〈병인연행가〉에 나타난 서술자의 복합적 시선과 그 의미

이동일 강원대학교 교육대학원 2007 국내석사

본고는 홍순학의 〈병인연행가〉에 나타난 서술자의 복합적 시선과 그 의미를 고찰하였다. 홍순학의 〈병인연행가〉는 1866년 홍순학이 서장관(書狀官)으로 임명되어 진하사은겸주청사행(進賀謝恩兼奏請使行)을 목적으로 청나라에 다녀온 후 쓴 것 장편의 기행가사로 대표적인 연행가사 중 하나이다. 본고는 〈병인연행가〉에 대한 기존의 평가가 일정 정도 오류를 범하고 있는 부분을 지적하기 위해 〈병인연행가〉의 창작배경을 살펴보았다. 먼저 홍순학의 생애와 당대의 시대적 배경에서 근기 지방의 발전을 통해 홍순학의 정체성을 살펴보았다. 그리고 연행의 전통에 따른 연행록의 산출 속에서 홍순학의 〈병인연행가〉가 쓰여졌으며, 북벌론과 북학론이라는 상반된 당대의 대명의식ㆍ대청의식 속에서 〈병인연행가〉가 영향을 받았음을 고찰하였다. 또한 한글로 쓰여진 가사라는 점에서 수용 계층을 고려하고 가사의 유통 양상에 따라 작품의 내용과 표현이 확정되었음을 논증하였다. 한편 19세기 기행가사의 양식적 특질을 〈병인연행가〉가 추구하고 있음을 살펴보았다. 이러한 창작배경의 다양한 경로를 통해 〈병인연행가〉에 나타난 서술자의 시선이 문화적 시선과 역사적 시선으로 양분되고 있음을 밝혀내었다. 노정에 따라 서술자의 시선이 특정한 시선으로 귀결되는 한편, 두 시선이 혼효되기도 하며 모순을 일으켜 갈등을 일으키기도 한다는 점을 분석하였다. 서술자의 이러한 복합적 시선은 〈병인연행가〉에 대한 기존의 평가가 평면적 해석에 그치고 있음을 지적하는 것이며, 텍스트 분석에 보다 면밀한 검토가 있어야 함을 지적하는 것이기도 하다. 구태의연한 역사적 시선에 젖어 있던 서술자는 도강(渡江)이라는 인식의 월경(越境)을 통해, ‘책문(柵門)’이라는 새로운 공간에 들어서면서 문화적 시선으로 전환되게 된다. 한편 ‘연경(燕京)’까지의 노정 속에서는 문화적 시선과 역사적 시선이 혼효되어 나타나다가 연경에 들어서면 문화적 시선이 압도되어 작품을 지배하게 된다. 〈병인연행가〉에 나타난 이러한 서술자의 복합적 시선은 모두 즉물적이라는 점에서 한계를 가지며 보다 기존의 한문연행록에 비해 조악한 사유의 수준을 보여주는 바라 할 수 있겠다. 그러나 선진 문물에 대한 호기심을 통해 기존의 명분론과는 다른 새로운 차원의 인식의 확장을 갖게 된다는 점에서 그 의의를 찾을 수 있을 것이다. It saw and the description volition composition gaze where ByeongInYeonHaengGa of Hong order crane which it boils appears in the and the meaning it investigated. pathogenesis taking of Hong order crane is nominated the 1866 Hong order crane with Su Jang Gwan (book officialdom) and the position staff sargeant and also week Government building line (Ha fortune) after in objective geting back to Chung country, representative taking is one middle-school household duties with travelogue household duties of the thing long work which it writes. It saw and hazard ByeongInYeonHaengGa which indicates the portion where the evaluation of existing ByeongInYeonHaengGa which boils regarding the is committing a schedule degree error tried to observe the creation background of the. First development of patient region it led from life of Hong order crane and time background of present generation it tried to observe the true identity characteristic of Hong order crane. And ByeongInYeonHaengGa of Hong order crane came to be used the from production inside of taking Rog whom it follows in tradition of taking, it was sending an expedition to conquer the north Ron and north crane Ron and ByeongInYeonHaengGa the received an effect investigated from large name of the present generation when it is equally divided - main floored room ceremony inside. Also it was used with the Korean alphabet and an accommodating class from the point which is a position household duties and in circulation aspect of household duties it considered it followed and the contents and expression of the work demonstrated were decided. ByeongInYeonHaengGa the is pursuing the form characteristic of one side 19 century travelogue household duties tried to observe. The course which like this creation background is various it leads and the description volition gaze where ByeongInYeonHaengGa appears in the is bisected with culture gaze and history gaze to reveal, it is inside Uss. It followed in distance and the one side which becomes conclusion with the gaze where the description volition gaze is specific, two gazes became and soul hyo to do they got up it gets up a discord it does they analyzed a contradiction and a point. Description volition like this composition gaze the evaluation of existing ByeongInYeonHaengGa regarding the is stopping in plane surface interpretation to be the thing which it indicates, there is investigation which is minuter in text analysis to indicate the box, it does. The description which is getting wet in the history gaze which is same old practice crossing river which sleeps (Gang) border crossing of the recognition which is it leads, the book it bites and (Moon) it is a and it enters to new space and it is converted with culture gaze and. One side yearly light (Yun Gyung) the culture gaze and history gaze soul hyo become from distance inside until of the and they appear and when year they enter light and the culture gaze is overwhelmed and it is governed the work and. ByeongInYeonHaengGa appears in the and like this description volition composition gaze all namely has a limit from the point which is material and in Chinese writing taking Rog of existing it compares and the small cymbal which shows the level of the private ownership which is coarse the possibility of doing it will be. But the curiosity against an advanced civilization it leads and with obligations Ron of existing is different and it is had the expansion of recognition of the dimension which is new will be the possibility of searching the questionable matter from point.

