홍명희 『林巨正』에 수용된 역사적 사실에 대한 검토

한희숙 숙명여자대학교 지역학연구소 2000 지역학논집 = Research Institute of Regional Studies Vol.4 No.-

The novel 'Lim Guk Jung' is an accommodation of various historical records. The writer Hong Myung Hui went through many historical records, arranged and analyzed them, and reflected them in his novel. The historical materials that are accommodated in this work include official historical records such as 'Yeon San Sil Lok', 'Joong Jong Sil Lok', 'In Jong Sil Lok', and 'Myung Jong Sil Lok', as well as unofficial history recorded in private literature works such as 'Ki Je Jap Ki', 'Nam Pan Yun Yu Sa', 'Pae Kwan Jap Ki', 'Sung Ho Sa Sul', 'Yeol Jo Tong Ki', and 'Yeon Yuh Sin Ki Sul'. Records that tell of certain people such as biographies were also referred to. Hong Myung Hui put every effort in reflecting all tales regarding Lim Guk Jung that are in official historical records and unofficial records as well as tales that were handed down mouth to mouth amongst the people. The novel 'Lim Guk Jung' consists largely of 3 parts. The first is the 'Bong Dan Pyun', 'Pi Jang Pyun' and 'Yang Ban Pyun' that correspond to the introduction. These 3 'pyun's, or parts show many official and unofficial historical records, and tell of the historical environment of the Myung Jong era as well as the people who actually lived the times. On the other hand, purely fictional characters like Gat Ba. Chi also appear. The second is the 'Ui Hyung Je Pyun', which describes the process of forming the bandit party. This part describes the forming of the Lim Guk Jung party and their lifestyles, and relies almost entirely on fiction. The seven sworn brothers of the brotherhood are characters that have been brewed up by Hong Myung Hui. Therefore, the details regarding the forming of the party introduces purely fictional characters. However, although fictional, these characters are those who were likely to have existed in the Myung Jung era of the Chosun Dynasty. The third part. When this novel is looked upon in detail, it can be seen that the character of Lim Guk Jung has been created largely upon the imaginations of Hong Myung Hui. 'Chosun Wang Jo Sil Lok' does not hold any information regarding the social class, job, or the birthplace of Lim Guk Jung, but Hong Myung Hui placed Lim as the son of the butcher Dori of the Hamhung area for his family, and characterized Lim as a person of strong will and hard physical characteristics, and described his face as such. Also, he tried to express the power of the people who resisted against injustice through Lim, one of the lowly people born from a butcher. However, the novel does not image the lifestyles and customs of a butcher quite enough. In the actual novel, the bandit group of Chung Suk Gol does not have any butcher class person other than Lim, and therefore, does not really show the 'unity of the butcher class', as he says. Also, it shows the story of how the chiefs of the Chung Suk Gol party came to join the group as a very individual and accidental, rather than from the contradiction of the social economical situation of the lower classes. Therefore, although storytelling interest is gained by picking the background for becoming a bandit in their individual reasons, the contemporary historical reality of failed farmers becoming bandits due to extreme poverty is not described accurately. However, the activities of Lim Guk Jung are described throughly relying on historical records, and does not exclude any of the related situations that are mentioned in the official and unofficial historical records. Since the frame of this part is the chronological historic order of events as is recorded in history, and pasted with the author's imaginations, it holds more reality than any other part of this novel. However, due to such attitude, Hong failed in describing Lim as a chivalrous bandit who tried for the unification of the butcher class because he relied heavily on 'Myung Jong Sil Lok' more and more toward the end of the novel. This prevented him from overcoming the understandings of the ruling class of the times. In summary, 'Lim Guk Jung' is a novel that aimed to acquire historical reality in terms of trying to reflect as many historical records as possible in the imaging process of the events, and in that the historical characters and events were imaged based heavily on the subjectivity of the records. Hong Myung Hui, who was a believer of socialism, selected Lim Guk Jung as a means of exposing the contradictions of the colonial structure. He attempted to show Lim Guk Jung as a chivalrous bandit that resisted by bending the historical characters or events to his viewpoints. In this perception, he can be seen as a historian who emphasized hierarchial meaning, since he stayed true to the official historical records. Also, this novel can be seen as the social history of the Myung Jong era of the Chosun dynasty, since it not only describes the situations and customs of the Myung Jong era, but it also brought historical characters to a live present-day figure by breathing life into the characters.

