17세기 시조 연구의 쟁점과 그 방법론적 성격

고정희(Ko, Jeong-hee) 국문학회 2003 국문학연구 Vol.10 No.-

고전문학의 시공간적 거리감과 문학사적 교육-고전시가와 대중가요의 연계성 문제를 중심으로-

고정희 ( Ko Jeong-hee ) 한국고전문학교육학회 2007 고전문학과 교육 Vol.14 No.-

The goal of this paper is to examine on sense of distance about the classics and historical connection between classical literature and modern readers. As a psychological reality, sense of distance about the classics gives modern readers a hard time to interpret classical literature. To approach classical literature more closely, modern students should be educated on literary historical perspectives that elucidate the historical connection between classical literature and themselves. Further education is needed on the relationship between sense of distance about the classics and historical connection. To prove this educational principle, an analysis was undertaken on the arguments about the connection between classical poetry and modern popular songs. As a result, some logical problems related to lack of insight in regard of sense of distance about the classics were revealed. Our alternative is to motivate the modern students to appreciate contemporary songs which are historically related to classical songs and contain multiple kinds of sense of distance about the classics. This educational strategy can allow students to perceive 'the others' which explains who they are.

신계영 시조에 나타난 실존적 ‘서정적 자아’에 대한 고찰

고정희 ( Ko Jeong-hee ) 한국고전문학교육학회 2021 고전문학과 교육 Vol.46 No.-

이 글은 사르트르의 실존주의 철학을 참조하여 신계영 시조에 나타난 서정적 자아의 실존적 의식을 고찰하는 데 목적을 둔다. <탄로가>와 <연군가>에 나타난 서정적 자아는 타자의 시선에 비친 현재 늙어 있는 모습 그대로의 즉자존재로서의 자신을 인식하는 한편, 이를 부정하면서 과거의 젊은 자신을 대자존재로 인식하고 있다. <전원사시가>의 서정적 자아 또한 즉자존재를 부정하고 소년이라는 대자존재를 추구한다. 춘하추동을 노래하는 8수에서 서정적 자아는 사시의 순환에 참여하면서 아이를 분신으로 삼아 즉자존재와 대자존재의 종합을 도모한다. 그러나 제석 2수에서 서정적 자아는 반복되는 시간에도 끝이 있으며, 분신처럼 느껴지던 아이들이 나와는 다른 타자임을 깨닫는다. 따라서 즉자존재와 대자존재의 종합은 불가능해진다. 실존적 서정적 자아가 처해 있는 전원은 겉으로는 자족적인 공간처럼 보이지만, 임금의 은혜에 대한 보답이나 자기완성의 가능성이 결여되어 있는 공간이다. 그럼에도 불구하고 자신이 젊다는 내적 감각을 끝까지 포기하지 않는 서정적 자아로 인해 전원은 치열한 실존적 분투의 장(場)이 된다. Drawing on Sartre’s theory of existentialism, this paper examines the existential consciousness of the lyric self in Sijo written by Shin Gye-young. The lyric selves in Tanroga and Yeongunga admit their present status as old men perceived by the others as “in-itself”. However, they deny their “in-itself” and regard their past status as young men as “for-itself.” The lyric self in Jeonwonsasiga also denies its “in-itself” pursuing its “for-itself.” In the first eight songs the lyric self, being engaged in the circle of four seasons, pursues the unity of “in-itself” and “for-itself” by making a young boy his alter ego. However, in the succeeding two songs of New Year’s Eve, he realizes that this circle eventually ends as the boy could not be his alter ego. Consequently, the unification of “in-itself” and “for-itself” fails. The pastoral is satisfactory only in appearance. There is no possibility to repay the king’s benevolence or complete the self-cultivation. The lyric self feels his death closely but is destined not to surrender his inner sense of youth. Therefore, pastoral here turned out to be a battlefield for the essential struggle.

정서 교육을 위한 예비적 고찰 -고문헌에 나타난 ‘정서(情緖)’ 개념을 중심으로-

고정희 ( Ko Jeong-hee ) 한국고전문학교육학회 2010 고전문학과 교육 Vol.20 No.-

이 글은 정서 교육을 위한 예비적 고찰로서, ‘정서’가 전통적으로 어떤 개념으로 인식되어 왔는지를 검토하는 데 목적이 있다. 고문헌의 용례를 보면 ‘정서’는 문맥에 따라서 ‘경물에 의해 촉발되는 감흥’, ‘상실의 상황에서 느끼는 복잡한 심정’, ‘노인/나그네로서 느끼는 감회’ 등의 의미로 조금씩 다르게 쓰인다. 모든 경우의 ‘정서’에 공통적으로 들어 있는 속성은 ‘수동적 감수성’, ‘애상적 분위기’, ‘인간애 혹은 우애’ 등이다. 요컨대 고문헌은 ‘주변 사물의 분위기나 타자의 감정에 대해 민감하게 감수하는 소통 능력’을 지향하는 정서 개념을 제시해주고 있다. 고문헌에 나타난 ‘정서’ 개념은 보다 정치한 논의를 거친다면 앞으로 정서 교육을 설계하는 데 의미 있는 참조자료가 될 수 있으리라 본다. The goal of this paper is to examine the traditional concept of 'emotion(情緖)' through the examples of the classical works in order to design education of emotion. In the classical works, 'emotion(情 緖)' was used in various meanings depending on the contexts: for example, 'fancy affected by the scenery', 'complicated feelings from the deprivation', or 'sentiments of an aged or a wanderer'. The 'emotion' in all contexts has the common attributes such as 'passive sensitivity', 'bleak mood (Stimmung)' and 'comradeship (philia)'. As a result, the classical works provide the concept of emotion as an emotional communication capacity for objects and other people. This concept of emotion could be a significant reference for designing education of emotion through literature.