<병인연행가>의 작자의식과 서술특성

우하림 서울시립대학교 일반대학원 2014 국내석사

이 논문은 19세기 연행가사 작품인 <병인연행가>의 서술 방식을 밝히고 그 안에 녹아 있는 문학성과 작자 의식을 분석하여 이행기 문학으로서의 문학사적 의의를 규명하는 것을 목적으로 삼았다. 19세기에 들어서 청(淸)의 정권이 안정됨에 따라 조선사회로 새로운 사상이 들어오게 되면서 주자(朱子)를 절대화하는 경향이 약화된다. 한편으로는 해체되는 성리학적 세계관을 유지하려는 보수적 경향도 함께 나타났다. 이런 시대적 상황이 문학에도 반영돼 <병인연행가>는 전통적 이념을 이어가려는 보수성과 새로운 문물을 받아들이려는 근대적 측면을 동시에 보여주고 있다. <병인연행가>는 연행을 다녀와 보고 들은 견문과 체험을 기록한 보고문학의 일종이기 때문에 그 문학성이 저평가되었고, 작품의 문학적 의의를 살피는 연구가 소략한 편이다. 따라서 <병인연행가>에 나타나는 작자의식과 서술특성을 살펴보고, 이를 바탕으로 청나라 사행 직후 작자 의식이 어떻게 변모되었는가를 점검함으로써 작품이 갖고 있는 문학사적 의의를 고찰해보아야 한다. 본고에서 밝혀진 논의의 결과는 다음과 같다. <병인연행가>에 나타난 작자의식과 표현방식을 살펴본 결과, 화자가 사행을 떠나기 전에는 화·이를 명확히 구분하는 세계관을 가지고 있었지만, 청의 발달된 문명공간을 경험하며 인식의 변화가 이루어지고 있음을 확인하였다. 작품 안에서 화·이를 구분하는 세계관은 전통적 화이관의 내면화된 표현으로 나타났다. 이는 조선을 출발하여 연경(燕京)에 도착하기 전까지 주로 나타나며, 객관적 경관 묘사보다는 그 고적을 바탕으로 대명의리(大明義理)를 환기시키는 특징을 보여준다. 그러나 이색적인 문명공간을 체험하며 화자의 인식이 확장되자, 기존의 의식에 균열이 나타나고 이를 기점으로 청(淸)을 이념의 공간이 아닌 하나의 객관적이고 현실적인 공간으로 형상화하였다. 또한 서구세력에 대해 과도하게 경계하고 폄하하는 서술 방식은 조선후기 다른 연행가사에서 찾아볼 수 없는 지점이다. <병인연행가>에서 홍순학은 유교문명을 보존하기 위해 재정립된 유교적 이념을 내면화함과 동시에, 이색적인 문명 공간을 경험하면서 중세적인 틀을 깨고 나오려는 작자의식을 보여주고 있다. 이러한 시도 끝에 이념이 배제되고 현실적인 감각으로 문명공간을 형상화한 <병인연행가>가 창작되었다. 이처럼 <병인연행가>는 연행을 가게 되면서 겪는 작자의식의 변화를 잘 보여주고 있으며, 중세적인 것과 근대적인 것이 모두 공존하는 이행기 문학으로서의 면모를 보여주었다.

