발신 : 김호범, 세종문화회회장날짜 : 2010 년 2 월 19 일 제목 : 매년미국전국의초중고등학생들을대상으로영어수필과영어시조두부문을포함하는세종작문경연대회를개최하고있는세종문화회에서이번에한국국제교류재단 (Korea Foundation) 으로부터 영어로쓰는시조 교재개발사

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발신 : 김호범, 세종문화회회장날짜 : 2010 년 2 월 19 일 제목 : 매년미국전국의초중고등학생들을대상으로영어수필과영어시조두부문을포함하는세종작문경연대회를개최하고있는세종문화회에서이번에한국국제교류재단 (Korea Foundation) 으로부터 영어로쓰는시조 교재개발사업으로재정지원을받게되었습니다.

에서갖고또시조낭독감상회를 Andrew Bae 화랑에서갖습니다. 미국기성시인들사이에서인기를얻기시작하는시조를미국의청소년들에게전파시켜한국의고유의시조문화를미국사회에알리고또이시조가미국주류문화안에정착하게하는데크게기여하리라봅니다.

1 발신 : 김호범, 세종문화회회장날짜 : 2010 년 2 월 19 일 제목 : 매년미국전국의초중고등학생들을대상으로영어수필과영어시조두부문을포함하는세종작문경연대회를개최하고있는세종문화회에서이번에한국국제교류재단 (Korea Foundation) 으로부터 영어로쓰는시조 교재개발사업으로재정지원을받게되었습니다. 이재정지원과시카고총영사관의적극적인후원을받아미국중고등학교영어교사들이학생들에게영어로시조쓰는법을가르칠때사용할수있는교재를만들며, 이와관련하여오는 4 월에다음과같이일리노이주립대학영문학과와공동으로영어교사들을위한시조쓰기워크샵을시카고의일리노이주립대학캠퍼스에서열고, 일반인들을위한시조강좌를시카고에있는 Harold Washington Public Library 에서갖고또시조낭독감상회를 Andrew Bae 화랑에서갖습니다. 미국기성시인들사이에서인기를얻기시작하는시조를미국의청소년들에게전파시켜한국의고유의시조문화를미국사회에알리고또이시조가미국주류문화안에정착하게하는데크게기여하리라봅니다. 4 월 9 일 ( 금 ) (10 am - 3 pm): 미국고등학교영어교사들을위한 영문시조쓰기워크샵 UIC Student Center, Suite# S. Halsted, Chicago 4 월 10 일 ( 토 ) 오전 (11 am - 1 pm): 일반인을위한시조강좌 at the Chicago Public Library Chicago Author s Room (7 th floor ) The Harold Washington Library Center 400 S. State St. Chicago ( ) 4 월 10 일 ( 토 ) (6-8 pm) : 시조낭독감상회 Evening with Sijo, Wine, and Arts Andrew Bae 화랑 300 Superior St. Chicago ( ) 4 월 30 일 : 제 5 회세종작문경연대회 ( 수필 / 시 ) - 제출마감 4 월 30 일 응모요강은 website 에있음

