경술국치의 충격을 담은 1910년대 가사문학의 전개 양상과 가사문학사적 의의

고순희 고려대학교 민족문화연구원 2019 民族文化硏究 Vol.84 No.-

The purpose of this study was to investigate the developmental aspects of 1910's Gasa which was created by the shock of gyeongsulgugchiui, and to identify the meanings and historical significance of these Gasa. These Gasa were developed in various aspects such as the type of ‘living in hiding place’, ‘exiling Manchuria’, ‘reality lament and lesson’, and ‘history narration’. These Gasa has meanings in the point that the Gasa functioned as a genre to actively respond to the history and social realities of that days, that these functions as a documentary reflecting the perceptions and lives of the contemporaries, that these show the typical anti-Japanese logic by resisting the Japanese imperialists, that these show the possibility as the poetry genre of Gasa by revealing the flowering civilization thought of young people, that these reflect the social phenomenon prevalent in the contemporary people, and that these show the local identity of Andong-based Gyeongbuk region. These Gasa has the significance in the point that these have maximized the tradition of Gasa to create in response to the historical and social reality, and that these have played a crucial role in linking this tradition to the Japanese colonial period. 이 연구는 경술국치의 충격을 담아 1910년대에 창작된 가사문학의 전개 양상을 살핀 후, 전개 양상의 의미와 가사문학사적 의의를 규명하는 데에 목적을 두었다. 이들가사는 은거 유형(4편), 만주망명 유형(12편), 현실 개탄과 경계 유형(7편), 그리고 역사서술 유형(3편) 등 다양하게 전개되었다. 이들 가사는 가사가 당대의 역사⋅사회 현실에 적극적으로 대응하는 장르로 기능했다는 점, 당대인의 인식과 삶을 반영하는 다큐멘터리로 기능한다는 점, 대부분은 유학적 가치관을 내세워 일제에 저항하는 당대의 전형적인 항일저항논리와 현실인식을 보여준다는 점, 당대인에게 만연해 있었던 사회상도 반영한다는 점, 안동을 중심으로 하는 경북지역의 지역적 정체성을 단적으로 보여준다는 점 등에서 의미를 지닌다. 이들 가사는 역사⋅사회 현실에 대응하여 창작하는 가사문학의 전통을 극대화하여발현함으로써 일제강점기가 계속될 때까지 그 전통을 이어주는 결정적인 가교 역할을했다는 점, 일제강점기가 가사 창작의 쇠퇴기가 아님을 보여주는 실증적인 자료로 기능한다는 점, 가사문학의 창작과 향유에 있어서 지역적 한정성을 더욱 고착화하는 계기를 마련했다는 점 등에서 가사문학사적 의의를 지닌다.

만주망명 가사 <간운사> 연구

고순희 한국고전문학회 2010 古典文學硏究 Vol.37 No.-

<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. <간운사>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. <간운사>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. <간운사>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. <간운사>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.

임란 이후 17세기 우국가사의 전개와 성격

고순희 한국고전연구학회 1996 한국고전연구 Vol.2 No.-

임란 이후 17세기 우국가사의 전개와 그 성격

고순희 한국고전연구학회 1996 한국고전연구 Vol.2 No.-

현실비판류가사의 작자층 연구

고순희 국어국문학회 1988 국어국문학 Vol.- No.99

[근대의 가사들] 만주 망명 가사① <위모사>

고순희 고요아침 2014 오늘의 가사문학 Vol.- No.3

<군산월애원가>의 작품세계와 19세기 여성현실

高淳姬 이화어문학회 1996 이화어문논집 Vol.14 No.-

漢詩 飜譯文體 硏究(Ⅱ) : 우리 漢詩 飜譯의 성격과 飜譯文體의 제문제 characteristics of our Chinese poem and problems translational style

高淳姬 韓國古典文學會 2001 古典文學硏究 Vol.20 No.-

This study starts with the basic problems of translation of Chinese poem defining how to translate Chinese poem into Korean with a style of Chinese poem. Therefore, the objectives of this study are that the basic characteristics of the translation of our Chinese poem will be defined and the problems occurred in the translation style of our Chinese poem will be evaluated. In chapter II, the basic characteristics of the translation of our Chinese poem were evaluated. We can understand our Chinese poem only through the translation into Korean. Nevertheless, our Chinese poem was written by the ancestors who lived and thought with Korean, and it existed historically with different poem types. therefore, the character of our Chinese poem is different from that written by foreigners. Therefore, in the translation of our Chinese poem into Korean should be considered ; 1) the speciality in reproduction of the original thoughts of poem writers, 2) the reflection of the characteristics of historically existed our Chinese poem different from other poem type in sentence style, and 3) the consideration of level of readers In general. In chapter Ⅲ, various problems of the translation of our Chinese poem with the controversial points was evaluated in relation to the characteristics of our Chinese poem translation shown in chapter ll. In chapter Ⅲ.1, the problems of vocabulary was reviewed. The parody of ancient events and persons are the style of that time when Chinese character was used for writing.. This is the riginal Chinese expression and composed of genre characters. If these are ignored or omitted, the aesthetic concept of Chinese poem can not be delivered. Even though the current people do not know, the translation should deliver the original concept of Chinese poem. Also, there is a problem in Chinese style translation in vocabulary. It is desired that the translation In currently using sentence style even though the sentence was used generally in the past. In chapter Ⅲ.2, the form and rhyme were evaluated. There is a trend to translate 5 characters and 7 characters of Chinese poem to 3 or 4 character rhyme by current translators. However, it is wondered that the writer of Chinese poem really tried to use rhyme of 3 or 4 characters which are the rhyme of Gasa and folk songs to characterize their thought in Chinese poem. We know that People Of high Class in Chosun dynasty did not used 3 or 4 character rhyme in their translation into Korean. This indicates that they recognized that the rhyme of Chinese poem is not fitted with 3 or 4 character rhyme in translation. Therefore, It should be reconsidered that the usage of 3 or 4 character rhyme is a good practice for the Chinese poem translation. In chapter Ⅲ.3, the problems of rhyme usage was evaluated. Current translation of Chinese poem uses'-ne' as a conclusive suffix frequently. However, this translation is not considered the genre hierarchy in Chinese poem translation. '-ne' is the characteristic conclusive suffix in folk songs. It is not a proper translation style of Chinese poem because of similarity of conclusive suffix of translated Chinese poem to that of folk song. The oldfashioned conclusive suffix should be used for the translation of Chinese poem with the consideration of genre hierarchy.

新生國 政治 指導者에 關한 比較硏究

高舜姬 이화여자대학교 사범대학 사회생활과 1977 綠友會報 Vol.- No.19

新生國 政治 指導者에 關한 比較硏究

高舜姬 梨花女子大學校 師範大學 社會生活科 1977 綠友硏究論集 Vol.- No.19