This paper examines the collection and transmission aspects of the poetry collections of 最樂堂 朗原君 李偘(1640∼1699) from a genealogical perspective. In this process, it breaks away from the existing concept of transmission, that is, the method of understanding the archetypal preservation of work texts in the first documented literature as a tradition, and embraces the transformation of texts, 斷章取righteous, changes in the author's specification, and even the transmission in a segmental form. 'Expanded inheritance' is presented as an alternative.
The need for an alternative concept of inheritance is as follows. As you can see, with the rise of 'Sijo as literature' in the discourse of national literature since the 20th century, Sijo also has a fixed work text, individual author identity, and a 1:1 author-work relationship required by the form of modern literary works. understood to exist or to have. Such existing understanding methods do not take into account the identity and enjoyment of the Sijo, and have resulted in the elimination or weakening of the fluidity inherent in the Sijo branch itself. Contrary to conventional wisdom, it can be seen that the ancestors of Nangwon-gun Igan, reconsidered through the concept of extended transmission, continued to be transmitted even after the 19th century.
In addition, if we look at the aspects of the transmission process, we can find that the 付記 in the first recorded document, 'Chunggeongyeongeon Jinbon', is dropped from the later collections, and the understanding of the work changes accordingly. It can also be seen that groups of works, which were understood as a group, are dismantled in the process of transmission and are recognized as independent individual works and rearranged. In other words, even if it is a work that has been passed down from generation to generation, the acceptance context and understanding of the work is changing.
Through this observation, it is expected that it will be possible to provide a clue for reflective reflection on the concept of sijo tradition along with the artist-work relationship, which has been regarded as a fixed and unchanging one-to-one correspondence.