尹熙順의 義兵歌와 가사

고순희(Soon Hee Ko) 한국고전여성문학회 2000 한국고전여성문학연구 Vol.- No.1

Among the works of Yoon Hee-Soon's Eui-byung Ka(EBK) has been studied as the one of the work of the Kasa genre. However the situation that Yoon's EBK was composed and the analysis of the lines of that song show that Y oon's EBK couldn't belong to Kasa Genre. Yoon's EBK has so complicated aspects that differs from the attributes of Kasa. There are no evidences whether Yoon's EBK was sung in western styled melody, and even the evidences chat show the existence of Yoon are not found. This means that Yoon's EBK was born in a rime of transition, so it can nor be classified into Kasa, Chang Ka, or Traditional Folk Songs. The extant studies on Yoon's EBK and Kasa have been focusing on the women's voluntary participation in Eui-byung and the diffusion of the recognition of gender equalitarianism. However it is doubtful whether Yoon's Eui-byung activities could be directly related to women's social participation or Gender Equalitarianism. It is necessary to analysis the Feministic natures of Yoon's works Yoon's Eui-byung Activities was allowed only as a Eui-byung family member, not a social one. Therefore Yoon's activities cannot be interpreted in the context of women's social participation or Gender Equalitarianism. Haejoo Yoon Family Story, Yoon's autobiography, shows no her personal life, but the family affairs. All we can draw from it is that Y oon's life was not based on the Gener Equalitarianim in a modern sense or the women's self-esteems, but on the traditional gender discrimination. In Yoon's 'Housewives Eui-byung Ka,' which appeals to the housewives to participate in the Eui-byung Activities, the role of man and wqmen and the gender discrimination are explicitly shown. Yoon's EBK has not only the Feministic nature bur also the propagandistic one. When she participated in Eui-byung, she instinctively recognized what was really needed and this made her to compose EBK Yoon's EBK was composed primarily to encourage the combat morale, so its lyrics are made of not only the plain words but also the bad ones. The Confucians who participated in Eui-byung used Kasa in Chinese, bur Yoon's was made in plain Korean and melody so it was much easier to sing than the Chinese one. The production, expression, and style of Yoon's EBK was the results of her own senses of realism and the experiences. Yoon's Kasa 'Song of Lamentation' i.s the work that expresses her own awful life and the situation Oiosun met. In thi.s work neither her father-in-law nor her son is appeared. Only Yoon herself is a protagonist and sees the world she meets. As a middle-aged woman Yoon described the world of lyricism through her own self esteemed eyes.

여성과 힘 만주망명과 여성의 힘 -가사문학 <원별가라>,<위모□>,<신□□령>을 중심으로-

고순희 ( Soon Hee Ko ) 한국고전여성문학회 2011 한국고전여성문학연구 Vol.0 No.22

The aim of this research is to analyze the changing aspects of woman`s power through the experience in Machurian exile and to inquire into its meaning targeting gasa literature such as <Wonbyeolgara><Wimosa> and <Shinsetaryong>. First of all, this research made an analysis of <Wonbyeolgara> <Wimosa> and <Shinsetaryeong> in the chronicle order of their creation. This research analyzed the work Wimosa from the aspect of an equalitarian`s desire and power for social participation; Wonbyeolgara from the aspect of a traditional woman`s change of identity and power, and Shinsetaryeongfrom the aspect of womanly power of a leader of independence movement respectively by putting focus on the changing aspect of each author`s self identity and power due to Manchurian exile. This research comprehensively inquired into the meaning of a woman`s changing aspects on the basis of the above analysis. These three women happened to get an opportunity for social participation by virtue of their Manchurian exile. The author Lee, Ho-seong and a woman of Pyonghae-Hwang family who were in their early 20s at the time of the exile, were different from each other in their attitude toward a woman`s decision to live in exile. However, the common point in these two women was that they changed their identity as a woman leader through the experience in Manchurian exile. Accordingly, there formed a ``force`` to lead their life initiatively in the inner side of these two authors. Nevertheless, this force was not given from the outside but autogenously formed inside. Afterwards, these two women authors weren`t endowed with the social strength they longed for from the outside after all. Unlike the two authors, Yoon, hee-sun was endowed with the social strength as a leader in the circumstances where 10 years had passed since her exile. Thus, Yoon, hee-sun displayed strong power tiding over a crisis while being simultaneously equipped with the identity of a leader and womanly identity of paying attention to the body and food.