<丙寅燕行歌>와 <北行歌>의 비교 연구

선평원 강원대학교 교육대학원 2013 국내석사

ByeongInYeonHangGa and BukHaengGa are long Sahaenggasa written by Sunhak Hong and Inmok Yu after htey had been to Yeonkeong 1866 Jinha gratitude and State House row. Two works have in common the same meandering experience as a full-length travelogue lyrics. Examined first ByeongInYeonHangGa and BukHaengGa creative background. First examined by examining the identity of the two writers, writer's life and the historical background of the contemporary. And examined to accept hierarchy and the time distribution of the lyrics. Consideration for readers to creative works both portions intervene and have demonstrated that. Two works on a full-fledged comparison and tried to analyze the point. Was YeonhangnojeongGi the course of the two works. ByeongInYeonHangGa contains the exact itinerary, whereas BukHaengGa shows scrambled order, which turned out to be a matter of how creative work. ByeongInYeonHangGa used MuJaSeoHangNok the preceding material, such as a reference to create work and traces evident on the literary tastes of the artist himself was greatly exert peeked. Also accommodate two works all of the time, meandering lyrics and creative consideration of hierarchy, and the target the boudoir of viscosity were investigated. This paper tried to find the Loyalty to the Ming Dynasty and how writers got that ideas also checked the conscious about the Western powers looked at from two works. Daemyunguiriron, anti Qing Dynasty, but all have these feeling the threat of the forces of Western consciousness Sunhak Hong of fossilized sense examined. Bukhaengga were the results of previous studies has been the absence of these historical consciousness. But works in writer refused to tell. Contemporary intellectuals felt a sense of history, concealed, and readers will find themselves examined. Noted that any contribution the literary tastes of the individual in the shaping of this work. Lots of pre studies told that the lack of literariness in ByeongInYeonHangGa, but some errors that looked. Unlike general Sahaenggasa bukhaengga the own experience in creative writing, but mainly plays like a courtesan and hold the affection of the shape is. Reason appeared prominently courtesan and affective elements of the identity of the Inmok Yu, but also his mothod of iterary onfiguration was so different from the others. Analysis of these comparisons is part of the effort to want to learn the qualities of literature at the time from the perspective of contemporaries. Literariness of the work itself hidden by looking at the historical consciousness of the artist may work in, but also reveal an attempt to find some more depth is. 본고는 홍순학의 <병인연행가>와 유인목의 <북행가>를 형식과 그 구성, 그리고 작품 속에서 드러나는 대명의식과 대서양의식을 비교 분석하였다. 두 작품 모두 1866년 진하사은겸주청사행으로 청나라에 다녀온 후 쓴 장편 기행가사로서 동일한 사행체험이라는 공통점을 가지고 있다. 먼저 <병인연행가>와 <북행가>의 창작 배경을 살펴보았다. 먼저 두 작가의 생애와 당대의 시대적 배경을 고찰함으로써 두 작가의 정체성을 알아보았다. 그리고 수용계층과 당시 사행가사의 유통을 살펴보았다. 두 작품에서 모두 독자에 대한 고려가 창작에 일정부분 간여하고 있음을 논증하였다. 본론에서는 두 작품에 대한 본격적인 비교·분석을 시도하였다. 연행노정기를 참고하여 두 작품의 노정을 비교하였다. <병인연행가>가 정확한 여정을 담고 있는 반면 <북행가>는 그 순서가 뒤섞여 있는데 이는 작품 창작 방법의 문제로 드러났다. <병인연행가>는 <무자서행록>과 같은 선행 자료가 작품 창작에 참고한 흔적이 역력하며 <북행가>는 작가 자신의 문학적 취향이 매우 크게 발휘되었음을 엿보았다. 또한 두 작품 모두 당시 사행가사의 수용계층을 고려하고 창작했으며 그 대상은 규방이라는 점도 살펴보았다. 두 작품의 작가의식을 살펴보았는데 크게 대명의리론에 대한 검증과 서양 세력에 대한 의식으로 나누어 비교하였다. 홍순학의 경우 대명의리론과 반청의식을 모두 가지고 있으나 서양의 세력의 위협을 느끼면서 이러한 의식들이 화석화되어 감을 알아보았다. <북행가> 속에서는 이러한 역사의식이 부재되었다는 선대 연구결과가 많았다. 하지만 작품 속에서 작가가 말하기를 거부한 것으로서 당대 지식인이 느낀 역사의식은 감춰져 있고 독자가 스스로 찾아내야 할 것임을 살펴보았다. 개인의 문학적 취향이 작품의 형상화에 어떠한 기여를 했는지도 지적하였다. 홍순학의 <병인연행가>가 보고문학의 성격이 강하면서도 문학성이 부족하다는 선행 연구결과가 있었지만 일부 오류가 있음을 찾아보았다. 또한 그 이유가 서장관이라는 공인의 신분으로 이 작품을 창작하였기 때문이라는 지적이 있지만 이것은 오히려 홍순학 개인의 문학적 취향의 문제임을 논증하였다. <북행가>는 여타의 사행가사와 달리 자신의 사행체험을 창작에 이용하되 주로 기녀들과의 애정담을 劇的으로 형상화하고 있다. 기녀들과의 애정적 요소가 두드러지게 나타난 이유 역시 작자가 사행에 참여하는 신분의 문제가 아니라 유인목의 문학적 형상화 방법과 그 능력이 뛰어났기 때문임을 알아보았다. 이러한 비교분석론은 당대인의 시각에서 당시 문학의 특질을 조망하려는 노력의 일부이다. 작품 속에서 드러나기도 하지만 숨겨져 있기도 한 작가의 역사의식을 살펴봄으로써 작품 자체가 지닌 문학성을 좀 더 깊이 있게 찾으려는 시도이기도 하다.