고전문학의 지속가능성과 고전문학 교육

고정희 ( Jeong Hee Ko ) 한국한문학회 2015 韓國漢文學硏究 Vol.0 No.57

The purpose of this paper is to investigate desired characteristics and potentials of classical literature in teaching the classics, and what the researchers need to study and implement to make this happen within the future circumstances of classical literature. For this, the future circumstances of classical literature were examined in this paper centered on key words such as ‘competency-based curriculum’, ‘multicultural society’, ‘unification’, ‘teaching of Korean as a foreign language’, ‘world literature’. The result showed that competency-based curriculum and multicultural society are shaking its canonical status whereas, from the aspects of unification and world literature, the role of classical literature is still in being demanded as the national canon. With growth of teaching Korean as a foreign language, it seems as though the importance of classical literature is weakening but the educational need for classical literature which establishes the identity of modern Korean is on the rise. In the midst of such contradicting demands, moving towards ‘search for multiple identity’ through classical literature, emphasizing ‘contemporary characteristics’ of classical literature, ‘receiving support from non-formal education’ etc. were recommended as ways to accomplish sustainability of classical literature. However, since classical literature itself possesses duality as the national canon, it is not easy to define the potentials of the classical literature in the complex future society. In order to resolve this, it is necessary to conduct a study on the relationship between multicultural literacy and classical literature which are the core competencies of future society.

자화상(自畵像)을 통한 미술과 문학의 융합 교육

고정희 ( Ko Jeong-hee ) 한국문학치료학회 2018 문학치료연구 Vol.47 No.-

이 글은 멕시코의 여성화가 프리다 칼로(Frida Kahlo, 1907~1954)의 <자화상>과 윤동주(1917~1945)의 <자화상> 비교를 통해 미술과 문학융합 교육의 한 예를 제시하고자 하였다. 프리다와 윤동주는 평생 엄청난 고통을 짊어지고 살면서 오직 그림이나 시를 통해 자신의 존재 이유를 찾았다. 그들은 자신들의 고통을 식민지의 여성과 시인이 감당해야 할 숙명적 고통으로 그려내고, 자신들의 정체성을 고민하며 하나의 작품 안에 여러 이미지를 지닌 자신의 모습을 그려놓았다. 이로써 볼 때 윤동주의 시 <자화상>은 ‘읽는 시’라기보다는 그림처럼 ‘들여다보아야 하는 시’에 가깝다. 독자는 이 시에서 시간의 흐름에 따라 순차적으로 전개되는 다양한 자기 이미지들을 그림의 이미지들처럼 동시적이고 감각적으로 읽어야 한다. 반대로 윤동주의 시 <자화상>은 ‘미움, 연민, 그리움, 추억’ 등의 다양한 ‘언어’를 제공함으로써 프리다의 자화상을 입체적으로 ‘읽을’ 수 있게 만든다. 학습자들이 매일 일정한 시간에 거울을 보고 자신의 모습을 관찰하면서 프리다의 <자화상>과 윤동주의 <자화상>을 비교해 본다면, 프리다와 윤동주의 자화상에 그려진 철저한 관찰의 과정이 자신의 모습을 거울로 보는 과정과 다르지 않다는 사실을 깨닫게 될 것으로 본다. 자화상을 매개로 문학교육과 미술교육의 융합을 시도할 때 학습자는 자기자신을 어떻게 성찰하는지를 배울 수 있다. 자화상은 화가에게 자신의 고통을 타자의 시선으로 객관적으로 바라보게 만들고, 그 고통의 보상을 깨닫게 하기 때문에 치료적이다. 또한 관람자들에게는 쇠퇴하지 않은 인간 존재의 가능성을 보여준다. 이러한 치료의 과정을 추체험하면서 학습자는 자기에게 주어진 고통의 의미와 인간 존재의 한계에 대하여 숙고하고, 자기 자신에게 화해의 손길을 내밀 수 있게 될 것이다. 미술과 문학의 융합 교육의 필요성은 자화상이라는 장르를 읽어내는 데만 국한되지 않는다. 앞으로 ‘그림에 담긴 언어’와 ‘시에 담긴 회화적 의사소통 방식’을 비교하는 연구들이 축적된다면 문학과 미술의 융합 교육을 체계적으로 설계할 수 있으리라 기대한다. The purpose of this study is to suggest an example of convergence education of art and literature through self-portraits of Frida Kahlo and Yun Dong-Ju. Frida Kahlo and Yun Dong-Ju found their life’s purpose in painting and in writing poetry while they suffered from tremendous pains throughout their lifetime. They portray their pains as a fate that has to be endured as women and poets of a colonized land. They depict their figures with plural images which they derive from their struggle to explore their identities. The Self-portrait written by Yun Dong-Ju is the kind of poem which demands to be scrutinized rather than merely "read". The various self-images which develop according to time in this poem should be studied as simultaneously and sensitively as they would be in a painting. The Self-portrait can lead the students toward in-depth reading of Frida Kahlo’s self-portraits by giving the various “languages” such as “hate, pity, longing, and memory”. If Students in art and literature scrutinize themselves through the mirror every day at the same time and compare the self-portraits of Frida Kahlo and Yun Dong-Ju, then they realize the fact that their scrutinizing is indistinguishable from that of those artists. Students can learn how to reflect themselves by means of convergence education in art and literature through self-portraits. The creation of self-portraits can be therapeutic since they enable these artists to mirror their pains objectively and recognize the rewards that accompany the pain. In addition, self-portraits introduce their viewers to the possibilities that accompany the human condition, those who do not address their own mortality. Following the therapeutic process guided by self-portraits, learners can ponder the limits of the human condition and become reconciled with themselves. The necessity of convergence education in art and literature is not restricted to the understanding that is prompted by the self-portraits of the artist. As the studies on comparisons between the various “languages” that exist within a painting and the visual communication in poetry are collected by the researchers, it will become possible for convergence education in art and literature to be designed systematically.