특집 : 세계문학의 패러다임과 한국고전시가의 보편적 가치 ; 만주망명가사와 디아스포라

고순희 ( Soon Hee Ko ) 한국시가학회 2011 韓國 詩歌硏究 Vol.30 No.-

만주망명가사는 일제 강점기에 서간도로 망명해 독립운동을 하던 혁신유림 문중에서 창작된 7편의 가사를 말한다. 만주망명가사는 식민 상황에 대한 분노, 만주 망명 동기, 만주 이주 노정, 만주 생활, 독립과 환고향의 희구 등을 담고 있어 만주 디아스포라 문학으로 다룰 필요가 있다. 2장에서는 먼저 만주망명가사 7편의 개관을 제시했다. 이어 서간도 선택, 탈고향의 과정과 만주망명 여정, 만주에서의 생활 등을 살핌으로써 이들의 망명 생활이 정착 생활이 아니라 철저히 ``유목민 생활``이었음을 밝히고, 그 구체적인 양상으로 <신세타령>을 분석했다. 3장에서는 만주망명가사 7편을 관통하는 서정적 자아의 본질이 무엇인가를 규명했다. 7편 가사는 시적 정조의 핵심에 ``민족적 자아``를 지닌다. ``민족적 자아``란 ``개인 정서와 민족의식이 합일된 자아``를 의미한다. 육친에 대한 개인적 서정도 민족적자아에 수렴되어 있다. 4장에서는 작가들의 문화적 정체성이 어떤 양상으로 나타나는지를 살폈다. 작가들은 떠나온 식민지 조국에 절대로 소속할 수 없었고, 이주해간 중국에도 소속하려 하지 않은 ``경계인``으로서 중국에 동화되지 않았다. 이들은 그들만의 문화적 정체성을 지키려 했는데, 그 노력의 한 가지가 가사 창작이었다. 만주망명가사는 만주 디아스포라 의식의 초기적 양상을 드러낸다는 의미가 있다. The aim of this research is to look at the Manchurian exile Gasa from a diaspora perspective. In Chapter II, this research suggested 7 pieces of Manchurian exile gasa first. Then, this research looked at their living in exile is not a settled one but a thoroughly ``Nomadic Life`` and as its detailed aspect, analyzed <Shinsetaryeong>. In Chapter III, this research inquired into what the essence of lyrica ego which penetrate 7 pieces of the Manchurian Exile Gasa. The seven pieces of Gasa assumes ``National Ego`` in the core of poetic sentiments. ``National Ego`` means ``the ego in which personal emotion and national consciousness`` are united into one. The lyricism of these pieces of Gasa corresponds with the historical imagery of a nation while jumping over the stage of personal emotion. In Chapter Ⅳ, this research took a look at in what aspect authors`s cultural identity appeared. The authors were marginal people who couldn`t belong to their colonial fatherland they left at all, or intended to belong to China they emigrated to. They tried to retain their own cultural identity instead of being assimilated to China, and one of such efforts was creation of Gasa. Manchurian Exile Gasa has a significance in that it exposes an initial aspect of Manchurian diaspora consciousness.

