hauk (河욱) <ref> 한국고전여성시사; Lee Hai-Soon, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, 241. </ref> (or Harip <ref>"김삼의당." 향토문화전자대전. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=2689676&cid=51949&categoryId=55214; Lee, Hai-Soon. ''The Poetic World of Classic Korean Women Writers''. Translated by Won-Jae Hur. Vol. 9. Seoul: Ewha Womans University Press, 2005, 63. </ref> ), a man from the same village who was born on the same day and year as she was.<ref> 향토문화전자대전.</ref> Hauk’s family was also a ''yangban'' family, but they had not produced a government official in several generations.<ref> Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, 288.</ref> Desirous of her husband’s advancement, Kim supported her husband’s long sojourn in Hanyang while he attempted to pass the civil service examinations. In the letters and poems which the couple exchanged during this time, Kim encourages her husband in his studies and chastises him whenever he thinks about his home and family.<ref> Lee Hai-Soon, ''The Poetic World of Classic Korean Women Writers'', 66-67.</ref> In order for her husband to remain in Hanyang and not worry about the expense, Kim even cut off and sold her hair and her hairpins.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241. </ref> Hauk never managed to pass the exams and get a government position, so in 1801, at the age of 32, Kim moved with Hauk to his family’s ancestral seat in Chinan, North Chŏlla Province.<ref> 향토문화전자대전; Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> She lived there until her death around 1823.<ref> 향토문화전자대전. </ref>

Kim Samŭidang is one of the most prolific women writers of the Chosŏn Dynasty. Her poems and prose offer valuable insights into her relationship with her husband, the raising of her children, the joys and sorrows of farming, and everyday life in the country. In 1930, 253 of her poems and 22 pieces of prose were compiled and published two volumes titled ''Samŭidangjip''.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> <ref> Also called ''Samŭidanggo'' (삼의당고 三宜堂稿) (향토문화전자대전.)</ref>

Among Kim Samŭidang's prose writings there is a letter which she wrote to her second daughter when she married. In her introduction to the chapter “Mothers’Letters of Instruction to Their Children,” in which another English translation of this letter may be found, Haboush points out that it was “common that a verbal admonition was accompanied by a written text, which was given to the addressee, and that the text was meant to be treasured by the receiver.” She also adds that, while the history of this particular text’s readership is unknown, other such letters were commonly circulated within the family and consulted by multiple people. There are many examples of instructions given to a daughter at the time of her marriage but, unlike other examples which are written in ''hankŭl'', Kim Samŭidang’s letter is rare in that it is written in ''hanmun''. <ref> Haboush, 288-289.</ref>

I have selected this text for my translation because it in an uncommon example of direct communication between women. Moreover, it expresses the relationship between mother and daughter and a woman’s duties within the family from the perspective of a woman.

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Lee Hai-Soon and Chŏng Hayŏng, 266) The same book also contains a Korean translation (264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, 290-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Lee Hai-Soon and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original ''hanmun'' text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Lee Hai-Soon and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarly translates it as “parents-in-law who are not yet old.” Again, I have decided to try and maintain the imagery of the original ''hanmun'' text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭidang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Lee Hai-Soon and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Lee Hai-Soon and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess is that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains ''Naech'ik'' as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Lee Hai-Soon and Chŏng Hayŏng describe ''Naech’ik'' as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to Lee Hai-Soon (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, 181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, 96) ''Naech’ik'' is a chapter of the ''Yegi'' (예기 禮記), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called ''Naech’ik'' consisted of various things which a married woman must know. (Lee Hai-Soon, ''조선 여성의 일생'',96).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Lee Hai-Soon and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae/ Chŏnju as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of Min Chonghyo (민종효), a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥 驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter was marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the ''Book of Poetry'' in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Lee Hai-Soon and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the ''Book of Poetry'' which extol women who protect their chastity are not jealous. Lee Hai-Soon and Chŏng Hayŏng say that the fourth poem also appears in the ''Book of Poetry'' but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Lee Hai-Soon and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the ''Book of Poetry''. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I think that Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Lee Hai-Soon and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Lee Hai-Soon and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (shoulder the yoke).” However, Haboush’s translation does not make any reference to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children <ref> 慈愛 means the love of an older person for a younger or devotion of a parent to their children. </ref>, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-02T04:39:43Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[(Translation) 送二女子歸序|送二女子歸序 translated by Kyrie]] ====
'''Introduction to the Text'''

Kim Samŭidang was born in 1769 to the humble ''yangban'' family of Kim Inhyŏk (김인혁 金仁赫) in Namwon, North Chŏlla Province.<ref> "김삼의당." 한국고전여성시사. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=1979148&cid=60549&categoryId=60549 </ref> Although her family was not affluent, Kim applied herself to learning how to read and write and was praised for her quick intelligence. In 1786, at the age of 18, she married Tamraktang (湛樂堂) Hauk (河욱) <ref> 한국고전여성시사; Lee Hai-Soon, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, 241. </ref> (or Harip <ref>"김삼의당." 향토문화전자대전. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=2689676&cid=51949&categoryId=55214; Lee, Hai-Soon. ''The Poetic World of Classic Korean Women Writers''. Translated by Won-Jae Hur. Vol. 9. Seoul: Ewha Womans University Press, 2005, 63. </ref> ), a man from the same village who was born on the same day and year as she was.<ref> 향토문화전자대전.</ref> Hauk’s family was also a ''yangban'' family but they had not produced a government official in several generations.<ref> Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, 288.</ref> Desirous of her husband’s advancement, Kim supported her husband’s long sojourn in Hanyang while he attempted to pass the civil service examinations. In the letters and poems which the couple exchanged during this time, Kim encourages her husband in his studies and chastises him whenever he thought about his home and family.<ref> Lee Hai-Soon, ''The Poetic World of Classic Korean Women Writers'', 66-67.</ref> In order for her husband to remain in Hanyang and not worry about the expense, Kim even cut off and sold her hair and her hairpins.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241. </ref> Hauk never managed to pass the exams and get a government position so in 1801, at the age of 32, Kim moved with Hauk to his family’s ancestral seat in Chinan, North Chŏlla Province.<ref> 향토문화전자대전; Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> She lived there until her death around 1823.<ref> 향토문화전자대전. </ref>

Kim Samŭidang is one of the most prolific women writers of the Chosŏn Dynasty. Her poems and prose offer valuable insights into her relationship with her husband, the raising of her children, the joys and sorrows of farming, and everyday life in the country. In 1930 253 of her poems and 22 pieces of prose were compiled and published two volumes titled Samŭidangjip.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> <ref> Also called Samŭidanggo (삼의당고 三宜堂稿) (향토문화전자대전.)</ref>

Among Kim Samŭidang's prose writings there is a letter which she wrote to her second daughter when she married. In her introduction to the chapter “Mothers’ Instruction to Their Children,” in which another English translation of this letter may be found, Haboush points out that it was “common that a verbal admonition was accompanied by a written text, which was given to the addressee, and that the text was meant to be treasured by the receiver.” She also adds that, while the history of this particular text’s readership is unknown, other some letters were commonly circulated within the family and consulted by multiple people. There are many examples of instructions given to a daughter at the time of her marriage but, unlike other examples which are written in ''hankŭl'', Kim Samŭidang’s letter is rare in that it is written in ''hanmun''. <ref> Haboush, 288-289.</ref>

I have selected this text for my translation because it in an uncommon example of direct communication between women. Moreover, it expresses the relationship between mother and daughter and a woman’s duties within the family from the perspective of a woman.

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Lee Hai-Soon and Chŏng Hayŏng, 266) The same book also contains a Korean translation (264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, 290-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Lee Hai-Soon and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Lee Hai-Soon and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarly translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original ''hanmun'' text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭidang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Lee Hai-Soon and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Lee Hai-Soon and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Lee Hai-Soon and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to Lee Hai-Soon (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, 181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, 96) Naech’ik is a chapter of the Yegi (예기 禮記), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Lee Hai-Soon and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Lee Hai-Soon and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extol women who protect their chastity are not jealous. Lee Hai-Soon and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Lee Hai-Soon and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I think that Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Lee Hai-Soon and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Lee Hai-Soon and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-02T04:38:50Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
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|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
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The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
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|7/03||[[2018 推句 01 - 04|推句 01, 04]]
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|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
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|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
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|7/09||[[2018 推句 17 - 20|推句 18, 19]]
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|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
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|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
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|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
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|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
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|7/19||[[2018 推句 59 - 60|推句 59, 60]]
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|7/20||推句 Review
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|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
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The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
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|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
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|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
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|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
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|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
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|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
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|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
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|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
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|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
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|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
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|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
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|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
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|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
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===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[(Translation) 送二女子歸序|送二女子歸序 translated by Kyrie]] ====
'''Introduction to the Text'''

Kim Samŭidang was born in 1769 to the humble ''yangban'' family of Kim Inhyŏk (김인혁 金仁赫) in Namwon, North Chŏlla Province.<ref> "김삼의당." 한국고전여성시사. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=1979148&cid=60549&categoryId=60549 </ref> Although her family was not affluent, Kim applied herself to learning how to read and write and was praised for her quick intelligence. In 1786, at the age of 18, she married Tamraktang (湛樂堂) Hauk (河욱) ( <ref> 한국고전여성시사; Lee Hai-Soon, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, 241. </ref> (or Harip <ref>"김삼의당." 향토문화전자대전. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=2689676&cid=51949&categoryId=55214; Lee, Hai-Soon. ''The Poetic World of Classic Korean Women Writers''. Translated by Won-Jae Hur. Vol. 9. Seoul: Ewha Womans University Press, 2005, 63. </ref> ), a man from the same village who was born on the same day and year as she was.<ref> 향토문화전자대전.</ref> Hauk’s family was also a ''yangban'' family but they had not produced a government official in several generations.<ref> Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, 288.</ref> Desirous of her husband’s advancement, Kim supported her husband’s long sojourn in Hanyang while he attempted to pass the civil service examinations. In the letters and poems which the couple exchanged during this time, Kim encourages her husband in his studies and chastises him whenever he thought about his home and family.<ref> Lee Hai-Soon, ''The Poetic World of Classic Korean Women Writers'', 66-67.</ref> In order for her husband to remain in Hanyang and not worry about the expense, Kim even cut off and sold her hair and her hairpins.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241. </ref> Hauk never managed to pass the exams and get a government position so in 1801, at the age of 32, Kim moved with Hauk to his family’s ancestral seat in Chinan, North Chŏlla Province.<ref> 향토문화전자대전; Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> She lived there until her death around 1823.<ref> 향토문화전자대전. </ref>

Kim Samŭidang is one of the most prolific women writers of the Chosŏn Dynasty. Her poems and prose offer valuable insights into her relationship with her husband, the raising of her children, the joys and sorrows of farming, and everyday life in the country. In 1930 253 of her poems and 22 pieces of prose were compiled and published two volumes titled Samŭidangjip.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> <ref> Also called Samŭidanggo (삼의당고 三宜堂稿) (향토문화전자대전.)</ref>

Among Kim Samŭidang's prose writings there is a letter which she wrote to her second daughter when she married. In her introduction to the chapter “Mothers’ Instruction to Their Children,” in which another English translation of this letter may be found, Haboush points out that it was “common that a verbal admonition was accompanied by a written text, which was given to the addressee, and that the text was meant to be treasured by the receiver.” She also adds that, while the history of this particular text’s readership is unknown, other some letters were commonly circulated within the family and consulted by multiple people. There are many examples of instructions given to a daughter at the time of her marriage but, unlike other examples which are written in ''hankŭl'', Kim Samŭidang’s letter is rare in that it is written in ''hanmun''. <ref> Haboush, 288-289.</ref>

I have selected this text for my translation because it in an uncommon example of direct communication between women. Moreover, it expresses the relationship between mother and daughter and a woman’s duties within the family from the perspective of a woman.

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Lee Hai-Soon and Chŏng Hayŏng, 266) The same book also contains a Korean translation (264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, 290-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Lee Hai-Soon and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Lee Hai-Soon and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarly translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original ''hanmun'' text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭidang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Lee Hai-Soon and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Lee Hai-Soon and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Lee Hai-Soon and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to Lee Hai-Soon (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, 181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, 96) Naech’ik is a chapter of the Yegi (예기 禮記), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Lee Hai-Soon and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Lee Hai-Soon and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extol women who protect their chastity are not jealous. Lee Hai-Soon and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Lee Hai-Soon and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I think that Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Lee Hai-Soon and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Lee Hai-Soon and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-02T04:38:00Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
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|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
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|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
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|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
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|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
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08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[(Translation) 送二女子歸序|送二女子歸序 translated by Kyrie]] ====
'''Introduction to the Text'''

Kim Samŭidang was born in 1769 to the humble ''yangban'' family of Kim Inhyŏk (김인혁 金仁赫) in Namwon, North Chŏlla Province.<ref> "김삼의당." 한국고전여성시사. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=1979148&cid=60549&categoryId=60549 </ref> Although her family was not affluent, Kim applied herself to learning how to read and write and was praised for her quick intelligence. In 1786, at the age of 18, she married Tamraktang (湛樂堂) Hauk (河욱) ( <ref> 한국고전여성시사; Lee Hai-Soon, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, 241. </ref> (or Harip <ref>"김삼의당." 향토문화전자대전. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=2689676&cid=51949&categoryId=55214; Lee, Hai-Soon. ''The Poetic World of Classic Korean Women Writers''. Translated by Won-Jae Hur. Vol. 9. Seoul: Ewha Womans University Press, 2005, 63. </ref> ), a man from the same village who was born on the same day and year as she was.<ref> 향토문화전자대전.</ref> Hauk’s family was also a ''yangban'' family but they had not produced a government official in several generations.<ref> Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, 288.</ref> Desirous of her husband’s advancement, Kim supported her husband’s long sojourn in Hanyang while he attempted to pass the civil service examinations. In the letters and poems which the couple exchanged during this time, Kim encourages her husband in his studies and chastises him whenever he thought about his home and family.<ref> Lee Hai-Soon, ''The Poetic World of Classic Korean Women Writers'', 66-67.</ref> In order for her husband to remain in Hanyang and not worry about the expense, Kim even cut off and sold her hair and her hairpins.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241. </ref> Hauk never managed to pass the exams and get a government position so in 1801, at the age of 32, Kim moved with Hauk to his family’s ancestral seat in Chinan, North Chŏlla Province.<ref> 향토문화전자대전; Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> She lived there until her death around 1823.<ref> 향토문화전자대전. </ref>

Kim Samŭidang is one of the most prolific women writers of the Chosŏn Dynasty. Her poems and prose offer valuable insights into her relationship with her husband, the raising of her children, the joys and sorrows of farming, and everyday life in the country. In 1930 253 of her poems and 22 pieces of prose were compiled and published two volumes titled Samŭidangjip.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> <ref> Also called Samŭidanggo (삼의당고 三宜堂稿) (향토문화전자대전.)</ref>

Among Kim Samŭidang's prose writings there is a letter which she wrote to her second daughter when she married. In her introduction to the chapter “Mothers’ Instruction to Their Children,” in which another English translation of this letter may be found, Haboush points out that it was “common that a verbal admonition was accompanied by a written text, which was given to the addressee, and that the text was meant to be treasured by the receiver.” She also adds that, while the history of this particular text’s readership is unknown, other some letters were commonly circulated within the family and consulted by multiple people. There are many examples of instructions given to a daughter at the time of her marriage but, unlike other examples which are written in ''hankŭl'', Kim Samŭidang’s letter is rare in that it is written in ''hanmun''. <ref> Haboush, 288-289.</ref>

I have selected this text for my translation because it in an uncommon example of direct communication between women. Moreover, it expresses the relationship between mother and daughter and a woman’s duties within the family from the perspective of a woman.