燕山君代 盜賊活動의 사회적 조명

한희숙 淑明女子大學校 1996 韓國學硏究 Vol.6 No.-

17세기 후반 群盜活動과 국가의 對策

한희숙 조선시대사학회 2002 朝鮮時代史學報 Vol.21 No.-

Characteristics of bandits and the government's policies in the late 17'th century Han, Hee-sook

朝鮮前期 李世佐의 생애와 甲子士禍

한희숙 조선시대사학회 2009 朝鮮時代史學報 Vol.50 No.-

This study was to research about birth, life, families, and Lee Sehjoa’s activity in government service as well as his relationship during Kapjasahwa. Lee is the son of Lee Geakgam, who was born into the distinguished family of Kwangju Lee. From the beginning as Naesomsi Pankwan under the King of Jeajong, Lee became a powerful minister. When there was Muosahwa, he criticized about Sarim and ordered a punishment against Kim Jongjik. When the king of Yonsankun gave the royal emissary liquor to Lee, he accidently spilled the drink. Because of this, the king of Yonsankun thought that Lee was ignoring his drink making him to believe that he was disdaining the king. At that time, the king thought he was held in contempt from the retainers, so he tried to oppress them. Therefore, the king’s first victim was Lee because he believed that Lee was encouraging the king’s retainers to kill the king’s wife. The punishment for Lee was the beginning of Kapjasahwa. it was process for building the powerful royal authority and eliminating vassalage. As a result, Lee was given a harsh treatment with Bukwanchamci(剖棺斬屍) and Chwagolpyopung(碎骨飄風) 본고는 조선 전기 이세좌의 출생과 그의 가계ㆍ가문, 관직활동, 그리고 甲子士禍와의 관련성을 살펴본 것이다. 15세기 중엽 최고의 문벌가문인 광주 이씨 가문의 李克堪의 아들로 태어난 이세좌는 예종대 내섬시 판관으로 벼슬에 나아간 이후 연산군대까지 30년 이상 관직생활을 하며 勳舊대신으로 성장하였다. 그는 戊午士禍 때 김종직을 처벌해야 한다고 주장한 인물로 士林에 대해서는 비판적 입장을 보였다. 그런데 이세좌는 연산군 9년 양로연에서 어사주를 엎은 사건으로 인해, 그리고 또 홍귀달의 불경죄를 빌미로 능상풍조를 조장한 핵심인물로 간주되어 연산군에게 탄압을 받았다. 당시 대간ㆍ대신과의 권력 관계에서 자신을 업신여기는 풍조가 만연하다고 생각한 연산군은 불경죄를 내세워 신료들을 억압하려 하였다. 그 첫 번째 희생자가 과거 성종의 명에 따라 폐비 윤씨를 죽이는 일의 책임을 맡았던 이세좌였다. 이세좌는 윤씨를 죽이는 일에 있어 성종에게 간곡하게 반대하지 않았다는 점에서, 또 당대 최고 훈구가문의 대신으로 능상풍조를 조장했다는 이유로 왕권을 절대화하려는 연산군의 첫 번째 희생자가 되었다. 연산군의 이세좌에 대한 처벌은 甲子士禍를 알리는 신호탄이었으며, 그 처벌과정은 왕권을 제약하는 대간과 자신의 절대왕권 구축에 걸림돌이 되는 훈구세력을 제거하기 위한 실천과정이었다. 연산군은 이세좌의 처벌과정에서 그의 불경을 제대로 논박하지 않았다는 이유로 대간 및 홍문관원과 대신들을 탄압하고 논죄하였다. 이세좌는 왕권을 절대화하려는 연산군의 희생타로 갑자사화의 발단을 제공하였고, 그 과정에서 유배와 剖棺斬屍ㆍ碎骨飄風이라는 엄청난 정치적 시련을 당하게 되었다.

한국사람, 한국문화-힙합 춤을 추는 아이들의 문화는 단지 미국적인 것일 뿐인가 ?

한희숙 경희대학교 인문학연구소 2000 인문학연구 Vol.4 No.-

Don't we live in a cultural discourse? In the 21st century, the contemporary society vests its time mainly in the cultural discourse that permeates into the competitive life, the academic profession, the daily conversation, the personal psychology, and the essence of art. But what is the relationship between culture and human beings? Culture is the manifestation of the human essence. Therefore culture is human nature. This transformation of human nature into culture is completed without the hinderance of any given human instincts or circumstances. In summation, culture is the totality and the efforts of the human community as a whole. However, culture is not restrictive, it can be learned and changed by the members of the society. How does culture work? Culture is creative. The relationship between human and culture is not affixed in any one way. Even though culture is the summation of the human essence, culture can be transformed into a new physiognomy to reflect the temperament of the society as a whole. In a sense, culture is not human destiny but one of human expression. It is an expression to decide, transform, and seek for new possibilities. Animals, on the other hand, are restricted to its environment. It can not transcend the boundaries of its environment since it lacks fundamental question to cross over the limit of the natural environment. What are the boundaries of the cultural creativity? Culture is not static, it is dynamic due to the continuous changes intervened by the human community as a society. This measure is accomplished through the exchanges with the other cultures, personal creative activities, and the free will of the individual and the society as a whole. And so it changes and develops without being bound to natural rules. To bring about this continuous change, we must understand its construct to bring about change and possibilities to solve problems. And so by understanding its identity, we can ask ourselves "how can we operate within the construct of the natural paradigm to bring about the changes?" In this sense, we have a moral imperative as an individual and as a society to be responsible in bringing about reforms to the society in general. What are the ethics and the future of culture? A stated previously, culture exists in a continuous tension and must be appreciated for all its creativity and the possibilities to bring about reform to the society. But this can not be accomplished without asking whether certain cultural phenomenon is ethical or not? Human must ask whether certain cultural phenomenon in this age of uncertainty is right or not. By doing so, we establish certain foundations in the present time to create and build future culture. And only by grasping on to a "tested" culture can we plan for a future culture. This is what is termed as a "cultural strategy." In effect, it is essential to have "a critical mind" for a positive culture and "an independent spirit" & "an open mind" for understanding. Furthermore we must understand the culture of other country in its entirety, and should plan for the future culture by studying critically and progressively about the cultural reality around us to shape the society of tomorrow. In the end, the various "counter-cultural movement" should survive and flourish as a means of checks and balance to move toward peace and respect for humanity.