<경복궁영건가(景福宮營建歌)> 연구

고순희 ( Soon Hee Ko ) 한국고전문학회 2008 古典文學硏究 Vol.34 No.-

본고는 <경복궁영건가>의 작품세계를 분석하여, 그 의미를 밝히고 가사문학사적 의의를 재규명하는 데 목적을 둔다. 이본으로는 총 5편이 확인되었다. 작가는 나이가 70세이며, 조정대신이고, 경복궁 중건 사업에 깊이 관여하고 있었던 영의정 조두순이 확실하다고 보았다. <경복궁영건가>의 작품세계를 세 가지 측면에서 분석하였다. 첫째, 경복궁의 역사를 서술한 전반부는 경복궁 중건의 정당성을 말하고자 한 것이었다. 둘째, 순조로운 공사의 진행을 말하는 가운데 부역군들의 자발적이고도 즐거운 노동만을 집중적으로 기술하였다. 셋째, 자신을 `나`로, 백성을 `너`로 설정하여 대화함으로써 스스로 몸을 낮추어 백성의 비위를 맞추려하였다. <경복궁영건가>는 19세기 중엽 상승한 민중의 힘을 역설적으로 반영해 보여준다는 의미를 지닌다. 그리하여 <경복궁영건가>는 19세기 중엽에서 개화기로 넘어가는 시기에 상층 사대부 가사의 변화 양상을 보여준다는 가사문학사적 의의를 지닌다. The purpose of this study was to analyse the world of the work, Gyeongbokgung Yeonggeonga, enlighten its meaning, and reconfirm its significance in Gasa literature history. It was found that there were five different versions of this work. And the writer was identified as the prime minister of Joseon dynasty Jo dusun, who was 70 at that time and deeply engaged in the project for reconstruction of Gyeongbokgung. I analysed the world of the work, Gyeongbokgung Yeonggeonga into the three aspects. First, the purpose of the first half of description about Gyeongbokgung history was to proclaim the justice of reconstruction of it. Second, he described intensively on workers` voluntary and pleasant labor while stating smooth process of construction. Third, he set himself as `I` and the people as `you` when making conversation so that he might compliment the people by humbling himself. `Gyeongbokgung Yeonggeonga` has some implication that it paradoxically reflects the people`s power which increased in the middle of 19C. Therefore `Gyeongbokgung Yeonggeonga` has a significance of Gasa literary history in the sense that it tells us the changing aspect of Gasa of illustrious officers in the upper class.

가사문학의 문화관광자원으로서의 가치

고순희 ( Soon Hee Ko ) 한국시가문화학회(구 한국고시가문화학회) 2016 한국시가문화연구 Vol.0 No.37

이 연구의 목적은 가사문학이 지닌 문화관광자원으로서의 가치를 규명하는 데 있다. 먼저 규방가사를 중심으로 ‘가사 짓기의 문화’가 지니는 문화적의미를 살폈다. 양반가 여성의 ‘가사 짓기의 문화’는 ‘인문학적 정신의 생활화’라는 문화적 의미를 지닌다. ‘글쓰기의 생활화’는 현대인이 잃어버린 소중한 정신적 가치이다. 가사문학이 지닌 정신적 가치를 계승 발전시킨다면 우리 민족성에 대한 긍지를 높일 수 있다. 그리하여 가사문학은 문화관광자원으로서의 가치를 지닌다. 다음으로 가사문학이 관광의 키워드인 ‘장소’로 환원될 수 있는 가능성이많다는 점을 살폈다. 다양한 작품세계를 지닌 엄청난 수의 가사문학은 각각‘장소’로 환원되어 지역의 정체성을 확립하는 데 기여할 수 있다. 마지막으로 가사문학을 문화관광자원으로 활용하는 방안을 제시해보았다. 문화관광자원의 개발은 관광패러다임의 변화에 대응해 ‘작은 기획’을 필요로 한다. ‘작은 기획’을 통해 지역의 주민이 그 ‘장소’를 우선적으로 즐기고 향유할 수 있게 하는 것이 바람직하다. 가사문학은 이러한 관광패러다임의 변화에 대응하여 문화관광자원으로 활용할 수 있는 가장 좋은 아이템이다. The purpose of this study is to define ‘The Value of Gasa as a Resource of Culture-Tourism’. First, focusing to female Gasa, I investigated the cultural meaning ‘the culture of writing Gasa’. ‘The culture of writing Gasa’ have the cultural meaning which is the ‘daily life of the humanistic spirit’. The ‘daily life of the humanistic spirit’ is a spiritual value which modern peoples has lost. We need to inherite and develop the humanistic spirit of ‘Gasa’, and need to heighten our pride on the ethnicities. Therefore we must positively exhume ‘Gasa’ as a Resource of Culture-Tourism. Secondly, I investigated the point that ‘Gasa’ have the possibility to connect to the ‘place’. The ‘place’ is a keyword of tourism. ‘Gasa’ has various work-worlds, and huge pieces. If ‘Gasa’ connect to the ‘place’, It can help to establish the identity of the region. Finally, I suggested the ways to conjugate ‘Gasa’ as a Resource of Culture-Tourism. The resource development of culture-tourism need a ‘little planning’ that response to changes in the tourism paradigm. A ‘little planning’ will make preferentially residents to enjoy the ‘place’. ‘Gasa’ is the best item to conjugate as a Resource of Culture-Tourism thatresponse to changes in the tourism paradigm.