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Lee Hai-Soon and Chŏng Hayŏng, 266) The same book also contains a Korean translation (264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, 290-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Lee Hai-Soon and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Lee Hai-Soon and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarly translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original ''hanmun'' text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭidang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Lee Hai-Soon and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Lee Hai-Soon and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Lee Hai-Soon and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to Lee Hai-Soon (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, 181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, 96) Naech’ik is a chapter of the Yegi (예기 禮記), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Lee Hai-Soon and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Lee Hai-Soon and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extol women who protect their chastity are not jealous. Lee Hai-Soon and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Lee Hai-Soon and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I think that Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Lee Hai-Soon and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Lee Hai-Soon and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-02T04:36:15Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[(Translation) 送二女子歸序|送二女子歸序 translated by Kyrie]] ====
'''Introduction to the Text'''

Kim Samŭidang was born in 1769 to the humble ''yangban'' family of Kim Inhyŏk (김인혁 金仁赫) in Namwon, North Chŏlla Province.<ref> "김삼의당." 한국고전여성시사. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=1979148&cid=60549&categoryId=60549 </ref> Although her family was not affluent, Kim applied herself to learning how to read and write and was praised for her quick intelligence. In 1786, at the age of 18, she married Tamraktang (湛樂堂) Hauk (河욱) ( <ref> 한국고전여성시사; Lee Hai-Soon, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, 241. </ref> (or Harip <ref>"김삼의당." 향토문화전자대전. Accessed August 02, 2018. https://terms.naver.com/entry.nhn?docId=2689676&cid=51949&categoryId=55214; Lee, Hai-Soon. ''The Poetic World of Classic Korean Women Writers''. Translated by Won-Jae Hur. Vol. 9. Seoul: Ewha Womans University Press, 2005, 63. ), a man from the same village who was born on the same day and year as she was.<ref> 향토문화전자대전.</ref> Hauk’s family was also a ''yangban'' family but they had not produced a government official in several generations.<ref> Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, 288.</ref> Desirous of her husband’s advancement, Kim supported her husband’s long sojourn in Hanyang while he attempted to pass the civil service examinations. In the letters and poems which the couple exchanged during this time, Kim encourages her husband in his studies and chastises him whenever he thought about his home and family.<ref> Lee Hai-Soon, ''The Poetic World of Classic Korean Women Writers'', 66-67.</ref> In order for her husband to remain in Hanyang and not worry about the expense, Kim even cut off and sold her hair and her hairpins.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241. </ref> Hauk never managed to pass the exams and get a government position so in 1801, at the age of 32, Kim moved with Hauk to his family’s ancestral seat in Chinan, North Chŏlla Province.<ref> 향토문화전자대전; Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> She lived there until her death around 1823.<ref> 향토문화전자대전. </ref>

Kim Samŭidang is one of the most prolific women writers of the Chosŏn Dynasty. Her poems and prose offer valuable insights into her relationship with her husband, the raising of her children, the joys and sorrows of farming, and everyday life in the country. In 1930 253 of her poems and 22 pieces of prose were compiled and published two volumes titled Samŭidangjip.<ref>Lee Hai-Soon and Chŏng Hayŏng, 241.</ref> <ref> Also called Samŭidanggo (삼의당고 三宜堂稿) (향토문화전자대전.)</ref>

Among Kim Samŭidang's prose writings there is a letter which she wrote to her second daughter when she married. In her introduction to the chapter “Mothers’ Instruction to Their Children,” in which another English translation of this letter may be found, Haboush points out that it was “common that a verbal admonition was accompanied by a written text, which was given to the addressee, and that the text was meant to be treasured by the receiver.” She also adds that, while the history of this particular text’s readership is unknown, other some letters were commonly circulated within the family and consulted by multiple people. There are many examples of instructions given to a daughter at the time of her marriage but, unlike other examples which are written in ''hankŭl'', Kim Samŭidang’s letter is rare in that it is written in ''hanmun''. <ref> Haboush, 288-289.</ref>

I have selected this text for my translation because it in an uncommon example of direct communication between women. Moreover, it expresses the relationship between mother and daughter and a woman’s duties within the family from the perspective of a woman.

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Lee Hai-Soon and Chŏng Hayŏng, 266) The same book also contains a Korean translation (264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, 290-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Lee Hai-Soon and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Lee Hai-Soon and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarly translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original ''hanmun'' text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭidang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Lee Hai-Soon and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Lee Hai-Soon and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Lee Hai-Soon and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to Lee Hai-Soon (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, 181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, 96) Naech’ik is a chapter of the Yegi (예기 禮記), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Lee Hai-Soon and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Lee Hai-Soon and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extol women who protect their chastity are not jealous. Lee Hai-Soon and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Lee Hai-Soon and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I think that Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Lee Hai-Soon and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Lee Hai-Soon and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-02T03:33:30Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[(Translation) 送二女子歸序|送二女子歸序 translated by Kyrie]] ====
'''Itroduction to the Text'''

Kim Samŭidang was born in 1769 to the humble yangban family of Kim Inhyŏk김인혁(金仁赫) in Namwon, North Chŏlla Province. Although her family was not affluent, Kim applied herself to learning how to read and write and was praised for her quick intelligence. In 1786, at the age of 18, she married Tamraktang Hauk (or Harip), a man from the same village who was born on the same day and year as she was. Hauk’s family was also a yangban family but they had not produced a government official in several generations. Desirous of her husband’s advancement, Kim supported her husband’s long sojourn in Hangyang while he attempted to pass the civil service examinations. In the letters and poems which the couple exchanged during this time, Kim encourages her husband in his studies and chastises him whenever he thought about his home and family. In order for her husband to remain in Hangyang and not worry about the expense, Kim even cut off and sold her hair and her hairpins. Hauk never managed to pass the exams and get a government position so in 1801, at the age of 32, Kim moved with Hauk to his family’s ancestral seat in Chinan, North Chŏlla Province. She lived there until her death around 1823.
Kim Samŭidang is one of the most prolific women writers of the Chosŏn Dynasty. Her poems and prose offer valuable insights into her relationship with her husband, the raising of her children, the joys and sorrows of farming, and everyday life in the country. In 1930 253 of her poems and 22 pieces of prose were compiled and published two volumes titled Samŭidanggo 삼의당고(三宜堂稿).
Among Kim Samŭidang’s prose writings there is a letter which she wrote to her second daughter when she married. In her introduction to the chapter “Mothers’ Instruction to Their Children” in which another English translation of this letter may be found, Haboush points out that it was “common that a verbal admonition was accompanied by a written text, which was given to the addressee, and that the text was meant to be treasured by the receiver.” She also adds that, while the history of this particular text’s readership is unknown, other some letters were commonly circulated within the family and consulted by multiple people. There are many examples of instructions given to a daughter at the time of her marriage but, unlike other examples which are written in hankŭl, Kim Samŭidang’s letter is rare in that it is written in hanmun.
I have selected this text for my translation because it in an uncommon example of direct communication between women. Moreover, it expresses the relationship between mother and daughter and a woman’s duties within the family from the perspective of a woman.

(Work in progress)
'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Yi Hyesun, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, p.266) The same book also contains a Korean translation (pp. 264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, p.90-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to I Hyesun (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, p.181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, p. 96) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T11:02:50Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
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The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====
'''Original Text'''

(Work in progress)
'''Translation'''

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Yi Hyesun, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, p.266) The same book also contains a Korean translation (pp. 264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, p.90-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to I Hyesun (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, p.181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, p. 96) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T11:02:08Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
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|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
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|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
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|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
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|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
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|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
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|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
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|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
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|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
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|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
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|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====
'''Original Text'''
<gallery>
Example.jpg|Caption1
Example.jpg|Caption2
</gallery>

(Work in progress)
'''Translation'''

'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Yi Hyesun, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, p.266) The same book also contains a Korean translation (pp. 264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, p.90-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to I Hyesun (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, p.181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, p. 96) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T10:58:01Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

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! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
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|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)
'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계'' (Yi Hyesun, and Chŏng Hayŏng. ''Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye''. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, p.266) The same book also contains a Korean translation (pp. 264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, p.90-292.) </ref>

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to I Hyesun (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, p.181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, p. 96) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T10:57:02Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
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The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
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The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
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|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
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|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)
'''On Sending My Second Daughter to Her Husband's House'''<ref> The original text in ''hanmun'' comes from ''한국 고전 여성 문학의 세계" (Yi Hyesun, and Chŏng Hayŏng. Hanguk Kojŏn Yŏsŏng Mnhak Ŭi Segye. Sŏul Tŭkpyŏlsi: Ihwa Yŏja Taehakkyo Chulpanbu, 1998, p.266) The same book also contains a Korean translation (pp. 264-265). Another English translation is available in ''Epistolary Korea'' (Haboush, Jahyun Kim. "Mothers' Letters of Instruction to Their Children." In ''Epistolary Korea: Letters in the Communicative Space of Chosŏn, 1392-1910''. New York: Columbia University Press, 2009, p.90-292.) </ref>
My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to I Hyesun (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, p.181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, p. 96) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T10:29:26Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to I Hyesun (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, p.181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, p. 96) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T10:28:01Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to 이혜순 (이혜순. ''조선조 후기 여성 지성사''. 서울: 이화여자대학교출판부, 2007, p.181; 이혜순. "고통을 발판 삼아 피어난 지성: 조선 여성 지성이들의 계보." In ''조선 여성의 일생'', 서울: 규장각한국학연구원, 2010, p. 96) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T09:49:06Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
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The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
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|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
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|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
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The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
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|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
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|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
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|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
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|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
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|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to 이혜순 (조선조 후기 여성 지성사 p. 181) and 큐장각한국한중앙연구원 (조선 여성의 일생 (right before 여성 경험의 자원화) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JiangHan <ref> “The practice of JiangHan” comes from a poem, “The Air of JiangHan” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T09:47:52Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to 이혜순 (조선조 후기 여성 지성사 p. 181) and 큐장각한국한중앙연구원 (조선 여성의 일생 (right before 여성 경험의 자원화) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘ P'yoae,’ ‘Yagyun,’ ‘Kangt'a,’ and ‘Nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JianHan <ref> “The practice of Jiang Han” comes from a poem, “The Air of Jiang Han” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
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{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-08-01T09:41:32Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
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The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
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|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
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|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
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|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
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|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
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|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
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|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
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|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
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|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
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|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
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|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
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|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
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|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
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|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
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|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
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|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
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The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
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|7/03||[[2018 推句 01 - 04|推句 01, 04]]
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|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
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|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
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|7/09||[[2018 推句 17 - 20|推句 18, 19]]
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|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
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|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
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|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
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|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
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|7/19||[[2018 推句 59 - 60|推句 59, 60]]
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|7/20||推句 Review
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|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
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The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
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|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
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|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
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|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
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|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
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|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
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|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
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|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
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|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
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|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
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|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
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|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
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|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
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<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
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==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
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[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
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[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the ''Rules of the Inner Chambers.''<ref> I have used Haboush’s translation for 내칙 (Naech'ik). Haboush explains Naech'ik as “an instructional manual for women. The text’s authorship and publication date are unknown, but it appears to have been circulated during the late Chosŏn period.” Yi Hyesun and Chŏng Hayŏng describe Naech’ik as “여성들이 지켜야 할 도리를 담은 교훈서 (An instructional text of the duties that women must protect.).” According to 이혜순 (조선조 후기 여성 지성사 p. 181) and 큐장각한국한중앙연구원 (조선 여성의 일생 (right before 여성 경험의 자원화) Naech’ik is a chapter of the Yegi (예기), Confucian scriptures composed of the words and writings of Confucius and his disciples. It was compiled sometime up until the Han Dynasty. The chapter called Naech’ik consisted of various things which a married woman must know. (조선 여성의 일생).</ref> She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below P'unpae,<ref> P’ungpae is the name of the place in China where the founder of the Han Dynasty, Liu Bang, was born. In this case, however, P’ungpae refers to Chŏnju, since that was where the ancestors of Yi Sŏnggye, founder of the Chŏson Dynasty, lived. Calling Chŏnju “P’ungpae” serves to equate the Chŏson Dynasty with the Han Dynasty. (박광영. "先賢들의 멋이 깃든 亭子이야기 32 寒碧堂. 차가운 못에 청풍(淸風)과 고절(高節)이 비쳐 푸르네." 유교신문. May 30, 2017. Accessed August 01, 2018. http://www.cfnews.kr/coding/news.aspx/2/1/7048#.W2EfstJKjIU) </ref> a Tangŭm.<ref> Haboush describes “Tangŭm” as “a symbol of a well-ordered place under a virtuous ruler.” Yi Hyesun and Chŏng Hayŏng similarly explain Tangŭm as “왕의 어진 다스림으로 풍속이 순화된 곳 (A place where customs are refined by the king’s virtuous rule.)” Neither of them give a specific location but understand Tangŭm to be an abstract description. In that case, it seems odd to position the abstract location of Tangŭm with specific location of P’ungpae as two places which the daughter will pass on her journey. Perhaps Tangŭm should instead be understood as a description of P’ungpae/ Chŏnju, much like how the term “Camelot” could be used to describe a place as ideal. This would mean that Kim Samŭidang thinks of P’ungpae/ Chŏnju as a “well-ordered place under a virtuous ruler.” Another possibility is that she is referring to the hometown of 민종효, Min Jonghyo, a civil official born in 1547 whose pen name was Tangŭm. However, his family seat was Yŏhŭng (여흥/驪興) which is the old name for Yŏju in Kyŏnggi Province ("민종효." 두산백과. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=1312648&cid=40942&categoryId=34465.). Since Kim Samŭidang lived in Namwon in North Chŏlla Province and her daughter as marrying a man from Chŏnju, also in North Chŏlla Province, it would be highly unlikely that her daughter would pass Yŏju. </ref> I hope that when you see the magnificence of morals and manners, your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bai <ref> Zhao Bai (K.소백) was the son of Munwang, a king of the Zhou Dynasty in China. He is famous for administering a just rule ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826). </ref> rested in the southern country. Of the southern country married women there was no one who did not each benefit her place.<ref>This is a reference to the poem “Paths with Dew” in the Book of Poetry in which the moral of rule of Zhao Bai inspired the people to change their obscene customs and women to practice chastity. (Yi Hyesun and Chŏng Hayŏng, 265; Haboush, 293)) </ref> ‘Pyomae’ ‘Yakyun’ ‘gangta’ and ‘nonghwa’ were sung.<ref> The first three are poems from the Book of Poetry which extoll women who protect their chastity are not jealous. Yi Hyesun and Chŏng Hayŏng say that the fourth poem also appears in the Book of Poetry but Haboush claims that it does not. Either way, the contents of the poem seem to be unknown. </ref>
Our Inspector <ref> Yi Hyesun and Chŏng Hayŏng translate 巡相 as“순찰사 (Inspector) while Haboush translates it as “Governor.” 巡相 means an envoy who goes abroad and temporarily receives the government position of Chancellor of the second rank. Or it means a temporary government post as inspector of military affairs in the countryside during times of disturbance. </ref> whom his majesty ordered came and controlled Honam. <ref> Meaning “south of the lake,” Honam (호남) is another name for the Chŏlla provinces. Exactly which lake is used as a reference point is unclear. Possibilities include Pyŏkgolcheho in Kimche and Ŭirimji in Chech’ŏn (박재천. "호남·호서의 '호(湖)'는 어디...벽골제? 의림지?" 연합뉴스. March 1, 2015. Accessed August 01, 2018. http://www.yonhapnews.co.kr/bulletin/2015/02/27/0200000000AKR20150227162400064.HTML). </ref> Since this change was declared it has now been two years. In the prefecture there is the practice of JianHan <ref> “The practice of Jiang Han” comes from a poem, “The Air of Jiang Han” in “The Major Odes” section of the Book of Poetry. “The practice of JiangHan” “refers to the state of peace and strength of the Zhou Dynasty after King Cheng defeated the barbarians.” (Haboush, 293) </ref> and in the countryside there are no lamentations of one’s path in life. We can see the transformation of Sonam <ref> Sonam (소남) refers to Zhao Bai’s rule of the southern country. ("소백." 한국고전용어사전. Accessed August 01, 2018. https://terms.naver.com/entry.nhn?docId=98523&cid=41826&categoryId=41826)</ref> again today. Also, I have been particularly favoured and I send you to that place which is near to the Inspector!<ref> 玉節 is a jade seal/tally which was given to government officials as a certificate of their position. Provincial governors also had a seal made of jade. 孔can mean a hole or a coin, which most likely refers to the shape of the jade seal/tally. 玉節孔therefore refers to a government official. I have translated it as “Inspector” because that is the translation I used previously and I like Kim Samŭidang is talking about the same person. Haboush translates 玉節孔as “he” referring to the governor. Yi Hyesun and Chŏng Hayŏng translate it as “순찰사 (Inspector). </ref> You re now going to your husband’s family. Your new sedan chair is said to be harnessed.<ref> I have taken 言as “to say” and 駕 as “to harness.” Yi Hyesun and Chŏng Hayŏng similarly translate 駕as “멍에를 메고 (the yoke is shouldered).” However, Haboush’s translation does not make any references to harness or yoke. She translates the whole section新轎言駕侍婢前導.as “carried in a newly decorated high palanquin escorted by female slaves.”</ref> A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-07-31T01:40:54Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents. Their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the inner standard (?). She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below Poonpae and tangem. I hope that hen you see the magnificence of moral and manners your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bae rested (?) in the southern country. Of the southern country married women there was no one who did not each benefit her place. ‘Pyomae’ ‘Yakyun’ ‘gangta’ and ‘nonghwa’ were sung.
Now our military inspectors which his majesty ordered came and controlled Honam. Since this change was declared it has been two years. In the prefecture there is the practice of ganghan and in the countryside there are no lamentations of the one’s path in life. We can see the transformation of Sonam again today. Also, I have been particularly favoured and I send you to that place which is near to the okjeolgong! You re now going to your husband’s family. Your new sedan chair is said to be harnessed. A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-07-31T01:39:56Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents, their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily regarding their biological parents, children’s love exceeds their respect. When it comes to serving the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the inner standard (?). She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below Poonpae and tangem. I hope that hen you see the magnificence of moral and manners your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bae rested (?) in the southern country. Of the southern country married women there was no one who did not each benefit her place. ‘Pyomae’ ‘Yakyun’ ‘gangta’ and ‘nonghwa’ were sung.
Now our military inspectors which his majesty ordered came and controlled Honam. Since this change was declared it has been two years. In the prefecture there is the practice of ganghan and in the countryside there are no lamentations of the one’s path in life. We can see the transformation of Sonam again today. Also, I have been particularly favoured and I send you to that place which is near to the okjeolgong! You re now going to your husband’s family. Your new sedan chair is said to be harnessed. A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-07-30T02:47:51Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents, their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…)” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily to their biological parents, children’s love exceeds their respect. When it comes to the matter of the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the inner standard (?). She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below Poonpae and tangem. I hope that hen you see the magnificence of moral and manners your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bae rested (?) in the southern country. Of the southern country married women there was no one who did not each benefit her place. ‘Pyomae’ ‘Yakyun’ ‘gangta’ and ‘nonghwa’ were sung.
Now our military inspectors which his majesty ordered came and controlled Honam. Since this change was declared it has been two years. In the prefecture there is the practice of ganghan and in the countryside there are no lamentations of the one’s path in life. We can see the transformation of Sonam again today. Also, I have been particularly favoured and I send you to that place which is near to the okjeolgong! You re now going to your husband’s family. Your new sedan chair is said to be harnessed. A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-07-30T02:46:43Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents, their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding.<ref> I understand this to be Kim Samŭitang telling her daughter that she ought to treat the elders in her husband’s family respectfully as though she celebrates their presence, and that she ought to think highly of her husband’s family because they come from a good lineage. Here I translate 門 as “branch of a family.” However, others have translated this this section very differently. Yi Hyesun and Chŏng Hayŏng translate this as “두 대 어른이 모두 살아 계신다 (Both generations of adults live there).” Haboush simplifies the entire section 而況汝之夫家, 上有祖父母, 鶴髮臨年, 又有賢父母, 韶顏未暮, 兩世具慶,一門崢嶸 as “You will have two older generations to serve – elderly grandparents-in-law, and parents-in-law who are not yet old."</ref> When you go,<ref> Yi Hyesun and Chŏng Hayŏng begin this section with “그 가문에는 일이 많을 것이니 네가 가거든… (In that family there will be a lot of work and because you go…” Haboush also translates it as “There will be much work at your new home, and when you arrive there…” I am not sure where in the original text these translations comes from. My only guess if that it somehow come from the previous 一門崢嶸 due to the presence of the character 門.</ref> you assume the responsibility to respect and you assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily to their biological parents, children’s love exceeds their respect. When it comes to the matter of the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the inner standard (?). She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below Poonpae and tangem. I hope that hen you see the magnificence of moral and manners your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bae rested (?) in the southern country. Of the southern country married women there was no one who did not each benefit her place. ‘Pyomae’ ‘Yakyun’ ‘gangta’ and ‘nonghwa’ were sung.
Now our military inspectors which his majesty ordered came and controlled Honam. Since this change was declared it has been two years. In the prefecture there is the practice of ganghan and in the countryside there are no lamentations of the one’s path in life. We can see the transformation of Sonam again today. Also, I have been particularly favoured and I send you to that place which is near to the okjeolgong! You re now going to your husband’s family. Your new sedan chair is said to be harnessed. A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-07-30T02:09:19Z

