<<한국문학통사>> 영역본(근간)의 한 대목을 제시하면 답변이 될까 합니다.
In the past, it was felt that Korea could just import foreign theories, and so no effort was made to develop a theory of literary branches. Chinese theories were used at first, and in modern times European precedents were followed. No particular attention was given to oral literature, as it was felt that it could be dealt with according to its own conventions. However, it is important that we establish an all-inclusive theory of Korean literature, and that we understand the division of branches as following from a consistent set of principles. While the dual division of prose and poetry may include all literature, it is, in fact, above the level of branches. Importing the tripartite division of lyric, narrative, and dramatic is not sufficient for our needs.
A solution to these problems is a new, four-part division: the lyric, the didactic, the narrative, and the dramatic. This division is based on the relationship between the self and the world: in the lyric, the world is internalized without the intervention of the world outside the work; in the didactic, the self is globalized through the intervention of the world outside the work; in the narrative, conflict between the self and the world is achieved through the intervention of the self outside the work; and in the dramatic, conflict between the self and the world is achieved without the intervention of the self outside the work.
윤선도의 <어부사시사>에 관한 설명에 광의의 시조와 협의의 시조의 영문 번역이 나옵니다.
The structure used here can be seen as a sijo in the broad sense, and is a form that originated in Baekje period songs. Yun Seondo borrowed this lower class form, which despite its long tradition had never been a part of the official history of literature, and refined it until it rivaled sijo in the narrow sense.
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