〈조손별서〉와 〈답사친가〉의 고증적 연구

고순희 ( Soon Hee Ko ) 한국시가문화학회 2013 한국시가문화연구 Vol.0 No.31

일제강점기 징병과 가사문학의 양상

高淳姬(Ko, Soon-hee) 국어국문학회 2014 국어국문학 Vol.- No.168

During the period of Japanese Colonial Rule, Greater East Asia War broke out in 1941. As a result, many Korean peoples were forcibly conscripted by Japan. Many Korean men went to the battleground, were not coming back, and were sacrificed. And many Korean peoples lived in pain, waiting for there husband, son, and brother. I collected the Gasa works relating to the conscription during the period of Japanese Colonial Rule. They are 〈mangbuga〉, 〈sajegok〉, 〈wonmangga〉, 〈jatanga〉, 〈choonpunggamhoerok〉,〈sinsaejatanga〉. Four works are a new Gasa materials hitherto unknown to academia. The Purpose of this study presents the Gasa works relating to the conscription during the period of Japanese Colonial Rule, and probes the literary meanings of these Gasa works. In chapter 2, I surveyed chronologically circumstances of the Korean people’s conscription during the period of Japanese Colonial Rule. In chapter 3, I presented the texts of Gasa relating to the conscription during the period of Japanese Colonial Rule. And I proved the writer, writing age, and the fact that each work related to conscription. In chapter 4, after I briefly overviewed the literary aspects of these Gasa works, I probed the literary significance of these Gasa works. These Gasa works has the significance as a documentary literature which typically shows the tragedy of the Korean people during the period of Japanese Colonial Rule. And these Gasa works shows us that traditional features of poetry existence was maintained until recently.

만주망명 가사 <간운□> 연구

고순희 ( Soon Hee Ko ) 한국고전문학회 2010 古典文學硏究 Vol.37 No.-

<간운□>의 작가가 김우락 여사임을 밝히고, 그 생애를 살폈다. 김우락은 독립운동가 김대락의 여동생이자, 대한민국 임시정부의 초대 국무령을 지낸 이상룡의 부인이다. <간운사>는 만주에 망명한 지 4년쯤 지난 시기에 고국의 형제자매를 그리워하며 지은 가사이다. <간운□>는 생애의 중요 국면을 기억하고 회상하며 자신의 심정을 고백했다. 작가는 만주에 살면서도 가사를 창작하고 낭독도 즐겼다. 작가의 가사 창작?향유와 가족의 반응 속에서 가사를 둘러싼 전통과 근대의 길항 작용을 엿볼 수 있다. <간운□>의 여성인식은 전통적 여성인식의 자장 안에 있다. 그런데 미세하게나마 근대적 여성인식을 향한 원심력의 작용이 감지된다. 19세기 중반에 태어나 20세기를 살아가는 한 노년 여성이 일제침략과 만주망명이라는 근대사의 충격에 의해 근대를 수용하지 않을 수 없었고, 그로 인해 여성인식의 외연이 확장된 양상이다. <간운□>에 드러나는 독립운동가 가족의 생활상과 독립투쟁의식은 근대를 수용한 양상으로 의미가 있다. 국권상실이라는 역사적 조건 하에서 `노블레스 오블리지(Noblesse Oblige)`의 실체를 보여준다는 점에서 가사문학사적 의의를 지닌다. <Ganwunsa> is a work of gasa that has been introduced its text but almost no other parts known today. However, the contents of the work have many clues to trace the author. Therefore, the author of the work is known now as Mrs. Kim Woo-rak and her life has been known. Kim Woo-rak was born to a prestigious family in Andong and married to a man of a prestigious family in Andong as well. She was a younger sister of independent independence activist Kim Dae-rak and was a wife of Lee Sang-ryong who served as the first prime minister of the Provisional Government of Korea. After the Korea-Japan Annexation (in 1910), all of her family exiled to Manchuria to devote in independent movement. <Ganwunsa> is the gasa that she wrote while longed for her brothers and sisters remained in her homeland at a time she spent 4 years in Manchuria. The author wrote gasa and enjoyed reading them while living in Manchuria. In her <Ganwunsa>, she reminisced important phases of her life (growing → marriage → separation → exile → separation) and confessed how she felt in her memory. She mobilized the customary phrases and writing method of gasa for noble class women to express her emotion and sentiment of the time. The author lamented the position of women who have to long for brothers and sisters all their lives. While doing so, she fulfilled "the custom for woman to be submissive to her husband" and "three things woman has to comply with" in her life. The perception of women for <Ganwunsa> was within the boundary of the traditional perception of women. But it displays the expansion of external links from the traditional perception of women to the modern perception of women while present at the site of the independence movement. The work environment of <Ganwunsa> was within the modern life in exile to Manchuria and independence movement. But the author focused on expressing her ordinary life and reminiscence that she did not directly portray the life as an independent activist and consciousness in independence struggle. She was a traditional woman born in the middle of the 19th century, but she had to accept the shocking modern society in losing the national sovereignty as an important phase of her life. By doing so, she gave up the tradition and accepted the modern times with several indications.