Kyrie: /* VI-7. 送二女子歸序 traslated by Kyrie */

This Wikisite is constructed by Kim Hayoung 김하영 with the help of An Sungjun 안승준, Chung Suhwan 정수환, and Yun Jinyoung 윤진영. 

[[File:Backward.png|right|50px|link=(2018SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Home.png|right|50px|link=(SHWJA) 여름 한문 워크샵 Summer Hanmun Workshop]]
[[File:Back2017.png|right|50px|link=2017_Summer_Hanmun_Workshop_(Intermediate)]]

=='''Description'''==

The purpose of this course is to provide students an intensive training in what is commonly referred to as “classical Chinese,” or hanmun, which constitutes the nucleus of the literary languages of premodern China, Korea, and Japan. Because this workshop is intended for future researchers and scholars of premodern Korean culture in a broader context of East Asian civilization, which some call the “Sinosphere,” we will focus on the most fundamental sentence patterns and grammatical devices commonly used in hanmun, exploring some canonical texts that embody the linguistic and cultural grammars of classical Chinese literature.
Each day, the class will study grammatical devices and patterns with simple sentences and read (excerpts of) regular hanmun texts for applied practice. We will read and critically analyze the texts, with which to formulate an academically-minded English translation of them. At the end of the workshop, students are expected to become familiar with different types of texts, to gain first-hand knowledge around the original texts of old Korean books, and more importantly, to become intellectually independent in their own future research critically engaging primary texts.

=='''Class'''==

A daily class is divided into three sessions. In Session 1 we read Pak Semu’s 朴世茂 (1487–1554) treatise to initiate students into Confucian literacy, Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth). Session 2 comprises studying syntactic and morphological patterns established by grammatical words, building up from the simplest forms to the more complex. This part of instruction will make use of the two representative primers of Chosŏn: the Ch’ugu 推句 (Versed Lines), a collection of quatrains epitomizing hanmun verses for those who have finished Ch’ŏnjamun 千字文 (Thousand-character Text); and the Hagŏjip 學語集 (Collection of Sentences for Learning), a collection of short prose-sentences to initiate beginners in hanmun texts. Learning with Ch’ugu and Hagŏjip allows us to experience both poetic- and prose-style sentences. The first two sessions will intensively engage two fundamental practices of hanmun literacy: parsing (both vocal and visual) and close reading. In Session 3 we translate various excerpts from actual literary pieces from China and Korea, applying the practices we learn in the first two sessions. The underlying focus of the study progresses as follows:

:* '''Week 1''' : basic structure, predication and commenting, parts of speech and word order, substantives and predicatives, nouns and pronouns, action verbs and stative verbs, adverbs, etc.
:* '''Week 2''' : discourse and context, parallelism and correspondence, building contexts and “dragging”, conjunctives and connectives, 語氣詞 and 語助詞
:* '''Week 3''' : intertextuality, allusions, and pattern, literary precedents and elicitors

Reading the original text together, parsing its sentences, and carefully analyzing parts both syntactically and semantically, which will form a basic training of translation. The instructor will give lectures when needed, to reinforce the knowledge of grammatical words, information on reference tools, and relevant sociocultural context of fundamental importance. Each student will be responsible for looking up and learning unfamiliar hantcha, practicing to punctuate sentences that were studied in the previous classes, and participating in drafting translations. The outcome of translation will be archived and shared.

===Instructor===

*[[오영균 (吳英均, Young Kyun Oh)|오영균 (吳英均, Young Kyun Oh)]]

==수강생 Participants==

* 참가자 명단 Participants List　''cf''. [[(SHWJA) 여름 한문 워크샵 참가자 Summer Hanmun Workshop Participants|역대 참가자 Previous Participants]]

{|class="wikitable sortable" style="text-align:center;background-color:#fdfdfd;" width="100%"
|-
! style="width:5%" | 연도 || style="width:15%" | 성명 || style="width:10%" | 국적 || style="width:20%" | 소속 || style="width:15%" | 직위 || style="width:20%" | 연구/전공분야 || style="width:15%" | 그룹
|-
|2018 || Cho, Francisca || 미국 USA || 미국 조지타운대학교 Georgetown University || 교수 Associate Professor || Buddhism || Intermediate Training Group
|-
|2018 || Lin, Nan Kathy || 미국 USA || 미국 조지타운대학교 Georgetown University || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Svakova, Petra || 체코 Czech || 한국 성균관대학교 Sungkyunkwan University || 석사과정 Master's Student || East Asian Studies || Intermediate Training Group
|-
|2018 || Vermette, Kyrie || 캐나다 Canada || 캐나다 브리티시 컬럼비아대학교 University of British Columbia || 박사과정 Doctoral Student || - || Intermediate Training Group
|-
|2018 || Sauvadet, Bryan || 프랑스 France || 프랑스 파리7대학교 Paris Diderot University (Paris VII) || 석사과정 Master's Student || Korean Studies /Korean Art History /Korean Religious Studies || Intermediate Training Group
|-
|2018 || Volpe, Althea || 이탈리아 Italy || 이탈리아 사피엔자대학교 La Sapienza University || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Gledic, Jelena || 세르비아 Serbia || 세르비아 베오그라드대학교 University of Belgrade || 강사 Lecturer || Cultural Studies /Identity studies, Chinese history || Intermediate Training Group
|-
|2018 || Chae-Duporge, Okyang || 프랑스 France || 프랑스 국립동양학대학교 INALCO || 강사 Lecturer || - || Intermediate Training Group
|-
|2018 || Butterfield, James Julian || 캐나다 Canada || 캐나다 토론토대학교 University of Toronto || 석사과정 Master's Student || - || Intermediate Training Group
|-
|2018 || Rzanna, Ewa || 폴란드 Poland || 폴란드 세종학당 & 아담 미츠키에비치 대학교 King Sejong Institute & Adam Mickiewicz University || 연구원 Researcher || - || Intermediate Training Group
|-
|}

[[Category:Summer Hanmun Workshop]]
[[Category:Participants]]

=='''Schedule'''==

* Session 1 - 9:00–10:30 AM

* Session 2 - 10:40–12:00 AM, 1:00–2:00 PM

* Session 3 - 2:10–4:00 PM

<div class="mw-collapsible mw-collapsed" >
{{인용문2|
'''the 3-Week Schedule''' ''- View Details'' }}
<div class="mw-collapsible-content">
{|class="wikitable" style="background-color:#ffffff;"
!style="width:30px;"|Date || style="width:300px;"|Contents || style="width:200px;"|
|-
|7/2 || S1: Opening Ceremony, Placement Test

S2: Introduction: Classical Chinese, literary Chinese, Sino-Korean, and Hanmun
||
|-
|7/3 || S1: ''Tongmong sŏnsŭp'' 1–4

S2: ''Ch’ugu'' 1, 4; ''Hagŏjip'' 1–5

S3: Short passages 8, 23, 43
||
|-
|7/4 || S1: ''Tongmong sŏnsŭp'' 5–8

S2: ''Hagŏjip'' 6–10

|| Field Trip

|-
|7/5 || S1: ''Tongmong sŏnsŭp'' 9–13

S2: ''Ch’ugu'' 5, 7, 9; ''Hagŏjip'' 11–15

S3: Short passages 10, 13, 16
||
|-
|7/6 || S1: ''Tongmong sŏnsŭp'' 14–17

S2: ''Ch’ugu'' 13, 15, 16; ''Hagŏjip'' 16–20

S3: Short passages 9, 15, 24
||
|-
|7/9 || S1: ''Tongmong sŏnsŭp'' 18–22

S2: ''Ch’ugu'' 18, 19; ''Hagŏjip'' 21–25

S3: Short passages 4, 11, 12
||
|-
|7/10 || S1: ''Tongmong sŏnsŭp'' 23–25

S2: ''Ch’ugu'' 22, 24, 30; ''Hagŏjip'' 26–30

S3: Short passages 1, 11, 33, 37
||
|-
|7/11 || S1: ''Tongmong sŏnsŭp'' 26–30

S2: ''Hagŏjip'' 31–35

|| Special Lecture

|-
|7/12 || S1: ''Tongmong sŏnsŭp'' 31–34

S2: ''Ch’ugu'' 32, 37, 39; ''Hagŏjip'' 36–40

S3: Short passages 5, 17, 20, 38
||
|-
|7/13 || S1: ''Tongmong sŏnsŭp'' 35–38

S2: ''Hagŏjip'' 41–45

|| Field Trip

|-
|7/16 || S1: ''Tongmong sŏnsŭp'' 39–42

S2: ''Ch’ugu'' 41, 46, 50; ''Hagŏjip'' 46–50

S3: Short passages 21, 27, 36
||
|-
|7/17 || S1: ''Tongmong sŏnsŭp'' 43–47

S2: ''Hagŏjip'' 51–55

|| Special Lecture

|-
|7/18 || S1: ''Tongmong sŏnsŭp'' 48–52

S2: ''Ch’ugu'' 56, 57, 58; ''Hagŏjip'' 56–60

S3: Short passages 2, 6, 43
||
|-
|7/19 || S1: ''Tongmong sŏnsŭp'' 53–56

S2: ''Ch’ugu'' 59, 60; ''Hagŏjip'' Review 1

S3: Short passages 29, 34, 42
||
|-
|7/20 || S1: ''Tongmong sŏnsŭp'' Review

S2: ''Ch’ugu'' Review; ''Hagŏjip'' Review 2

S3: Short passages 28, 44
||
|-
|}
</div>
</div>

=='''Translation'''==

We aim to practice academic translation. An academic translation should prove to be comprehensive to an intellectual reader for whom no previous knowledge of or about the text is assumed, rendered in a clear, precise, yet hermeneutically nuanced language. There are four aspects of concentration in our training:

:(1) Faithfulness to the original text
:(2) Linguistic clarity of the translating language
:(3) Detailed annotation to integrate contextual and intertextual information
:(4) Observance of academic convention for translation

=='''List of Hanmun Text'''==

*'''Session 1''' : Tongmong sŏnsŭp 童蒙先習 (Preparatory Learning for the Youth)

*'''Session 2''' : Ch’ugu 推句 (Versed Lines)

:::　　 Hagŏjip 學語集 (Collection of Sentences for Learning)

*'''Session 3''' : [[2018 Summer Hanmun Workshop (Intermediate)#Session 3: 選讀 Short Passages for Practice|Excerpts for practice]]

===Session 1: 童蒙先習 Preparatory Learning for the Youth===
----
The ''Tongmong sŏnsŭp'' is a well-known hanmun primer for novices after their initiation in hantcha with the ''Chŏnjamun'' 千字文. Its text spells out the fundamental ethico-historial framework of Confucianism, quoting and alluding most frequently used 2018 童蒙先習 in the traditional discourse of moral maxims. Its language is prosodic and suitable for vocal reading and reciting. The introduction delineates the ethics based on the Five Cardinal Relations (''oryun'' 五倫), followed by an overview of Chinese and Korean histories as realizing ethical principles endowed in human civilization. Its authorship had been generally attributed to Pak Semu 朴世茂 (1487–1554), though some recorded Kim An’guk 金安國 (1478–1543) as its author. Yun Insŏ’s 尹仁恕 postface, included in the 1543 edition (printed at the P’yŏngan Magistrate Office), states that Min Chein 閔齊仁, then P’yŏngan Magistrate, co-authored this work. A recent discovery of a block-printed edition bearing Min Chein as the author strongly suggests that Min authored it before Pak did because it predates the manuscript edition that recorded Pak Semu as the author, which had been known as the earliest edition. Authorship aside, however, it appears reasonable to assume that the sentences in the Tongmong sŏnsŭp were commonly shared for pedagogical purposes among the literati since early Chosŏn. As it has also been used at the court to instruct royal princes since King Hyŏnjong’s reign (1659–1674), there are a number of prints and manuscripts extant. The 1759 edition especially contains King Yŏngjo’s 英祖 preface and Song Siyŏl’s 宋時烈 (1607–1689) postface, indicating that it was received widely.

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|童蒙先習
|-
|7/03||[[2018 童蒙先習 01 - 04|童蒙先習 01 - 04]]
|-
|7/04||[[2018 童蒙先習 05 - 08|童蒙先習 05 - 08]]
|-
|7/05||[[2018 童蒙先習 09 - 13|童蒙先習 09 - 13]]
|-
|7/06||[[2018 童蒙先習 14 - 17|童蒙先習 14 - 17]]
|-
|7/09||[[2018 童蒙先習 18 - 22|童蒙先習 18 - 22]]
|-
|7/10||[[2018 童蒙先習 23 - 25|童蒙先習 23 - 25]]
|-
|7/11||[[2018 童蒙先習 26 - 30|童蒙先習 26 - 30]]
|-
|7/12||[[2018 童蒙先習 31 - 34|童蒙先習 31 - 34]]
|-
|7/13||[[2018 童蒙先習 35 - 38|童蒙先習 35 - 38]]
|-
|7/16||[[2018 童蒙先習 39 - 42|童蒙先習 39 - 42]]
|-
|7/17||[[2018 童蒙先習 43 - 47|童蒙先習 43 - 47]]
|-
|7/18||[[2018 童蒙先習 48 - 52|童蒙先習 48 - 52]]
|-
|7/19||[[2018 童蒙先習 53 - 56|童蒙先習 53 - 56]]
|-
|*||[[2018 童蒙先習御製童蒙先習序|御製童蒙先習序]]
|-
|**||[[2018 童蒙先習跋文|跋文]]
|}
*[http://jsg.aks.ac.kr/data/viewer/bookImage.do?callNum=K1-200&vol= 장서각 소장 어제동몽선습언해(御製童蒙先習諺解)]

===Session 2-1: 推句 Versed Lines===
----
The Ch’ugu is a collection of pentasyllabic quatrains (''o’ŏn chŏlgu'' 五言絕句) for beginners of hanmun during the Chosŏn dynasty. There are altogether 60 quatrains, many chosen from known poetic lines, containing motifs and images familiar to novices. It is one of the typical primers taught to learners who have finished character lessons with, most likely, the ''Ch’ŏnjamun'' 千字文, along with the ''Saja sohak'' 四字小學 [Four-character Minor Learning], ''Tongmong sŏnsŭp'', and ''Kyŏngmong yogyŏl'' 擊夢要訣 [Essential precepts to awake the unenlightened]. The title "Ch’ugu" could be taken as “selected lines” (ch’u 推 “to select”) but also have come from ch’ugo (or proscriptively pronounced ''t’oego'') 推敲 “push or knock,” a verb coined for the story of Jia Dao 賈島 (780?–843) and Han Yu 韓愈 (768–824) to mean “polish or perfect the language of a literary work.”<ref>Jia Dao once composed a poem, sitting on a mule, which included lines, “Birds sleep on the tree in the middle of the pond, a monk knocks on the door under the moon” 鳥宿池中樹, 僧敲月下門. He was having second thought of using ''t’oe'' 推 “push” instead of ''ko'' 敲 “knock,” but could not decide. Occupied by this thought, he failed to step back to make way when Han Yu’s mayoral march was progressing the street, which was a serious offense. Han Yu summoned Jia Dao and interrogated why Jia did not step aside. After hearing what happened, Han Yu said that he preferred ''ko'' instead of ''t’oe'', upon which they became good friends in literature. This story is introduced in the ''Tangshi jishi'' 唐詩紀事.</ref> Ch’ugu 推句 as a verb was then used in the sense of writing poems, and if it was indeed where the title was chosen, it would more precise to pronounce the title as ''t'oegu'', not ''ch’ugu''. All extant copies of Ch’ugu is in the form of manuscript, but as Ŏ Sukkwŏn’s 魚叔權 ''Kosa ch’waryo'' 攷事撮要 (1554) recorded the presence of its printing blocks in 1558, it is possible that ''Ch’ugu'' was more popular as a primer in mid-Chosŏn period.

