KJCKorea
Journal Central

This study aims at comparing <Haedogyogeosa>, a recently identified Manchurian exile gasa, with <Buntongga>, to examine the similarities and differences between the way the female and male authors perceived reality and expressed their perceptions in the form of a gasa while living in the border area of Manchuria. This study focused on the points of contact and differences between the authors' perceptions of reality and expressive aesthetics, in order to approach the two works in a more three-dimensional way. However, the two works basically share commonalities in that the authors strove to endure their harsh reality by converting their agony into the gasas and communicating with the world in the midst of the extreme situation that forced them to exile to Manchuria and all the subsequent sufferings. However, <Buntongga>, which was created based on Confucian notions or historical consciousness that were valued among men, mainly features didactic and abstract expressions, whereas <Haedogyogeosa>, which addresses to female readers around the author, shows differences in the way of expressing the hope of national independence compared with <Buntongga>, which is based on ideological imagination. The differences seen in the two works have significance in that they allow us to examine, from an integrated viewpoint and in a complimentary way, the historical consciousness of the authors who tried to share their aspiration for national independence with others and society at the same time, as well as to express their inner sufferings.

<Haedogyogeosa>, <Buntongga>, Manchurian Exile Gasa, Border rider, Woman, Man