丙寅燕行歌 硏究

이병철 경희대학교 대학원 2001 국내석사

Given the mission of petitioning the Chinese king for the sanction of the taking of King Kojong's queen(Myungsung Empress Min) in the 3th year of King Kojong in the late Yi Dynasty, Jin-Ha-Sa-Eun-Kyeom-Chu-Chung-Sa-Haeng was dispatched to Peking(Yenking at that time). At that time, appointed as Suh-Jang-Kwan as a member of three envoys, Hong-soon-hak had been to Yenking in the envoy procession of Yu Hi-jo as chief envoy and Suh Dang-go as vice-envoy. The envoy procession can not be become the free trip. Because the author of Byung-In-Yeon-Haeng-Ga was in a position of carrying out the royal order as the member of three envoys. Taking this situation into consideration, a diversity points of views and creation consciousness found in the literary work becomes the food material in that it reflected the figure of the times. The whole composition of Byung-In-Yeon-Haeng-Ga can be divided into 5 phases: The 1st phase is the background of the trip to Yenking and the figure of the suite. The 2nd phase is the start of the trip and its route. The 3rd phase is the experience and appreciation of Yenking. The 4th phase is the presence of the king and the return trip. The 5th phase is the return to Seoul and the reunion. At the 1st phase, the writer of Byung-In-Yeon-Haeng-Ga portrayed the fact that three envoys went to Yenking with the mission of requesting the Chinese emperor to acknowledge King Kojong's taking the queen and that he was appointed as the post of Suh-Jang-Jwan and went to Yenking.. At the 2nd phase, he depicted the figure of the send-off ceremony with prime ministers, celebrities and friends and his loneliness on a journey and worries. At the 3rd phase, he made a detailed description of the figure of Manchurians encountered for the first time, curiosity for new products of civilization, and famous noted places. At the 4th phase, he sang his individual business as public functionary and the picture of hie individual return trip to Seoul. At the 5th phase, he depicted the fact that he returned to Seoul, had an audience of the King and enjoyed the reunion with the family. Envoys and retinues taking a trip to China in the Ching Dynasty in the late Yi Dynasty left many individual records in the style of the account of trip. Byung-In-Yeon-Haeng-Ga has had the largest number of variant texts and copied versions of the accounts relating to several envoy processions. This illustrates the fact that Byung-In-Yeon-Haeng-Ga secured its own individuality. The recorded contents in several alternate and copied versions of Byung-In-Yeon-Haeng-Ga may vary according to the times and the recorder's perspective but include the portrayal of diplomatic relations with China, Chinese civilization and institutions, Chinese lifestyle, exchange and competition with literary men, experiences and appreciation during a trip and the like. Especially, Byung-In-Yeon-Haeng-Ga is based on changes in the feelings of the writer Hong Sun-hak and shows the remarkable wide ranges of unbiased sight angles in descriptions of the international situation, Chinese culture in the Ching Dynasty, shocks to and criticism of foreign civilizations and cultures and the like. It would be the rash judgement to jump at the conclusion that the words of the Byung-In-Yeon-Haeng-Ga song simply take a reportage form. And Hing Sun-hak showed a strong demonstration of the consciousness of the pro-Ming Dynasty and the anti-Ching Dynasty throughout his literary work entitled Byung-In-Yeon-Haeng-Ga. This finds expression in his exploratory picture under the objective and critical judgement in terms of sentiments later. In many cases, Manchurians in the Ching Dynasty were conscious of Chosun or Yi Dynasty as the object of learning and rule rather than showed a sense of superiority as people receiving the tribute from the Yi Dynasty. But in consequence, the consciousness of reforming the domestic conditions and prohibiting western civilizations and cultures from being introduced into the Korean peninsula prevailed in the social stream before the opening of the ports to foreigners in the Yi Dynasty. This consciousness of the realities took deeply root as closed and negative consciousness in political forces and high-ranking officials in the Yi Dynasty, which resulted only in excessive alertness to the West. As a result, Byung-In-Yeon-Haeng-Ga showed the limitation and deficiency in that it made a superficial description of the rapidly changing international situation without capturing it as the realistic problem. Finally, these characteristics of Byung-In-Yeon-Haeng-Ga, alng with other contemporary records and lyrics of the trip to Yenking, will become the basis for making investigation into the literature of the Yi Dynasty and Chinese influence on int and Korean lyric literature after the flowering of the Korean peninsula.