<references/>

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"| date || style="width:80%;"|推句
|-
|7/03||[[2018 推句 01 - 04|推句 01, 04]]
|-
|7/05||[[2018 推句 05 - 10|推句 05, 07, 09]]
|-
|7/06||[[2018 推句 11 - 16|推句 13, 15, 16]]
|-
|7/09||[[2018 推句 17 - 20|推句 18, 19]]
|-
|7/10||[[2018 推句 21 - 30|推句 22, 24, 30]]
|-
|7/12||[[2018 推句 31 - 40|推句 32, 37, 39]]
|-
|7/16||[[2018 推句 41 - 50|推句 41, 46, 50]]
|-
|7/18||[[2018 推句 56 - 58|推句 56, 57, 58]]
|-
|7/19||[[2018 推句 59 - 60|推句 59, 60]]
|-
|7/20||推句 Review
|-
|}

===Session 2-2: 學語集 Collection of Sentences for Learning===
----
The ''Hagŏjip'' is a manuscript whose authorship is unknown. It contains short sentences explaining various subjects ranging from heaven and earth to flowers and animals, for the purpose of teaching the basic sentence structure and grammatical patterns of literary Chinese to novices. It is often confused with ''Hagŏ'' 學語 compiled by Pak Chaech’ŏl 朴載哲 with a similar purpose. ''Hagŏ'' was blockprinted in 1868 by Pak Chaechŏl’s son Pak Kyujin 朴圭鎮. The two are quite different texts. The latter is more oriented in Confucian learning of moral principles and quotations from classics, whereas the former is apparently mindful of linguistic pedagogy and introduces syntactic patterns with gradually increasing complexity. There are a few manuscript editions preserved in various archives in Korea, including Jangseogak. It appears that there are some textual variations depending on editions especially with the selection of sentences, though individual sentences remain mostly the same.

Format

In the following, each sentence is given in three ways. First without punctuation, then with punctuation, and the last with t’o 토. Punctuation of literary Chinese provides where the sentence breaks into a series of clasuses and phrases, and thus clues to the meaning of the entire sentence. T’o is specific to Korean culture, in which people spoke a fundamentally different language from Chinese. Carrying a similar function to that of Japanese ''kaeriten'' 返点 (returning point), t’o adds grammatical words of Korean to points where the Chinese sentences breaks so that the grammatical relation between parts.

　　　　E.g.　　學而時習之'''면'''　　　　不亦悅乎'''아''' 
　　　　　　　　　　　　　if　　　　　　　　　Q-ending

The traditional pedagogy of literary Chinese placed a great importance to t’o. It served as a device to train students in parsing sentences, as well as to help them read aloud and recite sentences.

After the sentence, key grammatical words and patterns will be introduced.

　　　　C: Clause　　P: Phrase　　V: Verb　　A: Adjective　　N: Noun　　Adv: Adverb

{|class="wikitable" style="width:40%; text-align:center; color:#002080; background-color:#ffffff;"
!style="width:20%;"|date || style="width:80%;"|學語集
|-
|7/3 ||[[2018 學語集 01 - 05|學語集 01 - 05]]
|-
|7/4 ||[[2018 學語集 06 - 10|學語集 06 - 10]]
|-
|7/5 ||[[2018 學語集 11 - 15|學語集 11 - 15]]
|-
|7/6 ||[[2018 學語集 16 - 20|學語集 16 - 20]]
|-
|7/9 ||[[2018 學語集 21 - 25|學語集 21 - 25]]
|-
|7/10 ||[[2018 學語集 26 - 30|學語集 26 - 30]]
|-
|7/11 ||[[2018 學語集 31 - 35|學語集 31 - 35]]
|-
|7/12 ||[[2018 學語集 36 - 40|學語集 36 - 40]]
|-
|7/13 ||[[2018 學語集 41 - 45|學語集 41 - 45]]
|-
|7/16 ||[[2018 學語集 46 - 50|學語集 46 - 50]]
|-
|7/17 ||[[2018 學語集 51 - 55|學語集 51 - 55]]
|-
|7/18 ||[[2018 學語集 56 - 62|學語集 56 - 62]]
|}

===Session 3: 選讀 Short Passages for Practice===
----
<div class="mw-collapsible" >
Excerpts for practice:
<div class="mw-collapsible-content">
08.　[[(Translation) 鄭人買履|“Zhengren mai lü” 鄭人買履 [A person of Zheng state buys shoes], Han Fei zi 韓非子.]]

23. [[(Translation) 不禽不獸|“Bu qin bu shou” 不禽不獸 [Neither a bird nor a beast], Guang xiaofu 廣笑府 by Feng Menglong 馮夢龍; Xiaolin guangji 笑林廣記 by Youxi zhuren 游戲主人.]]

43. [[(Translation) 惠通出家|“Hyet’ong ch’ulga” 惠通出家 [Hyet’ong becomes a monk], Samguk yusa.]]

10. [[(Translation) 刻舟求劍|“Ke zhou qiu jian” 刻舟求劍 [Notching the boat to find the sword], Lüshi chunqiu 呂氏春秋.]]

13. [[(Translation) 宗室豐山守|“Chongsil P’ungsan su” 宗室豐山守 [Magistrate of P’ungsan, a royal kinsman], Sŏng Hyŏn 成俔, Yongjae ch’onghwa 慵齋叢話.]]

16. [[(Translation) 朝三暮四|“Zhao san mu si” 朝三暮四 [Three in the morning, four in the evening], Zhuangzi.]]

09.　[[(Translation) 守株待兔|“Shou zhu dai tu” 守株待兔 [Waiting for a hare while guarding the tree], Han Fei zi. ]]

15. [[(Translation) 蝴蝶夢|“Hudie meng” 蝴蝶夢 [Butterfly dream], Zhuangzi 莊子.]]

24. [[(Translation) 諧謔|“Haehak” 諧謔 [Witty stories], Yi Su-gwang李睟光, Chibong yusŏl 芝峯類說.]]

28. [[(Translation) 伎利檀|“Kiridan” 伎利檀 [Christianity], Ŏu yadam 於于野談 by Yu Mongin 柳夢寅.]]

39. [[(Translation) 洪夔燮|“Hong Kisŏp” 洪夔燮, Myŏngsim pogam 明心寶鑑.]]

33. [[(Translation) 石珍斷指|“Sŏkchin tan ji” 石珍斷指 [Sŏkchin cuts off his finger], Samgang haengsil-to.]]

37. [[(Translation) 烈婦入江|“Yŏlbu ip kang” 烈婦入江 [A devoted wife enters the river], Samgang haengsil-to.]]

34. [[(Translation) 婁伯捕虎 |“Nubaek p’oho” 婁伯捕虎 [(Ch’oe) Nubaek captures the tiger], Samgang haengsil-to.]]

01.　[[(Translation) 朴赫居世|“Pak Hyŏkkŏse” 朴赫居世, Samguk sagi 三國史記.]]

42. [[(Translation) 處容郎|“Ch’ŏyong-nang” 處容郎, Samguk yusa.]]

05.　[[(Translation) 龜兔之說|“Kui t’o chi sŏl” 龜兔之說 [Story of a tortoise and a hare], Samguk sagi.]]

17. [[(Translation) 渾沌|“Hundun” 渾沌, Zhuangzi.]]

11. [[(Translation) 畫蛇添足|“Hua she tian zu” 畫蛇添足 [Draw a snake and add feet], Zhanguo ce 戰國策.]]

38. [[(Translation) 金氏撲虎|“Kim-ssi pak ho” 金氏撲虎 [Lady Kim strikes the tiger], Samgang haengsil-to.]]

21. [[(Translation) 以五十步笑一百步|“Yi wushi bu xiao yibai bu” 以五十步笑一百步 [One who retreated fifty paces mocks another who retreated one hundred paces], Mencius.]]

27. [[(Translation) 妻不欲尊|“Ch’ŏ pul yok chon” 妻不欲尊 [The wife doesn’t want to be respected], Ŏmyŏnsun禦眠楯.]]

36. [[(Translation) 丕寧突陳|“Pinyŏng tolchin” 丕寧突陳 [Pinyŏng charges at the enemy line], Samgang haengsil-to.]]

02.　[[(Translation) 東明聖王|“Tongmyŏng sŏngwang” 東明聖王 [Tongmyŏng, the Sagacious King], Samguk sagi.]]

06.　[[(Translation) 階伯|“Kyebaek” 階伯, Samguk sagi.]]

44. [[(Translation) 延烏郞細烏女|“Yŏno-rang Se’o-nyŏ” 延烏郞細烏女, Samguk yusa.]]

22. [[(Translation) 虛實|"Xushi" 虛實 [Emptiness and fullness], ''Sunzi bingfa'' 孫子兵法]]

(Poetry) [[(Translation) Poems|Sample Classical Chinese Poems]]


</div>
</div>

== '''Text translated by Individual Project''' ==

[[File:공자학금도.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%AD%B8%E7%90%B4%E5%B8%AB%E8%A5%84|thumb|150px|left|學琴師襄 학금사양]]

==== VI-0. [[(Translation) 學琴師襄 | (sample) 學琴師襄 translated by YO]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-1. [[(Translation) 1|大眾受學品 translated by Julian Butterfield]] ====
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-2. [[(Translation) 2| translated by Student 2]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-3. [[Chuk puin chŏn(竹夫人傳) translated by Petra Sváková]] ====
 
 
 
 
 
 
 
 
----

==== VI-4. [[(Translation) 4| 李珥 - 擊蒙要訣 (讀書章第四, 事親章第五) translated by Jelena Gledić]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-5. [[(Translation) 5| translated by Student 5]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사조신1.JPG|link=(Translation) 洛山二大聖觀音·正趣調信|thumb|150px|left|洛山二大聖觀音·正趣調信 낙산이대성 관음·정취 조신 ]]

==== VI-6. [[(Translation) 洛山二大聖觀音·正趣調信| 洛山二大聖觀音·正趣調信 translated by Francisca Cho]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-7. [[送二女子歸序 translated by Kyrie]] ====

(Work in progress)

My second daughter got married to a person of Chŏnju,<ref> Chŏnju is a city in the North Chŏlla Province.</ref> Song Tohwan. On the day of her going to her husband’s house, <ref> 歸 (K. 시집가다) translates literally as "go to in-law's house" or "go to husband's family's house." As of the middle of the Chosŏn Dynasty (1392-1897), women increasingly lived with their husband's family following their marriage, and so 歸 also came to mean "to get married." I have chosen to translate it as “going to her husband’s house” since the act of arriving at the door and bestowing a parting letter necessitates the understanding that the daughter is about to go somewhere.</ref> we arrived at the door and I exhorted her saying:

Going to your family, you must respect and you must obey. There is no disobeying your husband. Moreover, in your husband’s family, above you <ref> 上 in this case refers to a higher status or position in the family hierarchy. </ref> there are the grandparents. They have arrived at the years of white hair. <ref> 鶴髮 means “hair that is white like a crane’s feathers.” This is used to refer to elderly people. 臨 translates as “to arrive.” Yi Hyesun and Chŏng Hayŏng translate this section as “연세가 높으신 조부모님 (Grandparents whose age is high).” Haboush translates it as simply “elderly grandparents.” I have decided to try and maintain the imagery of the original hanmun text. </ref> Also, there are the worthy parents, their splendid countenance is not near the end. <ref> Yi Hyesun and Chŏng Hayŏng translate this as “늙지 않으신 부모님 (Parents who are not old).” Haboush similarily translates it as “parents-in-law who are not yet old.” Again, .” I have decided to try and maintain the imagery of the original hanmun text.</ref> Both generations provide an occasion for celebration and this one branch of the family is outstanding. When you go you assume the responsibility to respect and assume the responsibility of sincerity. Do not be negligent and do not be lazy. Ordinarily to their biological parents, children’s love exceeds their respect. When it comes to the matter of the father-in-law and the mother-in-law, respect exceeds love even more. Also, this one word ‘respect’ is truly the example set by the deceased which we pass down from generation to generation! This year you are only 18. Observing the old rituals, one would turn twenty and get married. Your age has not reached that and your knowledge and thoughts are also not fully developed. Therefore, this summer I ordered an old female tutor to receive one volume of the inner standard (?). She will cause you to know the way of serving parents and elders. You exert yourself and perform it! Also, when you go to your husband’s family, the road will pass below Poonpae and tangem. I hope that hen you see the magnificence of moral and manners your heart will necessarily rise in excitement and be moved and inspired. In the old days Zhao Bae rested (?) in the southern country. Of the southern country married women there was no one who did not each benefit her place. ‘Pyomae’ ‘Yakyun’ ‘gangta’ and ‘nonghwa’ were sung.
Now our military inspectors which his majesty ordered came and controlled Honam. Since this change was declared it has been two years. In the prefecture there is the practice of ganghan and in the countryside there are no lamentations of the one’s path in life. We can see the transformation of Sonam again today. Also, I have been particularly favoured and I send you to that place which is near to the okjeolgong! You re now going to your husband’s family. Your new sedan chair is said to be harnessed. A slave girl guides you forward. The mountains and the streams are long and vast and the road is very far from villages. According to the affection of a mother’s love for her children, how could there be no secret anxiety at parting? You will join a worthy family so I will therefore delay my sorrow and increase my happiness.

 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-8. [[(Translation) 8| translated by Student 8]] ====
 
 
 
 
 
 
 
 
----
[[File:.jpg|link=|thumb|150px|left| ]]

==== VI-9. [[(Translation) 9| translated by Student 9]] ====
 
 
 
 
 
 
 
 
----
[[File:삼국유사선덕여왕1.JPG|link=http://dh.aks.ac.kr/jsg/index.php/(Translation)_%E5%96%84%E5%BE%B7%E7%8E%8B%E7%9F%A5%E5%B9%BE%E4%B8%89%E4%BA%8B|thumb|150px|left|善德王知幾三事 선덕왕지기삼사]]

==== VI-10. [[(Translation) 善德王知幾三事 | 善德王知幾三事, Queen Sŏndŏk foresees three events, from Samguk yusa translated by Althea Volpe]] ====
 
 
 
 
 
 
 
 
----

{{(SHWJA) 위키 교실 Wiki Guide}}
{{(SHWJA) 참고자료 References}}

[[Category:2018 Summer Hanmun Workshop]]
[[Category:Intermediate Training Group]]

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-07-30T00:19:09Z

Kyrie: /* VI-7. 送二女子歸序 traslated by Kyrie */

파일:送二女子歸序.jpg

2018-07-30T00:16:36Z

Kyrie:

2018 JSG Summer Hanmun Workshop (Intermediate)

2018-07-30T00:11:42Z

Kyrie: /* VI-7. 送二女子歸序 translated by Kyrie */

2018 推句 05 - 10

2018-07-20T13:11:19Z

Kyrie: /* Poem 5 : (Write your name) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 推句 :::'''
5.

春水滿四澤이요

夏雲多奇峯이라.

秋月揚明輝요

冬嶺秀孤松이라.

7.

月爲宇宙燭이요

風作山河鼓라.

月爲無柄扇이요

星作絶纓珠라.

9.

春作四時首요

人爲萬物靈이라.

水火木金土요

仁義禮智信이라.
}}

=='''Translation'''==

==='''Poem 5 : (Kyrie)'''===
----
Spring water fills all pools <ref> The literal translation is "fills four pools," but I understood that to refer to the four directions and by extension all pools. </ref>

Summer clouds are many marvelous mountain peaks.

Autumn moon scatters brilliant splendor

Winter mountain ridges distinguish lonely pines.
*Discussion Questions:
+To what does the 多 refer to? Are there many summer clouds or are the mountain peaks made by the clouds many? If the former, how can it be expressed in the translation?

==='''Poem 7 : (Okyang)'''===
----
The moon becomes the candle of the universe,

The wind makes the mountains and rivers a drum.

The moon becomes a fan without handle

The stars look like beads scattered from a severed tassel.

*Discussion Questions:

==='''Poem 9 : (Ewa)'''===
----Spring is the head [the first] of four seasons
Human beings are the soul of the myriad of things.

Water, fire, wood, metal and earth

Humanness, righteousness, propriety, wisdom and trust.

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 推句 56 - 58

2018-07-18T13:11:19Z

Kyrie: /* Student 3 : (Okyang) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 推句 :::'''
56.

山高松下立이요

江深沙上流라.