2 자세한내용과배경. 미국사회에잘알려지지않았지만소수의기성시인들사이에인기를갖고있는한국고유의시형태인시조를미국전역의고등학교, 특히고등학교영어교사들에게적극적으로알리는활동의일환으로세종문화회에서는한국국제교류재단의영어로쓰는교재개발사업지원금과시카고총영사관의후원을받아, Harvard 대학의한국문학교수이며그대학의한국연구소소장인 David McCann 교수를중심으로고등학교영어교사들이학생들에게시조를가르칠수있도록시조쓰기안내와시조쓰는법지도를위한교재를제작합니다. David McCann 교수는한국문화에심취하여, 김소월의시들과한국의고전시조들을영문으로번역하여책으로발간하였고또한본인이창작한시조들도출판하였고 Harvard 대학에서시조쓰기를가르치고있습니다. McCann 교수는세종작문경연대회준비위원이며시조경연대회를위한자문과심사등에적극적으로관여하고있습니다. 4 월 9 일에는세종문화회와일리노이주립대학영문학과 (University of Illinois at Chicago, English Department) 가공동으로미국고등학교영어교사들을위한시조쓰기워크샵을주최합니다. Harvard 대학의 David McCann 교수가워크샵을주관하며, 참석하는교사들은일리노이주립대학으로부터 4 시간의 CPDU (Continuing Professional Development Unit) 크래딧을받게됩니다. 이워크샵을통해영어교사들은시조와한국의역사및문화와문학을학생들에게소개하는방법, 영어로시조쓰기를가르치는수업운영방법을배우고일본의하이쿠와한국시조의유사점과다른점들을배우는시간을갖게됩니다. 이워크샵은녹화된후, 동영상교재형태로편집되어시조쓰기교재에첨부되어미국전국에배포될예정입니다. 4 월 10 일 (11am 1 pm) 오전에는시카고시립도서관과공동으로시카고다운타운에위치한 Harold Washington Library Center 에서 시의달 (Chicago Poetry Month) 행사의일환으로일반인들을위한시조강좌를가질예정입니다. 4 월 10 일 (6-8 pm) 에는시카고다운타운에위치한 Andrew Bae 화랑에서시조감상회가열리며, 화랑에서전시되는그림을감상하고, 막길리를시음하고, 영어시조에대한 McCann 교수의설명을듣고전통시조와영어번역시조, 또영어로창작된시조들을낭독감상하는시간을갖게됩니다. David McCann 교수와 Ellee Pai Hong (former NBC 5 News Today Anchor) 와시카고한미 TV 의박원정부장이시조낭독을합니다. 세종문화회는시카고의비영리단체로세종작문경연대회, 세종음악경연대회, 세종국제작곡대회등를통해한국의자랑스러운문화유산을외국인들에게소개하고한걸음더나가미국의주류문화의구성요소로서한국의문화가뿌리내려미국의주류문화권에사는이들도한국의문화를일상생활에서접할기회를마련하고이를통해미국의문화가더욱다양화해지고풍요로워지는데이바지하고있습니다. 미국에서자녀를키우시는부모님들은다아시다시피, 미국의초, 중등학교학생들은언어시간에일본의시형식인 3 줄 17 음절의 하이쿠 를배워 하이쿠의날 (Haiku day) 에최소한한두번쯤은일본의 하이쿠 를쓰고발표합니다. 하이쿠 는미국주류문화안에인정된시의형태로자리잡아많은기성시인들이하이쿠를쓰고발간하고있습니다. 시조는아직미국에잘알려지지는않았지만, 시조를접해본미국사람들은시조가더욱매력적인시의형태라고말합니다. 시조는 1970 년대에여러문헌지를통하여미국에소개되었으나, 1980 년말과 1990 년초에와서야미국의소수의시인들사이에서각광을받게되었습니다. 현재 David McCann 교수외에도 The Wordshop 의발행인인 Larry Gross 박사는 Yahoo 웹사이트에 Sijo forum 를운영하며, 영어로시조쓰는법을가르치고,

