Earticle

The purpose of this thesis is to identify the constitution of Seongeokwonyumun in Goryoungseonsaeng-munjip written by Jinyang and Joseon Dynasty`s reception aspects. Considerin recipients, the constitution of Seongeokwonyumun which was written in a concise style expanded family ethics of oh-gyo into social ethics, revealed the directions of moralization by suggesting an ideal social aspect in ancient times. These factors show that Seongeokwonyumun was meticulously devised for moralization It is thought that Sadaebus in Joseon Dynasty knew Seongeokwonyumun in that Seongeokwonyumun was introduced through the spread of Sohak and Revision of the Lii Family Community Compact. Also Seongeokwonyumun was adopted in its integrity and used as a guide of a governor. The representative writers were Jungchull and Choi Yu-hae, who made out and handed out Seongeokwonyumun written with ethics and order of oh-gyo adding the value of Or-yun in accordance with the real state in Joseon Dynasty. In particular Hunminga by Jungchull, which was the representative work of Didactic Sijos, has closely connected with Seongeokwonyumun in Goryoungseonsaeng -munjip. I will identify the constitution and the way of moralization of Hunminga based on the result of the constitution of Seongeokwonyumun and the social reception aspects of Seongeokwonyumun later.

This article examines the transmission and dissemination of the 16 pieces of “Hunminga (訓民歌),” a stanzaic sijo (three-line verse) written by Jeong Cheol (鄭澈) whose pen-name is Songgang (松江). The results show that the 10 pieces were mainly transmitted in anthologies and were not widely popular in performance spaces until the 20th century when they started to be transmitted and disseminated again. Considering that the majority of the remaining 6 pieces were well represented in various collections, it can be said that transmission and dissemination were made effectively in performance spaces. In particular, the fact that a single siJo text was transmitted in many collections implies that it underwent transformations and was sung as different works by those who newly enjoyed and appreciated them, highlighting the significance of such transmission and dissemination. “Hunminga (訓民歌)” has been performed on actual performance stages, with changes in lyrics and variations in musical compositions, and it has been transmitted to future generations, while at times the transmission has been interrupted. Furthermore, if Songgang Jeong Cheol wrote “Hunminga (訓民歌)” not simply as a creation but from the perspective of hierarchical theory, the significance of this siJo genre is immense. When Songgang Jeong Cheol composed “Hunminga (訓民歌),” he did not aim for the hierarchical perspective of oppressive conversion imposed by the state on the people in the Gangwon Province, but rather wished to help the people to undergo self-conversion through singing “Hunminga (訓民歌).” This is why despite being a didactic siJo genre, it continued to be transmitted in later collections as a song. In later records related to “Hunminga (訓民歌),” it is highly valued to the extent that it is consistently recited to rural children and their mothers, even to the point of teaching the essence of righteousness. Considering that anyone could easily sing and understand the genre of poetry when understanding it as a song, it becomes evident why Jeong Cheol chose the genre of siJo composition for “Hunminga (訓民歌),” given the propagating power of songs. If it were simply written from a hierarchical perspective in a top-down style, it would have been easier for Jeong Cheol to issue instructions to the people for conversion rather than composing “Hunminga (訓民歌).” Nevertheless, he must have considered that using the genre of poetry and allowing the people to realize something on their own would lead to their self-conversion. Therefore, even later literati believed that by continuing to recite it to "women, children, and everyone," they would undergo self-conversion. Through this article, I hope that new and more valuable research on “Hunminga (訓民歌)” will be made.

The aim of this Article is to check the process of the spread of the <Hunminga(訓民歌)> and to explain its significance. The <Hunminga> was composed by Jeongcheol(鄭澈, 1536∼1593) in his provincial governor of Kangwondo at 1580. After this work was produced, the standing of his family and the Party of Seoin·Noron(西人 · 老論) took much pains to spread this work. A tendency of this constant efforts is to redress a grievance being divested of a government office and court rank. The <Hunminga> is composed of 16 poems or 18 poems. Every work is discoursed as smooth as possible. Author or speaker, Reader or addressee whoever is considered very carefully. So this didactic plot is to be prepared to the emotional sympathy based on collective experience. So we are familiar to read and song this work. And we are going to receive the author of the <Hunminga> as a well-wisher as possible. I make manifest several view points as following. First, every literary work is to be understood in historical context not only its day but also the future generation. The gap of this understanding is filled up through exact reading and objective research. Second, When we read and appreciate every literary work cheerfully, we are able to understand the author of every literary work as good as possible. And third, A compared study between the personality of author and the usefulness of every literary work is to be continued in the Siga research.