花開昨夜雨요

花落今朝風이라.

57.

大旱得甘雨하고

他鄕逢故人이라.

畫虎難畫骨이요

知人未知心이라.

58.

水去不復回요

言出難更收라.

學文千載寶요

貪物一朝塵이라.

}}

=='''Translation'''==

======
----

==='''Student 1 : (Althea Volpe)'''===
----
58.

Once the water leaves it doesn’t come back

Once the words come out it’s difficult to take them back

Learning a great number of arts is like carring a treasure

Desiring things is like the dust in an early morning

*Discussion Questions:
+ On the third line, instead of "literature", I've used the word "Arts" because I think it could be a more inclusive term. Can it be considered as a mistake?

==='''Student 2 : (Write your name) Ewa
57.

Severe drought receives sweet rain

In a foreign village meeting an old friend.

Drawing a tiger, still difficult to draw its bone

Knowing a person, yet not to know his heart.

==
----

*Discussion Questions:

==='''Student 3 : (Okyang)'''===
----
56.

Mountain is high but standing under the pine tree,

River is deep but flowing on the sand.

Flowers bloom with the rain of last night,

Flowers fall with the wind of this morning.

*Discussion Questions:
+ (Kyrie) Since you use the word "under" to describe the mountain's location, I think it would be a nice pair if you use "over" or "above" to describe the river's location.

==='''Student 4 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 5 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 6 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 7 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 8 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 9 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 10 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 11 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 12 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 13 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 14 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

(Translation) 丕寧突陳

2018-07-18T13:07:12Z

Kyrie: /* Student 1 : (Kyrie) */

{{Primary Source Document3
|Image = 비녕돌진2.jpg
|English =
|Chinese =
|Korean =
|Genre =
|Type =
|Author =
|Year =
|Key Concepts=
|Translator = [[2018 Hanmun Summer Workshop (Intermediate)#Participants | Participants of 2018 Hanmun Summer Workshop (Intermediate Training Group)]]
|Editor =
|Translation Year = 2018
}}

=='''Original Script'''==

{{둥근 모서리2
| =
善德女主十五年. 百濟將軍義直率兵分攻. 甘勿. 桐岑二城. 主遣金庾信率兵拒之. 苦戰氣渴. 庾信顧謂丕寧子曰事急矣. 子能奮激出奇. 以勵衆心乎. 丕寧子拜曰. 當以死報. 出謂奴合節曰. 吾爲國家死之. 吾子擧眞有志. 必欲俱死. 若父子幷命. 則家人疇依. 汝其與擧眞. 好收吾骨歸. 以慰其母心. 卽鞭馬. 橫槊突陳. 格殺數人而死. 擧眞望之欲赴. 合節曰. 大人令合節. 奉阿郞還家. 以慰夫人. 今子負父命. 棄母慈. 可乎. 執轡不放. 擧眞曰. 見父之死而苟存. 豈孝乎. 以劒擊合節臂. 奔入戰死. 合節曰. 所天崩矣. 不死何爲. 亦交鋒而死. 軍士爭進. 斬首三千. 主聞之涕淚. 禮葬厚賜.

【詩】二城受敵勢將危. 倉卒將軍力莫支.

　　　奮激出奇能勵衆. 一身忠義永無隳.

　　　囑奴收骨慰家人. 突陣橫戈不顧身.

　　　合節擧眞相繼死. 宜加恩禮奬忠臣.

}}

=='''Translation'''==

==='''(sample) : Young Kyun Oh'''===
----

*Discussion Questions:

==='''Student 1 : (Kyrie)'''===
----
It was the 15th year of Queen Sŏndŏk's reign. <ref> Queen Sŏndŏk ruled Shilla from AD 632-647. The 15th year of her reign would have been AD 647, which was also her last year. </ref> The Paekche <ref> Paekche Kingdom (18 BC – AD 660) </ref> General Ŭijik led his army in a divided attack on two forts, Kammul and Tongjam. The Queen sent Kim Yusin to lead the troops and block the attack. The Shilla troops suffered in the battle and their qi was exhausted. Yusin saw this and said to the man named Pi Nyŏngja: "The matter has become dire. Can you exert yourself and surge out and be remarkable, and, by doing so, encourage the group's morale?"Pi Nyŏngja bowed deeply and said: "I must respond with my death." He left said to his slave, whose name was Hapchŏl: "I will go to die for my country. My son Kŏjin has ideals. Surely he will want to die together. If father and son die, then who will my wife depend on? You and Kŏjin should collect my bones and return safely and thereby console his mother's heart." Right the he whipped his horse. He held his spear and charged the enemy line. He went, killed several people, and died. Kŏjin saw it and wanted to go. Hapchŏl said: "The Master ordered me to escort the Young Master and return home and thereby console the Lady. Now, a son turning his back on his father's orders and abandoning his mother's love, how is that alright?" He held the bridle and did not let go. Kŏjin said: "Seeing my father's death but indifferently surviving, how is that filial piety? " With his sword he hit Hapchŏl's arm. He rushed into the battle and died. Hapchŏl said: "Those who I regarded as Heaven have collapsed. If I do not die what will I do?" He also engaged in the battle and died. The soldiers strove to advance. They beheaded 3,000. The Queen listened to this and shed tears. She performed a ritual burial and generous bestowed gifts.

Two forts were subjected to the enemy and the situation was about to be dangerous. Suddenly the General's strength did not sustain them.

Exert yourself, rush out, be remarkable, and encourage the group. One person's loyalty and righteousness last for a long time without destruction.

He ordered his slave to collect his bones and console his wife. He charged the enemy line, carrying his spear, and did not turn back.

Hapchŏl and Kŏjin mutually carried on the death. It is suitable to favour a loyal subject with rites and rewards.

*Discussion Questions:

==='''Student 2 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 3 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 4 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 5 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 6 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 7 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 8 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 9 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 10 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 11 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 12 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 13 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 14 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

(Translation) 丕寧突陳

2018-07-18T13:06:44Z

Kyrie: /* Student 1 : (Kyrie) */

(Translation) 丕寧突陳

2018-07-18T13:06:24Z

Kyrie: /* Student 1 : (Kyrie) */

{{Primary Source Document3
|Image = 비녕돌진2.jpg
|English =
|Chinese =
|Korean =
|Genre =
|Type =
|Author =
|Year =
|Key Concepts=
|Translator = [[2018 Hanmun Summer Workshop (Intermediate)#Participants | Participants of 2018 Hanmun Summer Workshop (Intermediate Training Group)]]
|Editor =
|Translation Year = 2018
}}

=='''Original Script'''==

{{둥근 모서리2
| =
善德女主十五年. 百濟將軍義直率兵分攻. 甘勿. 桐岑二城. 主遣金庾信率兵拒之. 苦戰氣渴. 庾信顧謂丕寧子曰事急矣. 子能奮激出奇. 以勵衆心乎. 丕寧子拜曰. 當以死報. 出謂奴合節曰. 吾爲國家死之. 吾子擧眞有志. 必欲俱死. 若父子幷命. 則家人疇依. 汝其與擧眞. 好收吾骨歸. 以慰其母心. 卽鞭馬. 橫槊突陳. 格殺數人而死. 擧眞望之欲赴. 合節曰. 大人令合節. 奉阿郞還家. 以慰夫人. 今子負父命. 棄母慈. 可乎. 執轡不放. 擧眞曰. 見父之死而苟存. 豈孝乎. 以劒擊合節臂. 奔入戰死. 合節曰. 所天崩矣. 不死何爲. 亦交鋒而死. 軍士爭進. 斬首三千. 主聞之涕淚. 禮葬厚賜.

【詩】二城受敵勢將危. 倉卒將軍力莫支.

　　　奮激出奇能勵衆. 一身忠義永無隳.

　　　囑奴收骨慰家人. 突陣橫戈不顧身.

　　　合節擧眞相繼死. 宜加恩禮奬忠臣.

}}

=='''Translation'''==

==='''(sample) : Young Kyun Oh'''===
----

*Discussion Questions:

==='''Student 1 : (Kyrie)'''===
----
It was the 15th year of Queen Sŏndŏk's reign. <ref> Queen Sŏndŏk ruled Shilla from AD 632-647. The 15th year of her reign would have been AD 647, which was also her last year. </ref> The Paekche <ref> Paekche Kingdom (18 BC – AD 660) </ref> General Ŭijik led his army in a divided attack on two forts, Kammul and Tongjam. The Queen sent Kim Yusin to lead the troops and block the attack. The Shilla troops suffered in the battle and their qi was exhausted. Yusin saw this and said to the man named Pi Nyŏngja: "The matter has become dire. Can you exert yourself and surge out and be remarkable, and, by doing so, encourage the group's morale?"Pi Nyŏngja bowed deeply and said: "I must respond with my death." He left said to his slave, whose name was Hapchŏl: "I will go to die for my country. My son Kŏjin has ideals. Surely he will want to die together. If father and son die, then who will my wife depend on? You and Kŏjin should collect my bones and return safely and thereby console his mother's heart." Right the he whipped his horse. He held his spear and charged the enemy line. He went, killed several people, and died. Kŏjin saw it and wanted to go. Hapchŏl said: "The Master ordered me to escort the Young Master and return home and thereby console the Lady. Now, a son turning his back on his father's orders and abandoning his mother's love, how is that alright?" He held the bridle and did not let go. Kŏjin said: "Seeing my father's death but indifferently surviving, how is that filial piety? " With his sword he hit Hapchŏl's arm. He rushed into the battle and died. Hapchŏl said: "Those who I regarded as Heaven have collapsed. If I do not die what will I do?" He also engaged in the battle and died. The soldiers strove to advance. They beheaded 3,000. The Queen listened to this and shed tears. She performed a ritual burial and generous bestowed gifts.

Two forts were subjected to the enemy and the situation was about to be dangerous. Suddenly the General's strength did not sustain them.
Exert yourself, rush out, be remarkable, and encourage the group. One person's loyalty and righteousness last for a long time without destruction.
He ordered his slave to collect his bones and console his wife. He charged the enemy line, carrying his spear, and did not turn back.
Hapchŏl and Kŏjin mutually carried on the death. It is suitable to favour a loyal subject with rites and rewards.
*Discussion Questions:

==='''Student 2 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 3 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 4 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 5 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 6 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 7 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 8 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 9 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 10 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 11 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 12 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 13 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 14 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 36 - 40

2018-07-17T11:41:08Z

Kyrie: /* Sentence 40 : Julian Butterfield */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 學語集 :::'''
36. 杏花

三月江南處處花發水村山郭風掣酒旗遊人行客多尋杏花村

*NN reduplication

37. 梅花

臘雪初消寒葩始綻閒庭黃昏暗香浮動

38. 柳

渭城朝雨章臺春風枝枝垂絲葉葉嫩金征婦結恨遊者蕩情

*Metaphors

39. 蘭草

生於幽谷淸香遠播君子愛之故曰人之同心其臭如蘭如入芝蘭之室

*Allusions

40. 四季花

凡百卉之發一歲不再發惟此花獨春之季月夏之季月秋之季月冬之季月每發故謂之四季花

*每 V: V every time　　　　　　　　cf) 每 N: every N
}}

=='''Translation'''==

==='''Sentence 36 : (Althea Volpe)'''===
----

During the third month [of the year], in the south of the river, flowers blossom everywhere; in the villages [near] the water and the outer parts of the cities [near] the mountains the wind makes the flags flutter. Many visitors and travelers look for the village where the apricot flower blooms.

*Discussion Questions:
+ For what concerns the word 江南 I prefered not to use the form Jiangnan nor Gangnam in order to have a more general translation.
(Kyrie) I don't see the word 酒 reflected in the translation. During class Professor Oh mentioned that the 酒 refers to an inn or tavern, so perhaps we could translate it as "the wind makes the tavern's / inn's flags flutter."

==='''Sentence 37 : (Althea Volpe)'''===
----
During the last month of the year the first snow starts to melt and the flower in coldness starts to bloom. At dusk in the peaceful courtyard the dark fragrance floats around.

*Discussion Questions:

==='''Sentence 38 : Julian Butterfield'''===
----
Morning rain in Weicheng, spring wind in Zhangtai,<ref>The poem by Han Hong 韓翃 reads: 章臺柳！章臺柳！顏色青青今在否？縱使長條似舊垂，也應攀折他人手. Liu Zhangtai 柳章臺 and her relationship with Han Hong are the inspiration for many works, including poems, longer narratives, and dramas. See Lily Xiao Hong Lee & Sue Willes, eds., ''Biographical Dictionary of Chinese Women: Tang Through Ming, 618-1644,'' (Armonk, NY: M.E. Sharpe, 2014), 262-3.</ref> Many branches of hanging thread, many leaves of tender gold. Soldiers' wives tense with resentment, and drifters sway their passions.

*Discussion Questions:
# I find the tone of this poem really interesting, and tried my best to maintain a degree of ambivalence in the translation (especially in the final two clauses). That said, I'm really curious to know how others interpret tone, both here and elsewhere in our materials. Any comments??
(Kyrie) I think the phrase "sway their passions" is a good representation of the symbolism of the willow. I would suggest removing the "and" before "drifters" in order to create parallelism with the previous sentence.

==='''Sentence 39 : Julian Butterfield'''===
----
Born in deep valleys, their fragrance is cast far. Men of virtue love them. For this reason it is said, people of like mind smell [to one another] like orchids—like entering a room of irises and orchids.<ref>The reference is from 孔子家語 book 6, part 15.</ref>

*Discussion Questions:
# Is it that ''people'' of like mind smell to each other like orchids, or have I misconstrued this?

==='''Sentence 40 : Julian Butterfield'''===
----
In general, the blooming of flowers is once a year and not more. Just this flower alone, with the ends of spring, summer, fall, and winter, blooms each time. For this reason, it is called the four-season flower.<ref>As discussed, this name probably refers to the ''Hibiscus rosa-sinensis.''</ref>

*Discussion Questions:
# I dropped the second 發 here in my translation for the sake of elegance. Have I missed anything/corrupted the text at all by doing so?

(Kyrie) I find the sentence "Just this flower alone, with the ends of spring, summer, fall, and winter, blooms each time" a little difficult to understand. I would suggest translating it as "in the last months of spring, summer etc," although as small a change as "at the ends of spring etc" would help to clarify the meaning for me.

==='''References'''===
----

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 36 - 40

2018-07-17T11:36:58Z

Kyrie: /* Sentence 38 : Julian Butterfield */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 學語集 :::'''
36. 杏花

三月江南處處花發水村山郭風掣酒旗遊人行客多尋杏花村

*NN reduplication

37. 梅花

臘雪初消寒葩始綻閒庭黃昏暗香浮動

38. 柳

渭城朝雨章臺春風枝枝垂絲葉葉嫩金征婦結恨遊者蕩情

*Metaphors

39. 蘭草

生於幽谷淸香遠播君子愛之故曰人之同心其臭如蘭如入芝蘭之室

*Allusions

40. 四季花

凡百卉之發一歲不再發惟此花獨春之季月夏之季月秋之季月冬之季月每發故謂之四季花

*每 V: V every time　　　　　　　　cf) 每 N: every N
}}

=='''Translation'''==

==='''Sentence 36 : (Althea Volpe)'''===
----

During the third month [of the year], in the south of the river, flowers blossom everywhere; in the villages [near] the water and the outer parts of the cities [near] the mountains the wind makes the flags flutter. Many visitors and travelers look for the village where the apricot flower blooms.

*Discussion Questions:
+ For what concerns the word 江南 I prefered not to use the form Jiangnan nor Gangnam in order to have a more general translation.
(Kyrie) I don't see the word 酒 reflected in the translation. During class Professor Oh mentioned that the 酒 refers to an inn or tavern, so perhaps we could translate it as "the wind makes the tavern's / inn's flags flutter."

==='''Sentence 37 : (Althea Volpe)'''===
----
During the last month of the year the first snow starts to melt and the flower in coldness starts to bloom. At dusk in the peaceful courtyard the dark fragrance floats around.

*Discussion Questions:

==='''Sentence 38 : Julian Butterfield'''===
----
Morning rain in Weicheng, spring wind in Zhangtai,<ref>The poem by Han Hong 韓翃 reads: 章臺柳！章臺柳！顏色青青今在否？縱使長條似舊垂，也應攀折他人手. Liu Zhangtai 柳章臺 and her relationship with Han Hong are the inspiration for many works, including poems, longer narratives, and dramas. See Lily Xiao Hong Lee & Sue Willes, eds., ''Biographical Dictionary of Chinese Women: Tang Through Ming, 618-1644,'' (Armonk, NY: M.E. Sharpe, 2014), 262-3.</ref> Many branches of hanging thread, many leaves of tender gold. Soldiers' wives tense with resentment, and drifters sway their passions.

*Discussion Questions:
# I find the tone of this poem really interesting, and tried my best to maintain a degree of ambivalence in the translation (especially in the final two clauses). That said, I'm really curious to know how others interpret tone, both here and elsewhere in our materials. Any comments??
(Kyrie) I think the phrase "sway their passions" is a good representation of the symbolism of the willow. I would suggest removing the "and" before "drifters" in order to create parallelism with the previous sentence.

