KJCKorea
Journal Central

This article focuses on the keywords ‘Family’ and ‘Local’ as elements to be considered in reading of Naebanggasa. First, the family is divided into the 'family of origin' before marriage and the 'derivational family' after marriage, and the various perceptions and appearances from the woman's perspective, the family's perspective are broadly divided into three aspects. We looked into it separately. First, in Naebanggasa, families constantly remind women of their identity as family managers, or the women themselves fulfill their roles and responsibilities as family managers. Here, the ‘family of origin’ mainly appears as a relationship of emotional support and solidarity, and the ‘derivational family’ mainly appears as a relationship that evokes responsibility and roles. Second, in Naebanggasa, they constantly summons his family and expresses their feelings and memories about them. The main target, ‘family of origin’, is becoming a driving force for self-comfort and inner control. Third, objects in which emotions of positivity and negativity, criticism and warmth compete and collide appear in Naebanggasa. These are mainly ‘derivational families’ and show an ambivalent and mixed appearance. Next, attention was paid to Gyeongbuk Province and Andong. This is because, in addition to its meaning as a local for the production and enjoyment of Naebangasa, there are appearances that make us reflect on our attitude toward understanding traditional order and Confucianism as being on the opposite side of modernity and enlightenment. In particular, the resolute attitude of overcoming reality and the wise attitude of responding to the times shown by Naebangasa writers during the late Joseon Dynasty and modern times through the enlightenment and modern times were new. It occurred to me that Confucianism and traditional ethics, which were sometimes an oppression and bondage to them, could be seen as contributing to some extent in turning women into enlightened intellectuals and the subjects of enlightenment. Focusing on major female writers in the Andong and Gyeongbuk Province, their strong patriotism and national consciousness were confirmed through their actions and achievements. We also looked at the amazing innovations and reforms that this local showed during the late Joseon Dynasty and modern history.

This study aimed to investigate personal configuration in Sim Un-Gwang’s Youngsasi poetry as it was assumed that his poetry gave a focus on persons. For the active research, this study investigated the background he wrote Youngsasi. The poet was engaged in studying history as he had strong intention to read through history even though he was young. He used historical contents for his poetry and the results were assumed to be 44 pieces of Youngsasi poetry. This study investigated his whole poetry to understand how he represented persons in 44 pieces of Youngsasi poetry. As a result, it was discovered that there were roughly three characteristics; First, through personal images of his poetry, he clearly expressed thematic consciousness. Sim Un-Gwang naturally showed themes of fidelity, consistency in life, belief, loyalty to country, integrity and appropriate behaviors in his poetry. Second, he configured Youngsasi with person-related events to lead readers to understanding persons’ nature. In particular, he intended to lead readers to understanding the nature of the persons he intended to express in respect to big events of the country. Third, Sim Un-Gwang featured death of a person through Youngsasi. Specifically, he gave a focus on unfair death. As he understood the situation that real persons could be directly criticized, it was meaningful that he addressed grievances by evaluating persons in Chinese history.

This article aims to introduce a new work of Naebang-gasa, <Sanghwanong- joga>. Through the analysis of <Sanghwanongjoga>, we will see the diversity of the Hwajeon-ga type of Naebang-gasa. The author and the period of creation of the <Sanghwanongjoga> are not clearly known. The first part of the song consists of an explanation of the origin of Hahoe Village and a description of the 16 scenic spots of Hahoe Village, which are outstanding scenery. The second part expresses regret that the tradition of Hahoe Village cannot be passed on to men. She expresses her determination to continue the tradition as a woman. Then, it describes the joy of Hwajeonnori in Hahoe Village. She then describes how she came to write the Gasa and hopes that others will follow her example. In general, Hwajeon-ga type of Naebang-gasa describe women's experiences of deviating from their living space. Through these experiences, women express their desire for play and experience comfort and healing. Through this, a sense of solidarity among women is formed and enhanced. The new work, <Sanghwanongjoga>, inherits the tradition of the Hwajeon-ga type of Naebang- gasa. However, the acceptance and utilization of the 16 scenic spots of Hahoe Village, the expression of belonging and pride in the region, and the expression of pride as women are unique features of <Sanghwanongjoga>. <Sanghwanongjoga> is similar to other works of the Hwajeon-ga type in that it focuses on revealing women's play culture as a sophisticated cultural practice. However, <Sanghwanongjoga> is different in that it finds the context of play and takes pride in it.