Earticle

This essay has a doubtful point explained by other researchers who endlessly tried to find the "original text" of <Guunmong(九雲夢)>. So far, we have a lot of studies on the text of <Guunmong>. All of them tried to distinguish the "original text" of <Guunmong>. However, <Guunmong> is not one of the sacred books, which people would not even change a letter of them. <Guunmong> is a novel, and anyone who transcribed it could have changed its text on purpose. Even if we suppose that there was no intentional change by transcription, it is still impossible to reconstruct the "original text" because both "A group" and "B group" texts have defective sentences, and it is believed that <Samjangsi(三章詩)> which was used as a proof was not on the "original text" from the start. The conclusion of this research is that without Seopo(西浦)'s own handwriting text of <Guunmong>, any effort to find or reconstruct the "original text" of <Guunmong> based upon existing texts, is in vain.

On the Hymnal Lyricism of <Mojukgirangga(慕竹旨郞歌)> and <Changiparangga(讚耆婆郞歌)> in Relation to Literary Time and Genre

The goal of this paper is to examine how Korean songs of the early twentieth century developed, primarily through a discussion of genres. More specifically, the goal is to take the lyrics of the songs collected on records from 1907, when the first commercial record was recorded, to just before liberation in 1945, divide them into genres, examine which specific genres were predominant in which era, and seek the reason for this in social history. The songs introduced through records, as is widely known, were not just popular songs. The records of the day contained traditional songs such as folk songs and conventional songs such as pansori and japga as well as the popular songs. Traditional songs, conventional songs, and popular songs can be again divided into narrative, didactic, theatrical, and lyric genres. Narrative songs include pansori, didactic songs include japga, theatrical songs include manyo(comic songs), and lyric songs include folk songs, sinminyo(new folk songs), and trot. Examining the development of Korean songs according to era, it can be said that dtdactic and narrative songs were predominant from 1907 to the 1920s. However, with the advent in 1932 of "Hwangseongeui jeok," a popular song in the true meaning of the term, lyric songs became more dominant than other genres. This can be called the start of the era of popular songs as lyric songs. Theatrical songs, along with lyric songs, continued to be introduced, but they appeared more as jokes and nonsense in the theatrical sense rather than as songs. The composition of Korean songs in the early 20th century can be divided into two general periods, the early period and the later period. During the early period, narrative songs and didactic songs were dominant, while theatrical songs and lyric songs had a respectable position in the later period. The work that serves as the dividing point between these two periods is the 1932 song "Hwangseongeui jeok." It can be seen that the periodic background of modern times and colonialism and the "discovery of the self' that took root during that time were at work behind the advent of tbs son of lyrical song. Examining the literary genres of Korean songs is another way of looking more deeply at the composition and aspects of development of Korean songs in the early 20th century. Furthermore, by examining each of the genres within the overall composition of "songs," we have taken the first step in solving the problem of the genre classification of japga, which has been a controversial issue. It was also seen how didactic songs and narrative songs gave way to lyric songs, by examining the actual works against the background of that period. This task is important in that it lays the foundation for determining how popular songs will develop in future generations. This paper is significant in that it actively treats Korean songs as a subject of literary study and in that it discusses the composition and development of Korean songs through the literary genres of Korean songs.

申钦在放逐期写的<放翁诗馀>是理解17世纪时调史变貌时非常重要的作品. 本稿要阐明的是在考察<放翁诗馀>过程中诗所表现的话者的意识志向, 其时空间的性格和创作意识, 与其以往时调作品具有不同的新面貌. 他在｢放翁詩餘序｣中强烈地表達了对世界所持有的对决意识，<放翁詩餘>中话者的意识主旨可以说是被这个世界所抛弃和患有无法恢复的创伤的人类能够选择的文学对应．分析这类型的话，可知他与申钦以前的作品显然不同．首先，用‘빗장 걸어 잠그기’(关门)沉潜在自身的内心的同时，安静地关照和思索的方式．这种类型与歌唱山水生活的，具有传统意味的江湖歌道不同。他处境中的山水是被驱赶藏身之处儿不是自己主动找去的地方。正如他自己说的不能算是真正的'歸去來'。被驱逐藏身处的生活是极其贫穷和痛苦的。申钦多次提及自己的诗和现实生活是一样的。申钦所处的自然空间和安稳和自足的，专心修己，怀念君主的精神空间有一定的距离。自然不再具有理念的意味。其次，‘逃避和超越现实的愿望’透出‘道家的志向’想要超越世界，或是通过‘醉兴’忘掉世上一切，这是非现实的一点，有严重的内在矛盾。通过想像的方式来超越现实是不可能的这一点，被解释为对当时世界的否定。第三，‘不在하는 님 그리워하기’(怀念不在的君)，因为不可能再见到不在的他，对于和他的离别越怀念就越痛苦。他声称宣祖去世，光海君即位的丙辰年(1608)为起点的当世是‘衰世’或‘季世’表达了末世意識。这样的意识中致死地怀念去世的君主而不是现在的君主，和传统的恋君意识比较的话是非常不同的。第二类型，第三类型与第四类型一起收敛到伤世意识这点上，可以与16世纪时调区分。所谓‘伤世道变’的伤世意识是申钦乐府诗基本的主题意识，<放翁詩餘>中把现实辛辣的讽刺和批判具体化了。特别是第四类型集中地表现了伤世意识。他通过機事和忘機两个对立的概念，批判了利用時勢的急變而伺机成名追求利益的小人们，并以自身的忘几生活而自负。这里他强烈的否定和批判了‘千變萬化的自然’的景象所反照的‘变化的世上’。因为所谓“造化를 자바 千变万化”，‘物之变者’和驱逐君子，小人得势一样属于不义。这样的脉络中，他提出的是没有原则的出处的问题，而不是出仕的本身。现在为止所观察到，申钦的时调摆脱了传统江湖歌道的理念性，作品中通过讽刺和批判积极地表现了伤世意识。因此超越了增经评价很低的士大夫的詩餘，从個人的發話而升华到了對社會的發話。通过多方面感情表现从士大夫形式的时调观念性中脱离了出来。