==='''Sentence 39 : Julian Butterfield'''===
----
Born in deep valleys, their fragrance is cast far. Men of virtue love them. For this reason it is said, people of like mind smell [to one another] like orchids—like entering a room of irises and orchids.<ref>The reference is from 孔子家語 book 6, part 15.</ref>

*Discussion Questions:
# Is it that ''people'' of like mind smell to each other like orchids, or have I misconstrued this?

==='''Sentence 40 : Julian Butterfield'''===
----
In general, the blooming of flowers is once a year and not more. Just this flower alone, with the ends of spring, summer, fall, and winter, blooms each time. For this reason, it is called the four-season flower.<ref>As discussed, this name probably refers to the ''Hibiscus rosa-sinensis.''</ref>

*Discussion Questions:
# I dropped the second 發 here in my translation for the sake of elegance. Have I missed anything/corrupted the text at all by doing so?

==='''References'''===
----

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 36 - 40

2018-07-17T11:33:07Z

Kyrie: /* Sentence 36 : (Althea Volpe) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 學語集 :::'''
36. 杏花

三月江南處處花發水村山郭風掣酒旗遊人行客多尋杏花村

*NN reduplication

37. 梅花

臘雪初消寒葩始綻閒庭黃昏暗香浮動

38. 柳

渭城朝雨章臺春風枝枝垂絲葉葉嫩金征婦結恨遊者蕩情

*Metaphors

39. 蘭草

生於幽谷淸香遠播君子愛之故曰人之同心其臭如蘭如入芝蘭之室

*Allusions

40. 四季花

凡百卉之發一歲不再發惟此花獨春之季月夏之季月秋之季月冬之季月每發故謂之四季花

*每 V: V every time　　　　　　　　cf) 每 N: every N
}}

=='''Translation'''==

==='''Sentence 36 : (Althea Volpe)'''===
----

During the third month [of the year], in the south of the river, flowers blossom everywhere; in the villages [near] the water and the outer parts of the cities [near] the mountains the wind makes the flags flutter. Many visitors and travelers look for the village where the apricot flower blooms.

*Discussion Questions:
+ For what concerns the word 江南 I prefered not to use the form Jiangnan nor Gangnam in order to have a more general translation.
(Kyrie) I don't see the word 酒 reflected in the translation. During class Professor Oh mentioned that the 酒 refers to an inn or tavern, so perhaps we could translate it as "the wind makes the tavern's / inn's flags flutter."

==='''Sentence 37 : (Althea Volpe)'''===
----
During the last month of the year the first snow starts to melt and the flower in coldness starts to bloom. At dusk in the peaceful courtyard the dark fragrance floats around.

*Discussion Questions:

==='''Sentence 38 : Julian Butterfield'''===
----
Morning rain in Weicheng, spring wind in Zhangtai,<ref>The poem by Han Hong 韓翃 reads: 章臺柳！章臺柳！顏色青青今在否？縱使長條似舊垂，也應攀折他人手. Liu Zhangtai 柳章臺 and her relationship with Han Hong are the inspiration for many works, including poems, longer narratives, and dramas. See Lily Xiao Hong Lee & Sue Willes, eds., ''Biographical Dictionary of Chinese Women: Tang Through Ming, 618-1644,'' (Armonk, NY: M.E. Sharpe, 2014), 262-3.</ref> Many branches of hanging thread, many leaves of tender gold. Soldiers' wives tense with resentment, and drifters sway their passions.

*Discussion Questions:
# I find the tone of this poem really interesting, and tried my best to maintain a degree of ambivalence in the translation (especially in the final two clauses). That said, I'm really curious to know how others interpret tone, both here and elsewhere in our materials. Any comments??

==='''Sentence 39 : Julian Butterfield'''===
----
Born in deep valleys, their fragrance is cast far. Men of virtue love them. For this reason it is said, people of like mind smell [to one another] like orchids—like entering a room of irises and orchids.<ref>The reference is from 孔子家語 book 6, part 15.</ref>

*Discussion Questions:
# Is it that ''people'' of like mind smell to each other like orchids, or have I misconstrued this?

==='''Sentence 40 : Julian Butterfield'''===
----
In general, the blooming of flowers is once a year and not more. Just this flower alone, with the ends of spring, summer, fall, and winter, blooms each time. For this reason, it is called the four-season flower.<ref>As discussed, this name probably refers to the ''Hibiscus rosa-sinensis.''</ref>

*Discussion Questions:
# I dropped the second 發 here in my translation for the sake of elegance. Have I missed anything/corrupted the text at all by doing so?

==='''References'''===
----

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 推句 41 - 50

2018-07-17T11:27:58Z

Kyrie: /* Poem 50 : (Okyang) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 推句 :::'''
41.

馬行千里路요

牛耕百畝田이라.

馬行駒隨後요

牛耕犢臥原이라.

46.

花紅黃蜂鬧요

草錄白馬嘶라.

山雨夜鳴竹이요

草蟲秋入牀이라.

50.

林風涼不絶이요

山月曉仍明이라.

竹筍尖如筆이요

松葉細似針이라.

}}

=='''Translation'''==

==='''Poem 41 : (Fran)'''===
----
The horse travels the thousand ''li'' road,1

The ox tills the hundred ''mu'' field.2

The horse travels and the colt follows behind,

The ox tills and the calf lies down in the plain.

1. A ''li'' is the Chinese mile. A thousand ''li'' is equivalent to 500 kilometers.
2. A ''mu'' is a measure of land that has varied in size throughout Chinese reigns. It ranges from five to nine ''mu'' to an acre.

*Discussion Questions:

==='''Poem 46 : (Kyrie)'''===
----
The flowers are red and the yellow bees buzz,

The grass is green and the white horses neigh.

In the night mountain rain makes bamboo resonate,

In the Autumn grass insects enter their beds.

*Discussion Questions:

(Fran): I think I would prefer the translation of the third line as: "At night the mountain rain gives voice to the bamboo." I think this captures the connotation of 鳴 as a cry or something vocalized. Also the phrase in the fourth line "enter their beds" makes it sound like its the insects' beds rather than people's beds. So perhaps eliminate "their" and simply say "insects enter the bedchamber"? Maybe "bedchamber" is going too far, but I think it makes it clear that this is a human dwelling.

==='''Poem 50 : (Okyang)'''===
----
The coolness of the forest wind doesn’t cease,

The moon on the mountain is still bright at dawn.

The bamboo shoot is pointed like a writing brush,

Pine needles are fine like needles.

*Discussion Questions:

(Kyrie) As we discussed in class, the last line is difficult to translate without repetition. In class we were trying to think of synonyms for "pine needles" but what if we tried to find another word for "needle"? Maybe "pins"?
[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 童蒙先習 23 - 25

2018-07-17T11:20:30Z

Kyrie: /* Student 2 : (Kyrie) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 童蒙先習 :::'''
23. 苟或交遊之際에 不以切磋琢磨로 爲相與하고 但以歡狎戱謔으로 爲相親이면 則安能久而不疎乎리오

:- 만약 혹시라도 서로 사귈 때에 切磋琢磨하는 것으로 서로 함께 하지 아니하고, 다만 기뻐하고 친하며 장난하고 농담하는 것으로 서로 가까이 한다면, 어찌 오래 되어도 소원해지지 않을 수 있겠는가.

24. 昔者에 晏子與人交하되 久而敬之하니 朋友之道가 當如是也니라 孔子曰不信乎朋友면 不獲乎上矣리라 信乎朋友有道하니 不順乎親이면 不信乎朋友矣라하시니라

:- 옛적에 晏子는 남과 사귀되 오래 되어도 상대를 공경하였으니, 붕우간의 도리는 마땅히 이와 같아야 한다. 孔子께서도 이렇게 말씀하였다. “친구들에게서 신임을 얻지 못하면 윗사람에게서도 인정받지 못할 것이다. 친구들에게서 신임을 얻는데 일정한 방법이 있으니, 어버이에게서 순종한다고 인정받지 못하면 친구들의 신임을 얻지 못할 것이다.”

'''::總論::'''

25. 此五品者는 天敍之典而人理之所固有者라 人之行이 不外乎五者而唯孝爲百行之源이라

:- 이 다섯 가지 일은 하늘이 펼쳐 준 모범이고 사람이 본래부터 지니고 있는 도리이다. 사람의 행실이 이 다섯 가지에서 벗어나지 않지만 오직 효도가 모든 행실의 근원이 된다.
}}

=='''Translation'''==

==='''(sample) : Young Kyun Oh'''===
----

*Discussion Questions:

==='''Student 1 : (Fran)'''===
----
If at the time of forming associations one does not use mutual exertion and application in order to be together, and instead is overly familiar and facetious in order to create intimacy, then how can such friendship endure and not result in alienation?

*Discussion Questions:
+ I thought long and hard about translating 切磋琢磨 and 歡狎戱謔, and I am rather pleased with the phrases I decided upon. But I'm certainly open to criticisms. I also like the word "alienation" for 疎, which is a character that I've been puzzled by for a while.

==='''Student 2 : (Kyrie)'''===
----
In the past, Yanzi <ref> Yanzi, also known as Yan Ying, (circa 500 BC) was a famous statesman from the state of Qi during the Spring and Autumn Period. The book ''Tales of Yanzi''describes his words and actions. </ref> associated with the people. He respected them for a long time. The way of friendship must be like this. Confucius said: "If you are not trusted by your friends, then you will not be accepted by your superiors. There is a way to be trusted by friends. If you are not obedient to your parents, then you will not be trusted by your friends.

*Discussion Questions:
+ There seems to be a lack of connection between the sentences. Is there a way to integrate them better?

==='''Student 3 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 4 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 5 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 6 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 7 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 8 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 9 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 10 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 11 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 12 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 13 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 14 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 童蒙先習 23 - 25

2018-07-17T11:19:54Z

Kyrie: /* Student 2 : (Kyrie) */

2018 推句 41 - 50

2018-07-16T09:29:18Z

Kyrie: /* Student 2 : (Kyrie) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 推句 :::'''
41.

馬行千里路요

牛耕百畝田이라.

馬行駒隨後요

牛耕犢臥原이라.

46.

花紅黃蜂鬧요

草錄白馬嘶라.

山雨夜鳴竹이요

草蟲秋入牀이라.

50.

林風涼不絶이요

山月曉仍明이라.

竹筍尖如筆이요

松葉細似針이라.

}}

=='''Translation'''==

==='''(sample) : Young Kyun Oh'''===
----

*Discussion Questions:

==='''Student 1 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 2 : (Kyrie)'''===
----
The flowers are red and the yellow bees buzz,

The grass is green and the white horses neigh.

In the night mountain rain makes bamboo resonate,

In the Autumn grass insects enter their beds.

*Discussion Questions:

==='''Student 3 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 4 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 5 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 6 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 7 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 8 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 9 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 10 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 11 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 12 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 13 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 14 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 推句 41 - 50

2018-07-16T09:28:01Z

Kyrie: /* Student 2 : (Kyrie) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 推句 :::'''
41.

馬行千里路요

牛耕百畝田이라.

馬行駒隨後요

牛耕犢臥原이라.

46.

花紅黃蜂鬧요

草錄白馬嘶라.

山雨夜鳴竹이요

草蟲秋入牀이라.

50.

林風涼不絶이요

山月曉仍明이라.

竹筍尖如筆이요

松葉細似針이라.

}}

=='''Translation'''==

==='''(sample) : Young Kyun Oh'''===
----

*Discussion Questions:

==='''Student 1 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 2 : (Kyrie)'''===
----
The flowers are red and the yellow bees buzz,
The grass is green and the white horses neigh.
In the night mountain rain makes bamboo resonate,
In the Autumn grass insects enter their beds.

*Discussion Questions:

==='''Student 3 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 4 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 5 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 6 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 7 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 8 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 9 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 10 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 11 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 12 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 13 : (Write your name)'''===
----

*Discussion Questions:

==='''Student 14 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

(Translation) 烈婦入江

2018-07-15T13:04:09Z

Kyrie: /* Student Translation : Petra Sváková */

{{Primary Source Document3
|Image = 열부입강.jpg
|English =
|Chinese =
|Korean =
|Genre =
|Type =
|Author =
|Year =
|Key Concepts=
|Translator = [[2018 Hanmun Summer Workshop (Intermediate)#Participants | Participants of 2018 Hanmun Summer Workshop (Intermediate Training Group)]]
|Editor =
|Translation Year = 2018
}}

=='''Original Script'''==

{{둥근 모서리2
| =
烈婦. 京山人. 進士裵中善女也. 旣笄. 歸士族李東郊. 善治內事. 洪武庚申. 倭賊逼京山. 闔境擾攘. 無敢禦者. 東郊時赴合浦帥幕. 未還. 賊騎突入烈婦所居里. 烈婦. 抱乳子走. 賊追之及江. 江水方漲. 烈婦度不能脫. 置乳子岸上. 走入江. 賊持滿注矢擬之曰. 而來. 免而死. 烈婦顧見賊. 罵曰. 何不速殺我. 我豈汚賊者邪. 賊發矢中肩. 再發再中. 遂歿於江中. 體覆使趙浚. 上其事. 族表里門.

【詩】島夷來逼孰能當. 闔境蒼皇走且僵.

　　忍見亂兒呱岸上. 自知難脫赴滄浪.

　　倭寇由來性不仁. 那知烈婦行眞純.

　　灘聲千載猶悲咽. 到此無人不愴神.

}}

=='''Translation'''==

==='''Student Translation : Petra Sváková'''===
----
A devoted wife enters the river

The devoted wife, a person of Kyŏngsan, was chinsa1 Pae Jungsŏn's daughter. She had already passed the age of 152 and got married to I Donggyu of a literati family. She was good at managing internal matters. In the Kyŏngshin year of Hongmu's reign3 Japanese pirates were oppressing Kyŏngsan. They surrounded the place and caused troubles. [There was] nobody who would dare to resist. Donggyu, at the time, went to Happ'o to commander's headquarters [but] did not come back. The bandits' cavalry suddenly entered the town [where] the devoted wife was living. The devoted wife embraced a baby she was breastfeeding and ran away. The bandits chased after her until the river. The river water was just then increasing. The devoted wife figured that she could not escape. She put the baby down on the riverbank and running entered the river. The bandits drew [their] bows and with all strength directed arrows, targeted her and said: "You, come [here], if not you will die." The devoted wife turned around and looked at the bandits, [while] scolding [them] she said: "Why don't you kill me quickly? How could I be blemished by [those who are] the bandits?" The bandits shot the arrows and hit [her] shoulder. They shot again and hit [her] again. Thereupon she died inside the river. Ch'eboksa4 Chojun sent the matter up and a banner was displayed at the gate of the town.

The island barbarians came to oppress [us], who can oppose [them]? They surrounded the area, the people agitatedly ran away as well as remained stiff and fell.

[The devoted wife] bore to see the confused child crying on the riverbank. Knowing [that it would be] difficult to escape, she advanced to the cold waves [of the river].

The Japanese pirates' nature originally is not benevolent. How would they know [that] the devoted wife's behaviour is so genuine?

The rapids' sound of thousand years is like sadly crying. Heretofore, no one will be not broken-hearted.

1 進士 - literally meaning is 'an advanced scholar', in the Chosǒn period it was a scholar who has only passed the first examination for office.

2 笄 - a large pin for holding hair, girls began to wear this pin when they were at the age of 15.

3 洪武庚申 - should mean the 57th year of the emperor Hongmu(ch. Hongwu)'s reign(1368 - 1398). However, this is a year of the reign of his son Yǒngnak (ch. Yongle; 1402 - 1424) who usurped the throne from his nephew and dated the first year of his reign as the '35th year of Hogmu's reign (洪武三十五年)'. Thus 洪武庚申 is 1424.

4 體覆使 - an official who received an order from the king and had to go to provinces to investigate crimes connected to the military affairs.

*Discussion Questions:
+ In the poem, how could be the last character 神 translated?

(Fran): The repetition of the phrase "the devoted wife" sounds a bit stilted. I wonder if the modifier "devoted" can be dropped after the first mention. It should be "The bandits ''drew'' their bows" to maintain consistent tense.

(Kyrie) I see your point about the repetition of "devoted" before wife, but I think that the "devoted" is part of her identity and therefore it is alright to repeat it. She is not just any wife. The story wants to stress that she is a ''devoted'' wife and it is for her ''devotion'' that she receives the gate.
Here 乳子 is translated as a verb and object "a baby she was breastfeeding." This sounds like the devoted wife was in the middle of breastfeeding her baby when the bandits arrived. However, I understood it more as a compound noun meaning a newborn infant who was still at the breastfeeding stage. My suggestion would be to translate it as "The devoted wife embraced her newborn baby/infant and ran away."

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

(Translation) 烈婦入江

2018-07-15T12:56:07Z

Kyrie: /* Student Translation : Petra Sváková */

{{Primary Source Document3
|Image = 열부입강.jpg
|English =
|Chinese =
|Korean =
|Genre =
|Type =
|Author =
|Year =
|Key Concepts=
|Translator = [[2018 Hanmun Summer Workshop (Intermediate)#Participants | Participants of 2018 Hanmun Summer Workshop (Intermediate Training Group)]]
|Editor =
|Translation Year = 2018
}}

=='''Original Script'''==

{{둥근 모서리2
| =
烈婦. 京山人. 進士裵中善女也. 旣笄. 歸士族李東郊. 善治內事. 洪武庚申. 倭賊逼京山. 闔境擾攘. 無敢禦者. 東郊時赴合浦帥幕. 未還. 賊騎突入烈婦所居里. 烈婦. 抱乳子走. 賊追之及江. 江水方漲. 烈婦度不能脫. 置乳子岸上. 走入江. 賊持滿注矢擬之曰. 而來. 免而死. 烈婦顧見賊. 罵曰. 何不速殺我. 我豈汚賊者邪. 賊發矢中肩. 再發再中. 遂歿於江中. 體覆使趙浚. 上其事. 族表里門.