목적: 학습자가 작품과 대화를 시도할 수 있도록 유도하는 장르지식, 즉 <훈민가>의 화자 정체성과 그에 따른 진술방식을 탐색한다. 방법: <훈민가>의 말하기 방식에 대한 연구사 및 교육 현장에서 다뤄지는 <훈민가>의 교육 내용을 확인하는 한편, 문헌 및 이론 연구를 통해 장르지식을 정의하고 <훈민가>의 장르지식을 제시한다. 결과: 정철 <훈민가>의 장르지식이란 작품의 진술주체의 목소리를 온전히 듣고 그에 따른 작품의 진술방식을 이해할 수 있도록 안내하는 지식이다. <훈민가>는 교훈의 전달이라는 뚜렷한 목적 아래 정서적 파문까지 실현하기 위해 공적 정체성과 개인적 정체성이라는 화자 정체성을 전략적으로 선택함으로써 진술방식을 달리한다. 작자 자신의 순수한 체험영역을 진술하는 개인적 정체성을 내세워 독자와 같은 위치를 공유함으로써 독자와 수평적 관계를 이루어 공감을 통한 설득을 이루는 한편, 사회․도덕적으로 우위에 있는 공적 정체성을 내세워 독자와 수직적 관계를 이룸으로써 독자에게 하달하는 말하기 방식으로 구체적인 규범을 수행하도록 지시하기도 한다. 결론: 텍스트의 서정성과 교술성의 농도를 결정하는 화자 정체성 및 진술방식이라는 장르지식의 안내를 통해, 학습자가 내포 독자의 역할에 충실히 복무하는 한편 작품의 고유한 체험에 이르는 실제 독자로서의 역할까지 나아갈 수 있을 것으로 기대한다.

Purpose: This study explores the genre knowledge that guides learners to engage in dialogue with Jeong Cheol’s “Hunminga”, specifically focusing on the speaker’s identity and its corresponding discourse strategies. Methods: The study examines the research history of “Hunminga’s” rhetorical patterns and its current educational content, while defining genre knowledge and presenting “Hunminga’s” genre characteristics through literature review and theoretical research. Results: The genre knowledge of “Hunminga” serves as a guide to fully comprehend the voice of the subject and understand the work’s discourse strategies. Under the clear purpose of conveying moral lessons while achieving emotional resonance, “Hunminga” employs different discourse strategies by strategically choosing between public and personal speaker identities. By presenting a personal identity that shares the author’s pure experiential domain, it establishes a horizontal relationship with readers, achieving persuasion through empathy. Conversely, by presenting a public identity that holds social and moral authority, it establishes a vertical relationship with readers, directing them to perform specific norms through a top-down speaking manner. Conclusion: Through the guidance of genre knowledge - specifically regarding speaker identity and discourse strategies that determine the intensity of both lyrical and didactic qualities - we expect learners to faithfully serve their role as implied readers of “Hunminga” while progressing toward their role as actual readers who can achieve the work’s unique experiential dimensions.

이 논문은 조선시대의 행실도와 훈민가를 대상으로 ‘이륜’ 중 ‘형제’ 덕목이 구현된 양상과 특징을 살펴본 것이다. 훈민 문화는 한중일을 중심으로 하는 동북아시아에 공존했지만, 중국과 일본의 경우 ‘삼강’의 독점적 우위가 절대적이었던 것에 반해, 우리나라는 ‘삼강오륜’ 전반에 주목하는 차이점을 보였고, 그 중심에 ‘이륜’이 존재했다. ‘형제’ 덕목은 바로 이와 같은 특성을 보여주는 대표적인 사례인데, 기존의 관련 시가 작품에서는 대립과 협력의 양면성을 다룬 바 있다. 그런데 16세기 향촌의 사대부들은 행실도의 단독장면과 훈민가의 강력한 종장의 어구를 통해 사회적 실천력을 강조했다. 하지만 17세기에는 이륜을 중심으로 하는 미풍양속에 대한 요청이 절실했음에도 불구하고, 형제 관계를 다룬 훈민가는 개인적인 감성 중심으로 변모하고, 그림은 <형제급난도>처럼 한 가문 중심으로 전승되는 변화상을 보였다. 애초에 형제는 상하관계가 아닌 수평관계에 놓이는 것으로 서로 간의 경쟁을 피해갈 수 없지만, 현실적인 이익과 우애를 위해 협력을 해야 하는 미묘하고 복잡한 상황에 놓인다. 따라서 형제를 중심으로 하는 문화 예술적 관심과 표현 역시 단순할 수 없다. 본고는 그 가운데 조선 중기의 특징적 상황에 주목함으로써 폭넓은 스펙트럼을 확인할 수 있었다.

This paper research for the features of brotherhood among two cardinal relationship between the HaengSilDo picture and HunMinGa poetry in Josoen Dynasty. North East Asia, Korea China and Japan shared the culture of hunmin(teaching public with confucious idea). By the way China and Japan only focused on Samgang(the three basic principles in human relations) though, Korean interested in Samgang oryun(the three bonds and the five cardinal relationships) with concerning the two cardinal relationship which cover Brotherhood and friendship. From old times, brotherhoods had appeard in many classic poetry. Most of all scholar noblemem in 16c tried to edify peaple with strong confucious doctrine. And HaengSilDo conceived very clear message on succinct picture, HaengSilDo show us same message by the use of strong nuanced sentence of the last line. But time goes by, the same genre of poetry depended on more soften tone and personal emotions, the image in picture of impending calamity to two Brothers published for just one family instead of for all people. These kinds of change imply the various aspects of brotherhoold that in on the horizontal relationships instead of vertical. Originally brother kinship include the both side of competition and cooperation at the same time, and that caracteristic lead to the various types of works.