3 영어시조에관심있는시인들끼리서로시조를쓰고감상하고토론하며시조쓰기를장려하고시조쓰기를즐기고있습니다. California 에계시는미국의시조권위자김운송시조시인을통하여시조를알게된캐나다의 Elizabeth St. Jacques 여사도자기나름대로영어시조쓰기안내서를 Poetry in the Light 웹사이트의 Sijo in the Light 섹션에올려놓고, 번역된시조, 창작한시조들을올려시조를소개하고있습니다. 미국의시인들이시조를쓰는이유를 Larry Gross 박사는 Yahoo Sijo Forum, 시조입문 #1 에서 인간은그본성이항상무언가새로운것을시도해보려고하는것같다. 시의경우에도그와같아서양에서는지난 40 년간동양에서쓰이는시의형태에대한관심들이계속증가하는것을보아왔다. 중동지역의허잘 (ghazal) 과일본의하이쿠 (haiku), 단가 (danka), 렌가 (renga), 하이번 (haibun) 등이이제미국의출판물에수시로게재되는것을볼수있다. 우리서양사람들은우리것과전혀다른동양의고전문화를맛볼수있게연결해주는동양의시의형태에매료되었다. 한국의시조형태도이와같은경우라하겠다. 라고소개하고있읍니다. Gross 박사는시조를하이쿠의사촌이라부르며, 시조는중동의허잘보다더짧고서정적이며일본의하이쿠보다는글자수에더여유가있고하이쿠와는달리기분이나감정을표현하는것을환영하는시형태이며, 시조만이갖는특징으로는 시조의독특한형태 ( 주로 3 줄이며한줄에 14 내지 15 음절로총 44 에서 46 음절로제한 ), 음악적리듬이들어있는요소, 또마지막줄에표현되는극적인변화로종말짓는것을 (surprise ending, twist) 꼽고있으며, 시조쓰는것을 fascinating challenge 라고말하고있습니다. McCann 교수는 초중학교때하이쿠데이를가져본학생들은커서일본소설을접하면흥미를느끼게될것이다. 우리도시조데이 (Sijo Day) 를만들수있다. 아이들은시조를한번써볼만하다라고생각하게되고, 커서번역된한국소설을접하게될때이소설을읽을수있다라고말하리라고본다 라고설명하고있습니다. 세종문화회에서는해마다개최하는시조경연대회와관련하여그웹사이트에초보자를위한영어시조쓰는법, 영어시조의예와참고문헌과영어시조쓰기에관한웹사이트들의링크들을제공하고있으나고등학교교사들이클래스에서학생들에게체계적으로시조와한국문학을소개하고시조쓰기를가르치기에는자료가미흡한점이있었습니다. 그럼에도불구하고여러고등학교에서시조를가르치고학생들에게세종작문대회에작품을출품하기를장려하시는교사들이계십니다 년에는 150 편의시조가 2009 년에는 450 편의시조가응모하였읍니다. 이중 90% 가타인종학생들이었읍니다. 더욱많은영어교사들이학교에서시조를가르칠수있도록한국국제교류재단으로부터사업자금을받고시카고총영사관의적극적인후원을받게되었습니다. 이번에세종문화회가한국국제교류재단 (Korea Foundation) 에서자금후원을받아제작하는미국고등학교교사들을위한영어시조쓰기교재가미국의청소년들에게시조를더욱널리알려시조의세계화를이루며, 한국의좋은문화를미국주류문화안에포용하여미국의문화를더욱풍요롭게하는계기가되리라고보고있습니다. 미국의초중고등학생들을대상으로하는세종작문경연대회 ( 수필부문과시조부문 ) 의작품제출마감일은오는 4 월 30 일이며경연대회에관한자세한정보와시조쓰기워크샵의자세한내용은세종문화회웹사이트 에서참조하시기바랍니다.

4 첨부 : 기사 - The new haiku? Harvard professor David McCann says America is ready for sijo (Boston Globe 와 David McCann 교수의인터뷰, 영문 ) 6/30/2009 기사 미학생들영어시조짓기로한국문화체험 ( 서울경제와 Lucy Park 인터뷰, 한글 ) 6/29/2009 기사 영어시조의즐거움미청소년들반했죠 ( 중앙일보와 Lucy Park 인터뷰, 한글 ) 6/23/2009 글 하바드대영어시조낭독회참가기 서울대권영민교수 ( 유심웹사이트글, 한글 ) 7/10/2009 글 시조입문 #1 야후시조포럼에가입하면 Larry Gross 박사가첫번으로보내는메일 ( 영문 ) 문의연락처 : Sejong Cultural Society 606 Forest Road Glenview, IL 60025, USA Lucy Park, Executive Director Phone (312) 웹사이트 : 이메일주소 : Sejong@sejongculturalsociety.org 회장 : 김호범 (Ho Kim) 부회장 : Juliana Chyu 사무총장 : Lucy Park

16 WELCOME TO SIJO Sijoforum Primer #1: An introduction for those new to sijo, a refresher for others. See the house fall at our feet, faithful timbers come crashing down; Those with our life in their hands join the termites, gnaw at beams. Till the dawn, hold me while we sleep -- in the cold, that is enough. (TOP #14 May 1995; Canadian Writer's Journal, Fall 1995) It seems to be the nature of mankind continually to try something new. That is just as true in poetry as it is in other areas. During the past forty years or so we have shown increasing interest in Asian verse patterns. The Middle Eastern ghazal has its devoted followers in the West, and Japanese forms like haiku, tanka, renga and haibun are now commonly found in small press and commercial poetry periodicals. Journey through the Internet and you will see these forms blossoming everywhere. We Westerners have fallen in love with Asian patterns, patterns that connect us tenuously with ancient cultures so different from our own. So it is with the SIJO (see-szo or she-szo, with the J pronounced as the French pronounce Jacques). The roots of this lyrical Korean cousin of haiku and tanka stretch back well over 1000 years. It has been the most popular form of lyric verse in Korea for over 500 years, sung equally by Confucian scholars, members of the royal court and common folk. I say sung because the sijo is, at heart, a song. It is for the Koreans what the ballad is for Western Europeans. Originally, that word referred only to the music. The lyric was called tan-ga, an ancient verse based on still earlier Chinese patterns which also influenced Japanese poetry. Eventually, the term sijo (which is both singular and plural) came to be applied to both words and music. Sijo is traditionally composed in three lines of syllables each, between total. A pause breaks each line approximately in the middle, somewhat like a caesura, as illustrated in this verse by Yun Son-do ( ), one of Korea's most revered poets: You ask how many friends I have? Water and stone, bamboo and pine. The moon rising over the eastern hill is a joyful comrade. Besides these five companions, what other pleasure should I ask?