일제강점기 < 경탄가 > 연구 -한 명문대가 후예의 봉건적 지식담론과 가문의식-

고순희 ( Soon Hee Ko ) 한국시가학회 2015 韓國 詩歌硏究 Vol.39 No.-

이 연구의 목적은 <경탄가>의 텍스트 분석을 통해 작가가 일제강점기 폭압적 정치구도와 강력한 근대문명사회로의 진전에 대응하여 보여준 현실인식을 규명하는 데 있다. <경탄가>의 작품세계를 전반부와 후반부로 나누어 분석하고, 이를 바탕으로 일제강점기 한 명문대가 후예의 현실인식을 규명했다. <경탄가>의 작가는 치열하게 전개되었던 당시의 이념적, 역사적 변화 현실에 전혀 대응하지 않았다. 다만 유교적 이념에 입각하여 왕이 마련해 놓은 봉건적 체제와 질서 안에서 당대의 현실을 바라보았다. 작가가 집요하게 추구한 것은 두 가지이다. 하나는 조선시대와 관련한 봉건적 지식 담론의 전달이다. 근대 학문인 ‘신학’이 날로 증대되는 현실이었지만 새로운 지식에 대한 성찰을 스스로 차단하고 한학자의 특권인 봉건적 지식을 자녀에게 전달하며 지식권력을 발휘했다. 또 하나는 명문대가의 후예라는 가문의식이다. 작가는 승품을 따내고, 명문대가의 후예라는 인식을 가족에게 심어주고, 여성통제 이데올로기의 강조를 통해 가문의 영속을 기도했다. 작가는 대내외적 혼란이 극심했던 격변기에 직면했던 자신의 문제를 가문의식으로 극복하고자 한 것이다. 이와 같이 작가의 현실인식은 근대담론이나 일제강점의 현실을 회피하고 봉건적 지식담론과 가문의식 그 자체에 함몰되어 있는 것으로 나타난다. <경탄가>의 작가가 보여준 현실인식은 당대 독립운동에 투신한 양반가 후예의 것이나 전통적 사고를 고수하던 도학파의 것과 구별되는 것이다. <경탄가>는 일제강점기 역사적 변혁기와 근대문명사회에 직면하여 명문대가 후예가 보여준 다기한 현실인식과 그에 따른 행보 중 극단의 한 예를 보여준다. The purpose of this study is to reveal the reality awareness of the writer through analyzing the text of <Gyungtanga>. It works by dividing the analysis into the first half and second half, and based on this I will reveal the reality awareness of the writer. The author did not correspond at all to the reality of historical and ideological change. Just on the basis of Confucian philosophy he only looked at the reality in the feudal system and order. The writer was intensively pursued two. One is the delivery of knowledge feudal discourse relating to the Joseon Dynasty. Despite the modern period increasing modern studies, He himself block the reflection on the new knowledge, he has demonstrated the knowledge power. Another is the family consciousness as a descendants of nobility family. The writer raised the government office, instilled the family consciousness as a descendants of nobility family to his family, wanted the honor of the family through the women control ideological. The writer had to overcome his problems to face on extreme confusion both internally and externally with the family consciousness as a descendants of nobility family. Thus, the real recognition of the writer has avoided the reality of the modern discourse and the Japanese occupation, has buried itself in feudal knowledge discourse and the family consciousness as a descendants of nobility family.

한국 전통 나비매듭을 응용한 텍스타일 및 어린이 원복 디자인 개발

고순희(Soon-Hee Ko),장현주(Hyun-Joo Jang) 한국의상디자인학회 2015 한국의상디자인학회지 Vol.17 No.1