【詩】島夷來逼孰能當. 闔境蒼皇走且僵.

　　忍見亂兒呱岸上. 自知難脫赴滄浪.

　　倭寇由來性不仁. 那知烈婦行眞純.

　　灘聲千載猶悲咽. 到此無人不愴神.

}}

=='''Translation'''==

==='''Student Translation : Petra Sváková'''===
----
A devoted wife enters the river

The devoted wife, a person of Kyŏngsan, was chinsa1 Pae Jungsŏn's daughter. She had already passed the age of 152 and got married to I Donggyu of a literati family. She was good at managing internal matters. In the Kyŏngshin year of Hongmu's reign3 Japanese pirates were oppressing Kyŏngsan. They surrounded the place and caused troubles. [There was] nobody who would dare to resist. Donggyu, at the time, went to Happ'o to commander's headquarters [but] did not come back. The bandits' cavalry suddenly entered the town [where] the devoted wife was living. The devoted wife embraced a baby she was breastfeeding and ran away. The bandits chased after her until the river. The river water was just then increasing. The devoted wife figured that she could not escape. She put the baby down on the riverbank and running entered the river. The bandits drew [their] bows and with all strength directed arrows, targeted her and said: "You, come [here], if not you will die." The devoted wife turned around and looked at the bandits, [while] scolding [them] she said: "Why don't you kill me quickly? How could I be blemished by [those who are] the bandits?" The bandits shot the arrows and hit [her] shoulder. They shot again and hit [her] again. Thereupon she died inside the river. Ch'eboksa4 Chojun sent the matter up and a banner was displayed at the gate of the town.

The island barbarians came to oppress [us], who can oppose [them]? They surrounded the area, the people agitatedly ran away as well as remained stiff and fell.

[The devoted wife] bore to see the confused child crying on the riverbank. Knowing [that it would be] difficult to escape, she advanced to the cold waves [of the river].

The Japanese pirates' nature originally is not benevolent. How would they know [that] the devoted wife's behaviour is so genuine?

The rapids' sound of thousand years is like sadly crying. Heretofore, no one will be not broken-hearted.

1 進士 - literally meaning is 'an advanced scholar', in the Chosǒn period it was a scholar who has only passed the first examination for office.

2 笄 - a large pin for holding hair, girls began to wear this pin when they were at the age of 15.

3 洪武庚申 - should mean the 57th year of the emperor Hongmu(ch. Hongwu)'s reign(1368 - 1398). However, this is a year of the reign of his son Yǒngnak (ch. Yongle; 1402 - 1424) who usurped the throne from his nephew and dated the first year of his reign as the '35th year of Hogmu's reign (洪武三十五年)'. Thus 洪武庚申 is 1424.

4 體覆使 - an official who received an order from the king and had to go to provinces to investigate crimes connected to the military affairs.

*Discussion Questions:
+ In the poem, how could be the last character 神 translated?

(Fran): The repetition of the phrase "the devoted wife" sounds a bit stilted. I wonder if the modifier "devoted" can be dropped after the first mention. It should be "The bandits ''drew'' their bows" to maintain consistent tense.
(Kyrie) I see your point about the repetition of "devoted" before wife, but I think that the "devoted" is part of her identity and therefore it is alright to repeat it. She is not just any wife. The story wants to stress that she is a ''devoted'' wife and it is for her ''devotion'' that she receives the gate.

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

(Translation) 諧謔

2018-07-12T11:52:41Z

Kyrie: /* Student Translation : (Kyrie) */

{{Primary Source Document3
|Image = 해학.JPG
|English = Witty stories
|Chinese = 諧謔(Witty stories)
|Korean = 해학
|Genre =
|Type =
|Author = ''Yi Su-gwang'' 李睟光 (''Chibong yusŏl'' 芝峯類說)
|Year =
|Key Concepts=
|Translator = [[2018 Hanmun Summer Workshop (Intermediate)#Participants | Participants of 2018 Hanmun Summer Workshop (Intermediate Training Group)]]
|Editor =
|Translation Year = 2018
}}

<gallery>
파일:해학2.JPG|* 諧謔 (해학, Witty stories)(2)
</gallery>

=='''Original Script'''==

{{둥근 모서리2
| =
昔劉伯龍歷位九卿。貧窶尤甚。將營什一之方。有鬼在傍大笑。又貧人辨得隻瓮。夜宿瓮中。心計曰此瓮賣之。可辦二瓮。自二瓮化而爲四。其利無窮。遂喜而舞。不覺瓮破云。以此觀之。凡人貧富得失。皆有定分。不可以妄求者也。
-昔有一將官畏妻者。以爲天下之貞男。莫我若也。欲試諸人。乃植靑白兩旗於庭。令曰。貞男者赴靑旗。非貞男者赴白旗。於是軍中或左或右。有一卒獨中立不動。怪而問之。對曰。卒妻甞戒卒曰。男子眾會。則必談及女色。愼無往云。故不敢違耳。將官乃下庭。挽而上座曰。今日之事。爾爲將矣。

-有士人畜一妻一妾而摘白鬚者。妾拔白唯謹。而妻惡其欲媚於妾也。去其黑者。一朝白黑俱盡。儼一老婆。經歲不敢出焉。《芝峯類說.卷十六》

}}

=='''Translation'''==

==='''Student Translation : (Kyrie)'''===
----
In the past, Yu Paekyong <ref> Since the author of this text was Korean, I have used the Korean pronunciation for the names that appear. </ref> successively served as each of the nine ministers. <ref> These were the nine high government officials in the royal court who followed the Three Excellencies in rank. </ref> He was extremely poor. He was going to operate (a business) as a way to get one tenth. There was a ghost close by who laughed heartily. It is said that a poor man owned one jar. At night he slept inside the jar. In his mind he calculated and said: "If I sell it I can get two jars. Certainly the two jars can transform and become four jars. Its profits will be endless." Therefore he was happy and danced. Without realising what he did the jar broke. Considering this, in general people's poverty and wealth, and acquisitions and loses all have their fixed share and are things which cannot be recklessly pursued.

Once their was a general who feared his wife. He thought, "Of the faithful men in the world, no one is like me." He wanted to test it among other people. Therefore he set up two flags, blue and white, in the courtyard. He gave an order saying, "Those men who are faithful, go to the blue flag. Those men who are not faithful, go to the white flag." At this, among the soldiers some went left and some went right. There was one soldier who stood alone in the middle and did not move. The General thought it strange and asked him. The soldier replied and said: "My wife once warned me and said: 'If a crowd of men gather then the talk will necessarily reach the topic of women. Be careful that you don't go there.' For this reason I do not dare to disobey, and that's why." The General thereby went down to the courtyard. He pulled the soldier to the upper seat and said: "In regards to today's matter, you become the General."

Once there was a literati who kept one wife and one concubine and he had them pluck his white hair. The concubine carefully plucked only the white ones, but the wife hated that he wanted to charm the concubine. So she removed the hairs that were black. In one morning the black and white hairs were all gone. He looked like an old granny. For an entire year he was not brave enough to go out of there.

*Discussion Questions:
+In class we translated 將營什一之方 as "He was about to run a business that would bring him a 1/10 margin," but when I look at the characters I cannot find anything referring to a business or to what the 1/10 refers. Is this all understood from the meaning of 營? 

(Petra) 營 reffers to 'to run a business', 什一 refers to the '1/10' - 什's meaning is the same as of 十.
(Kyrie) 1/10 of what though?

[Julian] Just an aside—I think it's "''not'' brave enough to go outside" here. 
- I'd say we can take 敢 as 'to dare to...', hence, "He would not dare to go out". 
 (Kyrie) Thank you. I added "not."

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

(Translation) 諧謔

2018-07-12T11:52:02Z

Kyrie: /* Student Translation : (Kyrie) */

{{Primary Source Document3
|Image = 해학.JPG
|English = Witty stories
|Chinese = 諧謔(Witty stories)
|Korean = 해학
|Genre =
|Type =
|Author = ''Yi Su-gwang'' 李睟光 (''Chibong yusŏl'' 芝峯類說)
|Year =
|Key Concepts=
|Translator = [[2018 Hanmun Summer Workshop (Intermediate)#Participants | Participants of 2018 Hanmun Summer Workshop (Intermediate Training Group)]]
|Editor =
|Translation Year = 2018
}}

<gallery>
파일:해학2.JPG|* 諧謔 (해학, Witty stories)(2)
</gallery>

=='''Original Script'''==

{{둥근 모서리2
| =
昔劉伯龍歷位九卿。貧窶尤甚。將營什一之方。有鬼在傍大笑。又貧人辨得隻瓮。夜宿瓮中。心計曰此瓮賣之。可辦二瓮。自二瓮化而爲四。其利無窮。遂喜而舞。不覺瓮破云。以此觀之。凡人貧富得失。皆有定分。不可以妄求者也。
-昔有一將官畏妻者。以爲天下之貞男。莫我若也。欲試諸人。乃植靑白兩旗於庭。令曰。貞男者赴靑旗。非貞男者赴白旗。於是軍中或左或右。有一卒獨中立不動。怪而問之。對曰。卒妻甞戒卒曰。男子眾會。則必談及女色。愼無往云。故不敢違耳。將官乃下庭。挽而上座曰。今日之事。爾爲將矣。

-有士人畜一妻一妾而摘白鬚者。妾拔白唯謹。而妻惡其欲媚於妾也。去其黑者。一朝白黑俱盡。儼一老婆。經歲不敢出焉。《芝峯類說.卷十六》

}}

=='''Translation'''==

==='''Student Translation : (Kyrie)'''===
----
In the past, Yu Paekyong <ref> Since the author of this text was Korean, I have used the Korean pronunciation for the names that appear. </ref> successively served as each of the nine ministers. <ref> These were the nine high government officials in the royal court who followed the Three Excellencies in rank. </ref> He was extremely poor. He was going to operate (a business) as a way to get one tenth. There was a ghost close by who laughed heartily. It is said that a poor man owned one jar. At night he slept inside the jar. In his mind he calculated and said: "If I sell it I can get two jars. Certainly the two jars can transform and become four jars. Its profits will be endless." Therefore he was happy and danced. Without realising what he did the jar broke. Considering this, in general people's poverty and wealth, and acquisitions and loses all have their fixed share and are things which cannot be recklessly pursued.

Once their was a general who feared his wife. He thought, "Of the faithful men in the world, no one is like me." He wanted to test it among other people. Therefore he set up two flags, blue and white, in the courtyard. He gave an order saying, "Those men who are faithful, go to the blue flag. Those men who are not faithful, go to the white flag." At this, among the soldiers some went left and some went right. There was one soldier who stood alone in the middle and did not move. The General thought it strange and asked him. The soldier replied and said: "My wife once warned me and said: 'If a crowd of men gather then the talk will necessarily reach the topic of women. Be careful that you don't go there.' For this reason I do not dare to disobey, and that's why." The General thereby went down to the courtyard. He pulled the soldier to the upper seat and said: "In regards to today's matter, you become the General."

Once there was a literati who kept one wife and one concubine and he had them pluck his white hair. The concubine carefully plucked only the white ones, but the wife hated that he wanted to charm the concubine. So she removed the hairs that were black. In one morning the black and white hairs were all gone. He looked like an old granny. For an entire year he was not brave enough to go out of there.

*Discussion Questions:
+In class we translated 將營什一之方 as "He was about to run a business that would bring him a 1/10 margin," but when I look at the characters I cannot find anything referring to a business or to what the 1/10 refers. Is this all understood from the meaning of 營? 

(Petra) 營 reffers to 'to run a business', 什一 refers to the '1/10' - 什's meaning is the same as of 十.
(Kyrie) 1/10 of what though?

[Julian] Just an aside—I think it's "''not'' brave enough to go outside" here. 
- I'd say we can take 敢 as 'to dare to...', hence, "He would not dare to go out". 
 
(Kyrie) Thank you. I added "not."

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

(Translation) 諧謔

2018-07-12T11:51:41Z

Kyrie: /* Student Translation : (Kyrie) */

{{Primary Source Document3
|Image = 해학.JPG
|English = Witty stories
|Chinese = 諧謔(Witty stories)
|Korean = 해학
|Genre =
|Type =
|Author = ''Yi Su-gwang'' 李睟光 (''Chibong yusŏl'' 芝峯類說)
|Year =
|Key Concepts=
|Translator = [[2018 Hanmun Summer Workshop (Intermediate)#Participants | Participants of 2018 Hanmun Summer Workshop (Intermediate Training Group)]]
|Editor =
|Translation Year = 2018
}}

<gallery>
파일:해학2.JPG|* 諧謔 (해학, Witty stories)(2)
</gallery>

=='''Original Script'''==

{{둥근 모서리2
| =
昔劉伯龍歷位九卿。貧窶尤甚。將營什一之方。有鬼在傍大笑。又貧人辨得隻瓮。夜宿瓮中。心計曰此瓮賣之。可辦二瓮。自二瓮化而爲四。其利無窮。遂喜而舞。不覺瓮破云。以此觀之。凡人貧富得失。皆有定分。不可以妄求者也。
-昔有一將官畏妻者。以爲天下之貞男。莫我若也。欲試諸人。乃植靑白兩旗於庭。令曰。貞男者赴靑旗。非貞男者赴白旗。於是軍中或左或右。有一卒獨中立不動。怪而問之。對曰。卒妻甞戒卒曰。男子眾會。則必談及女色。愼無往云。故不敢違耳。將官乃下庭。挽而上座曰。今日之事。爾爲將矣。

-有士人畜一妻一妾而摘白鬚者。妾拔白唯謹。而妻惡其欲媚於妾也。去其黑者。一朝白黑俱盡。儼一老婆。經歲不敢出焉。《芝峯類說.卷十六》

}}

=='''Translation'''==

==='''Student Translation : (Kyrie)'''===
----
In the past, Yu Paekyong <ref> Since the author of this text was Korean, I have used the Korean pronunciation for the names that appear. </ref> successively served as each of the nine ministers. <ref> These were the nine high government officials in the royal court who followed the Three Excellencies in rank. </ref> He was extremely poor. He was going to operate (a business) as a way to get one tenth. There was a ghost close by who laughed heartily. It is said that a poor man owned one jar. At night he slept inside the jar. In his mind he calculated and said: "If I sell it I can get two jars. Certainly the two jars can transform and become four jars. Its profits will be endless." Therefore he was happy and danced. Without realising what he did the jar broke. Considering this, in general people's poverty and wealth, and acquisitions and loses all have their fixed share and are things which cannot be recklessly pursued.

Once their was a general who feared his wife. He thought, "Of the faithful men in the world, no one is like me." He wanted to test it among other people. Therefore he set up two flags, blue and white, in the courtyard. He gave an order saying, "Those men who are faithful, go to the blue flag. Those men who are not faithful, go to the white flag." At this, among the soldiers some went left and some went right. There was one soldier who stood alone in the middle and did not move. The General thought it strange and asked him. The soldier replied and said: "My wife once warned me and said: 'If a crowd of men gather then the talk will necessarily reach the topic of women. Be careful that you don't go there.' For this reason I do not dare to disobey, and that's why." The General thereby went down to the courtyard. He pulled the soldier to the upper seat and said: "In regards to today's matter, you become the General."

Once there was a literati who kept one wife and one concubine and he had them pluck his white hair. The concubine carefully plucked only the white ones, but the wife hated that he wanted to charm the concubine. So she removed the hairs that were black. In one morning the black and white hairs were all gone. He looked like an old granny. For an entire year he was not brave enough to go out of there.

*Discussion Questions:
+In class we translated 將營什一之方 as "He was about to run a business that would bring him a 1/10 margin," but when I look at the characters I cannot find anything referring to a business or to what the 1/10 refers. Is this all understood from the meaning of 營? 

(Petra) 營 reffers to 'to run a business', 什一 refers to the '1/10' - 什's meaning is the same as of 十.
(Kyrie) 1/10 of what though?

[Julian] Just an aside—I think it's "''not'' brave enough to go outside" here. 
- I'd say we can take 敢 as 'to dare to...', hence, "He would not dare to go out". 
 

(Kyrie) Thank you. I added "not."

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 童蒙先習 09 - 13

2018-07-12T11:49:02Z

Kyrie: /* Passage 11 : Jelena Gledić */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 童蒙先習 :::'''
9. 苟或君而不能盡君道하며 臣而不能修臣職이면 不可與共治天下國家也니라 雖然이나 吾君不能을 謂之賊이니

:- 만약 혹시라도 임금이면서 임금의 도리를 다하지 못하며 신하이면서 신하의 도리를 다하지 못하면 함께 천하 국가를 다스릴 수 없다. 비록 그렇지만 우리 임금은 훌륭한 정치를 베풀 수 없다고 말하는 이를 임금을 해치는 자라고 하니

10. 昔者에 商紂暴虐이어늘 比干이 諫而死하니 忠臣之節이 於斯盡矣로다 孔子曰臣事君以忠이라하시니라

:- 옛적에 商나라 임금 紂가 포학한 짓을 하자 比干이 간하다가 목숨을 잃었으니 충신의 절개가 여기서 극진했다. 공자께서는 신하는 임금을 忠으로 섬겨야 한다고 하셨다.