15세기 도적활동의 사회적 조명

한희숙 한국역사연구회 1991 역사와 현실 Vol.- No.5

생명공학:인간을 위한, 인간에 의한, 인간의 유전자 조작!...?

한희숙 한국외국어대학교 인문과학연구소 2000 인문학 연구 Vol.5 No.-

조선시대 여성사 연구의 최신 동향 (1991년 이후~)

한희숙 가톨릭대학교 인문과학연구소 2003 人文科學硏究 Vol.- No.8

趙浚의 社會政策方案

韓嬉淑 숙명여자대학교 사학과 1989 淑大史論 Vol.13 No.-

연산군의 딸 휘순공주(徽順公主)의 혼인과 이혼

한희숙 한국여성사학회 2018 여성과 역사 Vol.0 No.28

Princess Wheesun(휘순공주), the daughter of Younsangun(연산군), married to Gumunkyung(구문경), who was the fourth son of Gusooyoung(구수영) at Younsangun 8th year. Princess Wheesun became the daughter – in –law of the family of Gusooyoung who was the son –in-law of Youngeng prince(영응대군), son of King Sejong(세종). Younsangun not only built a large house where Wheesun Princess could live When she was married but also continued to support the economic benefits. However, the princess was divorced after only five years of marriage because when the Younsangun was abolished by Jungjong coup, the Princess and her husband were also deprived Also, all the benefits that were given to the Younsangun were confiscated by the state. Then Gusooyoung demanded the King Jungjong(중종) to cancel his son’s marriage. Wheesun Princess became the only Princess out of her marriage after marriage, However, two years after the Princess was kicked out, the prime ministers insisted that their divorce should be reunited because of JungJong coup inevitably. And prime ministers set out the reason that innocent wife or daughter – in –law should not be cast out. The Princess was reunited with him again in two years, and got a house again. She was not easily divorced because of her family affairs, and even if they were divorced, they were reunited again. 연산군의 맏딸 휘순공주(생몰년 미상)는 혼인한 이후 휘신공주로 봉호를 개칭했다. 대략 11살 즈음인 연산군 8년(1502)에 구수영의 아들 구문경과 혼인한 후 1년 정도 더 궁궐에 살다가 출합(出閤) 한 것으로 보인다. 시아버지 구수영은 영응대군의 사위이다. 휘순공주는 당대 왕실과 혼인관계를 구축하고 연산군의 총애를 받으며 출세가도를 달리던 구수영의 며느리가 되었다. 연산군은 휘순공주가 혼인을 하게 되자 규정 이상의 매우 큰 집을 새로 지어주었을 뿐만 아니라 말, 면포, 쌀, 비단, 호초, 노비 등 많은 경제적 혜택을 지속적으로 제공해 주었다. 그러나 휘순공주는 혼인한지 불과 5년 만에 이혼을 당하였다. 중종반정으로 연산군이 폐위되자 휘순공주와 구문경은 폐위되어 공주와 부마의 지위를 박탈당하고 서인이 되었다. 또한 연산군 재위 시 받았던 많은 물건과 가사(家舍), 토지, 노비 등도 모두 국가로 몰수되었다. 그러자 중종반정에 참여하여 공신이 된 구수영은 조정에 연산군과의 절혼(絶婚)을 청하였다. 조선왕실의 공주로서 결혼 후 시집에서 쫓겨난 경우는 휘순공주가 유일하였다. 그러나 휘순공주의 이혼에 대해 대간과 대신들은 허용하지 않았다. 휘순공주가 쫓겨난 지 2년 뒤에 대간들은 휘순공주와 구문경의 이혼이 중종반정이라는 변란을 만나서 부득이하게 이루어졌던 것이니 이들 부부를 재결합시켜야 한다고 주장했다. 대간들은 ‘출가한 딸은 그 친부 쪽의 죄에 연좌시키지 않는 뜻’을 명분으로 내세워 휘순공주와 구문경의 재결합을 주장하였다. 휘순공주는 2년 만에 다시 구문경과 재결합했고, 집도 다시 얻게 되었다. 공주는 친정의 일로 인해 쉽게 이혼을 당하지 않았고, 이혼을 당했다고 하여도 다시 재결합하였다.