使行歌辭 硏究 : <日東壯遊歌>와 <丙寅燕行歌>를 중심으로

송미숙 조선대학교 교육대학원 2004 국내석사

This thesis is a study on Sahaeng-Kasa, a travel account of governmental delegation in the form of kasa. This thesis tried to study of Ildongjanyuka, Byunginyeunhaengka mainly, which have been said to be most famous works of Sahaeng-Kasa. The followings are the synopsis of the results of the study. Kim In-Kyun, the author of Ildongjanyuka, came out of the nobility strain. The very fact, however, that he was an illegitimate unabled him to enjoy promotion, in spite of his outstanding literary talent. He was a very strict person enough to make direct appeal to his superior in the face of unjustice. On the other hand, he was a man of humanity and had a great love for the nation as well. Ildongjanyuka such personal characteristics can be found in many places easily. Hong Soon-Hack, the author of Byunginyeunhaenga, was not impaired by his social status like Kim In-Kyum, even though he wasn't out of the nobility stock. He was as brigh as to pass the state-run exam, Byunggwa, for civil servants at the age of 16. He advanced further in government hierarchy to be one of the three enboys at the age of 25 when he was appointed as a mentor of the delegation to China. His work, Byunginyeunhaenga shows his youhtful vitality and his enotional thouch also. In describing the foreign natural feature, Kim In-Kyum resorted to some ideal and abstract style. On the contrary, Hong Soon-Hack gave it a menute amount using descriptive and realistic words. Especially, both authors' attention was largely drawn to the people and their cultures. That is belibed to be most important part of Sahaeng-Kasa to attract reader's interst. Even in this matter, they presented a streicking contrast. While Kim In-Kyum experssed his strong subjectivity in his work, Hong Soon-Hack introduced the people and their culture as they were, upon the destination, the purpose, and each person's position. Especially, all member of delegation to Japan had to keep Korean's dignity. Among them, the secretary was so demending that he was supposed to write many poens everday throughout the delegation's trip. Therefore, we can emagine that Ildongjanyuka was under such influence of circumstances. By contrast, Hong's duty in the delegation to Ching wasn't so demanding one as that of Kim. Without feeling any pressure fron his daily duty he was able to make his work a detailed accoung of delegation's trip from the landscape to the culture. Sahaeng-Kasa is a part of trabel sketch in the form of Kasa which has various characteristics. Like in Ildongjanyuka Byunginyeunhaenka, the style of Sahaeng-Kasa was largely dependent upon the writer's character and also upon barious conditions in terms of its quality and quantity. From this standpoint, Sahaeng-Kasa should be understood as an important part of Koeran Literature of later Yi Dynasty.