17 Each half-line contains 6-9 syllables; the last half of the final line may be shorter than the rest, but should contain no fewer than 5 syllables. This natural mid-line break comes in handy, since printing restrictions often cause Western sijo to be divided and printed in 6 lines rather than 3. Indeed, some translators and poets have adopted this technique in their writing, so most editors accept either format. The sijo may tell a story (as the ballad does), examine an idea (as the sonnet does), or express an emotion (as the lyric does). Whatever the purpose may be, the structure is the same: line 1 of the 3-line pattern introduces a situation or problem; line 2 develops or "turns" the idea in a different direction; and line 3 provides climax and closure. Think of the traditional 3-part structure of a narrative (conflict, complication, climax) or the 3-part division of the sonnet, and you'll see the same thing happening. Though the ancients seldom titled their sijo, some modern writers, such as Elizabeth St Jacques in the following verse, frequently do: EVEN NOW just us two in the photograph his arm around my thin shoulder That strong limb I then leaned against would break so many falls We stood like this but only once but his strength holds me still [Elizabeth St Jacques, Around the Tree of Light (1995)] To achieve the rolling, musical quality so characteristic of sijo, each half-line is further divided into two parts averaging 3-5 syllables each. Look at Elizabeth's "Even Now." Notice that each line usually divides into 2 phrases or word groups ("just us two / in the photograph"). Some people find parallels between this rhythm and that of Bible verses, and others find a likeness to sprung rhythm popularized by Gerard Manley Hopkins. Regular meter is not vital to sijo, but that musical quality is. Here is Yun Son-do once more, with a verse from his masterpiece, "The Fisherman's Calendar": When autumn arrives on the river, all the fish grow fatter. We savor unnumbered hours swept along by gentle currents. Man's dusty world fades away, doubling my joy with distance.

18 Like haiku, sijo usually displays a strong foundation in nature, but, unlike that genre, it frequently employs metaphors, puns, allusions and other word play. And it loves to play with sounds. The first word (or two) of the final line is very important. It provides a "twist": a surprise of meaning, sound, tone or other device, much as the beginning of a final sestet does in the sonnet or the final line does in a haiku. That final sijo line is frequently lyrical, subjective or personal, and may very well supply a profound, witty, ironic, humorous or proverbial twist. Remember the three characteristics that make the sijo unique -- its basic structure, musical/rhythmic elements, and the twist. It is shorter and more lyrical than the ghazal. It is more roomy than the haiku, and it welcomes feelings and emotions which haiku either discourage or disguise. It should please lovers of ballads, sonnets and lyrics, and the downplay of regular meter and rhyme should appeal to writers of free verse. In short, it's a fascinating challenge. Let us see your latest one. Carefully I lifted it from the branch, an empty cocoon, took it home and mounted it center stage on the mantel. Hear it speak? What does it say of living, what of the dead? (Parnassus, Winter 1996) Text and adaptations by Larry Gross unless noted otherwise. From: Larry Gross Original Publication Date: Thu Nov 30, 2000, 8:03am Subject: Sijo Primer #1 (Printed here with slight revisions)

Page 2 of 6 Here are the rules for conjugating Whether (or not) and If when using a Descriptive Verb. The only difference here from Action Verbs is wh

Page 2 of 6 Here are the rules for conjugating Whether (or not) and If when using a Descriptive Verb. The only difference here from Action Verbs is wh Page 1 of 6 Learn Korean Ep. 13: Whether (or not) and If Let s go over how to say Whether and If. An example in English would be I don t know whether he ll be there, or I don t know if he ll be there.