본고는 <김ᄃᆡ비훈민가>·<부인훈민가> 및 이들과 관련 있는 텍스트의 작품 현황을 살피고 텍스트 변이와 담론 양상을 살핀 것이다. <김ᄃᆡ비훈민가>‧<부인훈민가>는 김대비라 추정되는 왕실의 여성이 대민전교의 차원에서 창작한 훈민가이다. 그런데 <김ᄃᆡ비훈민가>·<부인훈민가>의 내용을 공유하면서도 이들과 차별성을 지닌 텍스트가 존재함을 확인하였다. 다양한 각편이 존재한다는 것은 이들에 대한 가사 향유자들의 지속적인 관심이 있었고 이들 가사의 전승 과정에서 향유자의 적극적 개입이 있었음을 말해 준다. 이들 텍스트는 주로 경북지역 규방가사 전승권에서 향유된 것으로 보이며, 19세기말에서 20세기 중반까지 그 전승을 이어간 것으로 보인다. 중요한 변이는 김대비와 김대부라는 작가적 표지의 교체이고, 가사 필사자의 사적 발화가 확장되는 현상이다. 김대비는 작가 및 작품의 정체성을 말해주는 중요한 표지이다. 이를 토대로 작품 창작의 배경과 동기, 교훈 대상의 범위를 확인할 수 있다. 그런데 이러한 중요한 표지가 김대부로 교체된다. 김대부로의 교체는 국가적 차원에서의 훈민 담론이 가문 결속을 위한 교훈 담론으로 변이되어 전승을 지속했다는 것을 보여준다. 한편 이들 가사의 전승 과정에서 필사자가 텍스트의 발화자로서 적극적으로 개입한 양상을 확인할 수 있다. 발화자의 개입은 표면적으로는 기존 텍스트의 교훈 담론을 유지하는 듯하지만, 이를 활용하여 자신의 개인적 체험과 한탄을 확장하여 텍스트 자체를 교훈의 구심에서 이탈하는 방향으로 이끈다. 이러한 양상은 수신자를 향한 가르침의 언술이 필사와 전승의 과정을 거치면서 변화를 겪고, 오히려 수신자가 텍스트 형성에 적극적으로 개입하여 텍스트를 자기화한다는 점에서 주목할 만한 현상이다. 이상의 논의는 <김ᄃᆡ비훈민가>·<부인훈민가> 관련 텍스트의 존재 및 전승 과정을 구명함으로써 작품론의 성과에 기여함과 동시에, 이를 통해 가사 전승 및 향유의 양상을 추적하는 기회가 되었다는 점에서 의미를 지닐 수 있을 것이다.

The purpose of this study is to investigate Kim Daebi Hunminga and Buin Hunminga and the literature on their related texts, as well as their patterns of text variation and discourse. Kim Daebi Hunminga and Buin Hunminga are works of hunminga by Kim Daebi, assumed to be a woman from the royal family, written to spread the vice and virtues to the public. However, it was confirmed that there exist texts that share the contents of Kim Daebi Hunminga and Buin Hunminga while showing distinct differences. The fact that there are different variations shows the continuous concerns on these works by those who enjoy them and their active involvement in the transmission process of these works. It is assumed that these texts were enjoyed in the transmission regions of the Kyubang-Gasain the Gyeongbuk area and were passed down from the end of the 19thcentury to the mid-20thcentury. The most important variations are the change of the author’s sign from KimDaebi to KimDaebu and the addition of private narrations by the Gasascribes. Kim Daebi is an important sign that defines the identities of the author and the work. However, this important sign is switched to Kim Daebu. The variation to Kim Daebu signifies the variation of discourse of lessons for the people at a national level to a moral discourse for family solidarity. This can also be confirmed by the change of title and content in the text. This change is related to the process of changing the discourse of lessons into the level of everyday ethics centered on the family in the 19th century traditional society. At the same time, during the course of transmission of the gasa, the scribes actively intervened as the narrator of the text. While they superficially seem to maintain the original text’s discourse of lessons for the people, they apply their personal experiences and lamentations to lead the texts away from the key point of the lessons. This is a notable point in that during the transmission of the moral Gasa, the words of teaching for the receiver in the transmission become customized with the active participation of the receiver in the process of transcription and transmission. This study may serve to contribute to the study of literature by bringing into light the existence and the transmission process of the texts related to Kim Daebi Hunminga and Buin Hunminga, and at the same time serve as an opportunity to trace the transmission and enjoyment aspect of the gasa.