KJC Korea
Journal Central

The main characteristic of Seoul is a administrative city as the capital of Choseon before 17th century. But After the 17th century, it changed to a commercial city. Seoul ruled by not only political systems but the economic systems. And also, the moods of Seoul change according to the commercial conditions. This change meant of the emergence of new a power ruling the society. The class having economical power took the conspicuous consumption. It was entirely different from the functional consumption in former ages. And also, this social phenomenon was contrary to the value and principles of the Middle ages. So the king of Choseon dynasty fail to preventing from the change. It was the huge and inevitable trend of history. This trend showed in literature. And it diversified according to genres of literature. There was disinterested attitude toward the trend of conspicuous consumptions in Pilgi, but exaggerate the trend in Paeseol and ridiculed the social moods. By the way in Yadam, there were criticisms and yearning for conspicuous consumptions. These differences were caused by diverse reflections of the real society.

This paper aimed to criticize the discussions on early Changgeuk mainly focusing on <Eunsaegye> and existing views that understood the history of plays during the 1910s mainly around Sinpaguek, and tried to identify the fact that early Changgeuk had been consistently performed in theaters as a genre, namely, Gugeuk, and their repertoires had also been expanded with a clue regarding performance advertising articles in 『Maeil Sinbo』 during the 1910s. There may not be sufficient data; however, based on these articles, the means of expanding their repertoires was to dramatize existing classical novels & tales, and this could have been the one expediency that pacified criticisms of the intellectual class by containing new contents while continuously ensuring popularity from existing classical narratives readers and Pansori spectators. Also, the dramatization of classical narratives was meaningful in that it was a dynamic phenomenon of the Pansori genre that was to extend the repertoires by adapting to a new environment. The themes including royalty, filial duty, and faithfulness, all of which were initially owned by classical narratives, are also supposed to be inherited in Gugeuk as they are. In this regard, there is no way but to make a negative evaluation in terms of their response to reality under the colonial rule. In the meantime, they are deemed to earn sympathy from spectators to some extent as filial duty and faithfulness are reinterpreted as the ethics of the family that appeared as the unit of modern society.

Hyangga(鄕歌), a literary genre of Shilla(新羅) dynasty, is generally perceived as religious as well as lyrical. However these two characteristics of the hyangga have not been fully investigated in association with each other. Most of the studies focused on one side, that is religiosity or lyricism. This thesis aimed at studying these two features at the same time and shedding a light on the genre characteristic of the hyangga. <Changiparangga(讚耆婆郞歌)> and <Mojukgirangga(慕竹旨郞歌)> were selected as the typical examples that embody both religiosity and lyricism. They contain religious characteristics as a kind of hymn, but at the same time they possess lyrical features that are different from other kinds of hymn. This thesis named this genre feature as hymnal lyricism and studied it with relation to time. Time in <Changiparangga> and <Mojukgirangga> is different from other kinds of hymn. In other hymnal genres, poetic situations are constructed following linear time, whereas in <Changiparangga> and <Mojukgirangga>, linear time appears as problematic and is metamorphosed and reconstructed into psychological time through recollection, expectation, and symbolization. These characteristics of time are related to genre features. In harmony with linear time, other hymnal genres involve narrative or didactic genre features. In contrast, <Changiparangga> and <Mojukgirangga>, which metamorphose linear time into psychological time, embody lyrical genre features.

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。