'''::夫婦有別::'''

11. 夫婦는 二姓之合이라 生民之始며 萬福之原이니 行媒議婚하며 納幣親迎者는 厚其別也라 是故로 娶妻하되 不娶同姓하며 爲宮室하되 辨內外하여 男子는 居外而不言內하고 婦人은 居內而不言外하나니

:- 남편과 아내는 두 성이 합한 관계이다. 백성들이 태어난 시초이며 모든 복의 근원이니 중매를 시행하여 혼인을 의논하며 폐백을 들이고 친히 맞이하는 것은 그 區別을 두터이하기 위한 것이다. 그러므로 아내를 맞아 들이되 같은 姓은 취하지 않으며, 집을 짓되 안과 밖을 구별하여 남자는 밖에 거처하여 안의 일에 대해 말하지 않고, 부인은 안에 거처하여 밖의 일에 대해서는 말하지 않는다.

12. 苟能莊以涖之하여 以體乾健之道하고 柔以正之하여 以承坤順之義면 則家道正矣어니와 反是而夫不能專制하여 御之不以其道하고

13. 婦乘其夫하여 事之不以其義하여 昧三從之道하고 有七去之惡이면 則家道索(삭)矣리라

:- 만일 <남편이> 씩씩함으로써 대하여 하늘의 굳건한 도리를 體行하고 <아내는> 부드러움으로써 바로잡아 땅이 하늘에 순종하는 도리를 받든다면 집안의 도리가 바로 서게 될 것이다. 만약 이와 반대로 남편이 아내를 마음대로 제어하지 못하여 올바른 도리로 다스리지 못하고, 아내가 남편의 약점을 틈 타 올바른 도리로 섬기지 않아서 三從의 도리를 알지 못하고 七去에 해당하는 악행이 있으면 집안의 법도가 무너질 것이다.
}}

=='''Translation'''==

==='''Passage 9 : Petra Sváková'''===
----
苟或君而不能盡君道하며 臣而不能修臣職이면 不可與共治天下國家也니라 雖然이나 吾君不能을 謂之賊이니

Indeed perhaps being a ruler but not be able to exhaust the way of the ruler, being a subject but not be able to carry out the responsibility of the subject [then it is] not possible '''to join together in ruling the family, the state, and all under the Heaven'''. Nevertheless, saying [that] my ruler is not able [to do this] is called treacherous.

*Discussion Questions:
+ For "天下國家" part I found a reference to Mencius (孟子曰：「人有恆言，皆曰『天下國家』。) in which this part is translated as "The kingdom, the State, the family.". Would this translation be also possible for this text? 
- Yes, thus " join together in ruling the family, the state, and all under the Heaven." The reference we mentioned in class was the ''Great Learning'' 大學 for its line "修身齊家治國平天下".

==='''Passage 10 : Petra Sváková'''===
----
昔者에 商紂暴虐이어늘 比干이 諫而死하니 忠臣之節이 於斯盡矣로다 孔子曰臣事君以忠이라하시니라

In the past, in the state of Shang1, [there was] king Zhou2 [who was] fierce and cruel. Bi Gan remonstrated against [his doings] and died. The moral integrity of the loyal subject reached to this [point]. Confucius said: "The subject [must] serve the ruler with loyalty."

1 Shang state (dynasty): 1600 BC - 1046 BC

2 King Zhou, also known as Di Xin (1105 BC - 1046 BC), according to Sima Qian was a very capable and quick-witted king in the early years of his reign but in his late years, he preferred drinking and women over morals and ruling the state.

*Discussion Questions:

==='''Passage 11 : Jelena Gledić'''===
----

Husband and wife – the joining of two family names, the beginning of life and people, the source of all happiness. The matchmaker discusses the marriage, welcoming gifts are exchanged, and this [all] emphasizes their mutual difference. That is why when taking a wife, one does not marry one of the same family name. In the home, the inner and the outer [realm] are distinguished. The man resides in the outer and does not discuss the inner, and the woman resides in the inner and does not discuss the outer.

*Discussion Questions:
+ Regarding 福, we discussed in class how to translate it and I thought about its relation with 喜 - when you decide on the translation for one, I think you should have one for the other as well because they are related; so, I decided on happiness for 福 (as its content is the more open-ended and subjective), and joy for 喜 (as in joyous occasion, because it is often used at weddings); this is just a suggestion and I still think fortune could also work. 

+ Regarding 行媒, in class I think we looked at 行 as a verb, but I found that the two characters together mean matchmaker (媒人, as in 禮記．曲禮上：「男女非有行媒，不相知名。」文選．沈約．奏彈王源：「以彼行媒，同之抱布。」). To me it also makes more sense like this, so I hope that is correct. 

+ I am not very happy with my solution for 納幣親迎者, so I will gladly take suggestions :) 

+ [http://archive.aks.ac.kr/imageViewer/ImageViewer.aspx?datauci=G002+AKS+KSM-XF.1695.0000-20101008.B070a_A01_00308_XXX&refuci=G002+AKS+KSM-XF.1695.0000-20101008.B070a_A01_00308_XXX&fname=G002+AKS+KSM-XF.1695.0000-20101008.B070a_A01_00308_XXX-IMG.001.jpg&closed=true 納幣文]

(Kyrie) In class we discussed that 納幣 refers to the bride greeting her parents-in-law and offering wedding presents, which I see reflected in the translation. We also said that 親迎 refers to the groom bringing the bride from her house to his house, which I do not see reflected in the translation. Perhaps e could try something like "the ceremonies of gift giving and retrieving the bride are those which emphasize their mutual difference" ?

==='''Passage 12 : (Write your name)'''===
----

*Discussion Questions:

==='''Passage 13 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 推句 21 - 30

2018-07-12T11:39:18Z

Kyrie: /* Sentence 30 : (Kyrie) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 推句 :::'''
22.

花落憐不掃요

月明愛無眠이라.

月作雲間鏡이요

風爲竹裡琴이라.

24.

歲去人頭白이요

秋來樹葉黃이라.

雨後山如沐이요

風前草似醉라.

30.

細雨池中看이요

微風木末知라.

花笑聲未聽이요

鳥啼淚難看이라.

}}

=='''Translation'''==

==='''Sentence 22 : (Althea Volpe)'''===
----
Flowers fall and you are sadden by it '''and do not sweep them up'''

The moon is bright and your love [for it] doesn’t make you sleep

Moon rises among the clouds and makes the sight of a mirror

The wind becomes like zither '''inside bamboos'''.

*Discussion Questions:
+ (YO) Line 1: "you are sadden by it '''and do not sweep them up'''." 
Also in Line 4, it would be "zither inside the bamboo". But I wonder if it is zither inside '''a''' bamboo or zither inside bamboos (i.e., bamboo forest)". 
+ I changed the translation with the corrections and I personally prefer the version "inside bamboos" because it gives me a sense of zither's sound diffusion. 
(YO) Good reason!

==='''Sentence 24 : (Fran)'''===
----
The years pass and people's heads turn white. 
Autumn comes and the foliage turns yellow. 
After the rain the mountains seem bathed. 
Before the wind the grasses appear drunk. 

*Discussion Questions:
+ I just decided to leave the ambiguity of 風前. Poetry is meant to be polysemic. 
(YO) Yes, I agree.

==='''Sentence 30 : (Kyrie)'''===
----
One sees a fine rain in the middle of a pond.

One knows a slight breeze from the tips of trees.

The sounds of laughing flowers are not heard.

The tears of crying birds are difficult to see.

*Discussion Questions:

(Fran) It's interesting that you translated this poem into the active voice. It raises an interesting question about wanting to avoid the passive voice--something that I also raised in another passage. But the original poem here seems to be rendered in the passive: 細雨池中看 might be "The fine rain is seen in the middle of the pond." I wonder if it's important or not to keep that voice (if in fact I'm right about the Chinese actually being in passive voice).

(Kyrie) Does the original poem seem to be in the passive voice because the verb appears at the end of the line?

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 26 - 30

2018-07-12T11:36:00Z

Kyrie: /* Sentence 28 : (Althea Volpe) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 學語集 :::'''
26. 衣食

人情終歲不制則寒一日不再食則飢故聖人乃制衣食以厚生民

*終 N: exhaust N

27. 士

士之爲業讀書修身整其衣冠謹其言行凡爲仕進者自士而始

*其: 3rd-person pronoun (it/he/she/they, nominative or possessive), “the”

*凡 C: in general, it is the case that C

*為 N 者: one who is N　　　　　　　cf) 為 V 者: one who V

28. 孝弟

孝悌之道根於天性不孝不悌近於禽獸也事親以誠事長以敬是爲孝悌也

*V 於 N: V in/on/to N

*A 於 N: A than N

*是 N 也: this is N　　　　　　　　　cf) 是為 N 也: (now) this is N

29. 四方

天地之間有四方前爲南後爲北左爲東右爲西

*Direction words: 東西南北 and 前後左右

30. 草

雜生山野爲地之毛春夏生長秋冬則黃枯
　
}}

=='''Translation'''==

==='''Sentence 26 : (Ewa )'''===
-------------
Clothes and food

For the condition of humans, if they fail to procure clothes by the end of the year, they will freeze; if they fail to eat twice a day, they will starve. For this reason, the sages procure clothes and food to secure people's livelihood.

*Discussion Questions: 
+ I am not sure about "procure" for 制 ('to cut out/ make clothes'). 終歲 is 'to last a year,' so perhaps "all year round"?

==='''Sentence 27 : (Ewa )'''===
----
Scholar

To become a professional scholar, one needs to read books and cultivate oneself, straighten one's clothes and hat, be careful with one's words and behaviour. All those who advance to higher office, begin by being a scholar.

*Discussion Questions: 
+ Just "scholar" rather than "professional scholar"?

==='''Sentence 28 : (Althea Volpe)'''===
----
28. Filiality and fraternity: The way of filiality and fraternity originates from the Heavenly nature. The one who [doesn't follow] filiality and fraternity is close to birds and beasts. To serve your parents with sincerity and to serve the elders with respect, this is filiality and fraternity.

*Discussion Questions:
+ I am not sure about "originate" for 根於. It is more likely 'to be rooted in'.
+(Kyrie) I do not think that "doesn't follow" needs to be in brackets because the text says "不孝不悌."

==='''Sentence 29 : (Althea Volpe)'''===
----
29. Four Directions: Between heaven and earth there are four directions. The front is the south. The back is the north. Left is east. Right is west.

*Discussion Questions:

==='''Sentence 30 : (Althea Volpe)'''===
----
30. Grass: Grass randomly grows on mountains and fields and it becomes the hair of the ground. During spring and summer it grows. In autumn and winter it becomes yellow and withers.

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 31 - 35

2018-07-12T11:31:06Z

Kyrie: /* Sentence 33 : (Kyrie) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 學語集 :::'''
31. 木

植根于土枝幹漸長春則葉生秋則葉落

32. 花

東風吹白花乃發或白或紅又有黃紫蜂蝶時來尋其香

*或: some, perhaps

*時 (Adv.)

33. 竹

靑靑高節貫四時而不變君子愛之種于庭

*Adjective reduplication (AA): adverbial or intensified

34. 松

亭亭獨立蒼翠之色經歲寒不變君子愛之種于庭

*經 N: passing through N

*之: 3rd person pronoun (it/him/her/them)

35. 桃

仲春之月始生華夭夭灼灼但得片時韶光

*始 V: begin to V, first V

*但: but, nevertheless
}}

=='''Translation'''==

==='''Sentence 31 : (Kyrie)'''===
----
Trees plant roots in the soil. The branches and trunks grow gradually. If it is spring then the leaves grow, but if it is autumn then the leaves fall.

*Discussion Questions:

==='''Sentence 32 : (Kyrie)'''===
----
The eastern wind <ref> The eastern wind is associated with spring. </ref> blows and then all <ref> 白 is a typo here. From double checking the original document we can see that it should be 百. The sentence literally translates as "100 flowers," but I have understood that to mean "all flowers." </ref> the flowers bloom. Some are white and some are red. There are also yellow and purple flowers. <ref> Definitions for 紫 include purple, violet, and mauve. According to common English usage, purple is a term which encompasses any colour between red and blue, including violet and mauve, and so I have decided to just use the word "purple."</ref> Bees and butterflies come frequently seeking the flowers' fragrance.

==='''Sentence 33 : (Kyrie)'''===
----
Verdantly <ref> I tried to capture the sense of 靑靑 as an adverb. </ref> high and jointed, bamboo is constant throughout the four seasons and does not change. Gentlemen <ref> Here "gentlemen" refers to men of virtue or noble character. </ref> love it and plant it in the courtyard.

*Discussion Questions:
+節 can mean "joints" or "moral integrity." In class we translated 靑靑高節 as something along the lines of "Bamboo is green/blue with high integrity." Could we instead understand that line to be describing the physical appearance of the bamboo?

==='''Sentence 34 : (Write your name)'''===
----

*Discussion Questions:

==='''Sentence 35 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 31 - 35

2018-07-12T11:00:28Z

Kyrie: /* Sentence 32 : (Kyrie) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 學語集 :::'''
31. 木

植根于土枝幹漸長春則葉生秋則葉落

32. 花

東風吹白花乃發或白或紅又有黃紫蜂蝶時來尋其香

*或: some, perhaps

*時 (Adv.)

33. 竹

靑靑高節貫四時而不變君子愛之種于庭

*Adjective reduplication (AA): adverbial or intensified

34. 松

亭亭獨立蒼翠之色經歲寒不變君子愛之種于庭

*經 N: passing through N

*之: 3rd person pronoun (it/him/her/them)

35. 桃

仲春之月始生華夭夭灼灼但得片時韶光

*始 V: begin to V, first V

*但: but, nevertheless
}}

=='''Translation'''==

==='''Sentence 31 : (Kyrie)'''===
----
Trees plant roots in the soil. The branches and trunks grow gradually. If it is spring then the leaves grow, but if it is autumn then the leaves fall.

*Discussion Questions:

==='''Sentence 32 : (Kyrie)'''===
----
The eastern wind <ref> The eastern wind is associated with spring. </ref> blows and then all <ref> 白 is a typo here. From double checking the original document we can see that it should be 百. The sentence literally translates as "100 flowers," but I have understood that to mean "all flowers." </ref> the flowers bloom. Some are white and some are red. There are also yellow and purple flowers. <ref> Definitions for 紫 include purple, violet, and mauve. According to common English usage, purple is a term which encompasses any colour between red and blue, including violet and mauve, and so I have decided to just use the word "purple."</ref> Bees and butterflies come frequently seeking the flowers' fragrance.

==='''Sentence 33 : (Write your name)'''===
----

*Discussion Questions:

==='''Sentence 34 : (Write your name)'''===
----

*Discussion Questions:

==='''Sentence 35 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 31 - 35

2018-07-12T10:59:45Z

Kyrie: /* Sentence 32 : (Kyrie) */

=='''Original Script'''==

{{원문텍스트
| =
'''::: 學語集 :::'''
31. 木

植根于土枝幹漸長春則葉生秋則葉落

32. 花

東風吹白花乃發或白或紅又有黃紫蜂蝶時來尋其香

*或: some, perhaps

*時 (Adv.)

33. 竹

靑靑高節貫四時而不變君子愛之種于庭

*Adjective reduplication (AA): adverbial or intensified

34. 松

亭亭獨立蒼翠之色經歲寒不變君子愛之種于庭

*經 N: passing through N

*之: 3rd person pronoun (it/him/her/them)

35. 桃

仲春之月始生華夭夭灼灼但得片時韶光

*始 V: begin to V, first V

*但: but, nevertheless
}}

=='''Translation'''==

==='''Sentence 31 : (Kyrie)'''===
----
Trees plant roots in the soil. The branches and trunks grow gradually. If it is spring then the leaves grow, but if it is autumn then the leaves fall.

*Discussion Questions:

==='''Sentence 32 : (Kyrie)'''===
----
The eastern wind <ref> The eastern wind is associated with spring. </ref> blows and then all <ref> 白 is a typo here. From double checking the original document we can see that it should be 百. The sentence literally translates as "100 flowers," but I have understood that to mean "all flowers." </ref> the flowers bloom. Some are white and some are red. There are also yellow and purple flowers. <ref> Definitions for 紫 include purple, violet, and mauve. According to common English usage, purple is a term which encompasses any colour between red and blue, including violet and mauve, and so I have decided too jut use the word "purple."</ref> Bees and butterflies come frequently seeking the flowers' fragrance.

==='''Sentence 33 : (Write your name)'''===
----

*Discussion Questions:

==='''Sentence 34 : (Write your name)'''===
----

*Discussion Questions:

==='''Sentence 35 : (Write your name)'''===
----

*Discussion Questions:

[[Category:2018 Hanmun Summer Workshop]]
[[Category:Intermediate Training Group]]

2018 學語集 31 - 35

2018-07-12T10:39:14Z

Kyrie: /* Sentence 31 : (Kyrie) */

2018 推句 21 - 30

2018-07-10T07:58:44Z

Kyrie: /* Sentence 30 : (Kyrie) */