사설시조에 나타난 여성의 수사적 상황

고정희 ( Jeong Hee Ko ) 한국어교육학회 2004 국어교육 Vol.- No.114

문학과 체육 융합교육 내용 탐구

고정희(Ko, Jeong- hee),이옥선(Lee, Ok-seon) 국어교육학회 2017 국어교육연구 Vol.64 No.-

The purpose of th is study is to inquire a possibility of convergence between literature and physical education, by focusing on physical activity represented in Eobusasisa. Since two subjects are educated separately, students in literature class can not understand Heung (exuberance) caused by physical activity and students in physical class don ’t feel the joy and passion of physical activity. Given that both physical activity and literature commonly create the meaningful space through human movement, the convergence of both subjects is possible. The two subjects have the common goal which makes students feel the exuberance or flow while they are experiencing physical activity. To suggest contents of convergence education, we have analysed Heung (興, exuberance) in Eobusasisa. This exuberance is caused by physical activity of poetic self. It is irresistible and it makes poetic self forget every thing such as the reason of existence and space-time sense. To understand human being who aspires to transcend their own existence as represented in Eobusasisa, students should have physical literacy. Physical literacy is the competence to understand and empathies about the ability and limit of human who lives with body in this world. This is not developed only by physical activity but by the integration of physical activity in to diverse arts. In this paper we suggested educational contents for developing physical literacy, especially focusing on physical expression, by applying the aesthetic features of Eobusasisa and The old man and the sea. Education of the whole person can be implementable by the convergence of literature and physical education since this convergence makes students understand of human being who has body, physical limit, and passion to transcend this physical condition. Above all, students can retrieve their joy and flow of physical activity in this convergence.

배경지식을 활용한 고전시가 교육 연구 -<도산십이곡>을 중심으로-

고정희 ( Jeong Hee Ko ) 한국어교육학회(구 한국국어교육연구학회) 2012 국어교육 Vol.0 No.138

The purpose of this paper is to propose a desirable direction for the education of Korean classical poetry through practical use of background knowledge and to achieve this, we have explored theories and methods for converting background knowledge into practical knowledge. First, we examined theoretical premises for the education of Korean classical poetry through practical use of background knowledge. Since the key to practical knowledge depends on participation of learners, we need to start from literary competence of learners such as ``binary opposition``. We define background knowledge as "an additional knowledge related to understanding the text" and can expect it to be converted to practical knowledge when it could lead learners to infer the theme of the text in-depth on the basis of learners` literary competence. Next, we explored when and how background knowledge should be provided to learners through Dosansibigok. Theoretically learners could learn Dosansibigok in 4 steps. At first, learners infer the theme of the first part of Dosansibigok from their own tacit knowledge using ``binary opposition`` before studying the text. Secondly, they complement this inference using the background knowledge which is reconstructed by the principle of ``binary opposition``. Thirdly, learners render the task of the text as their own and internalize the text by correlating it with their own ``binary opposition`` experience. Finally, learners obtain the ability to learn the remaining parts of Dosansibigok and a state of mind in which they could learn ``the irony`` of poetry developed from ``binary opposition``. In conclusion, we have found that background knowledge which is converted into a form understood by the learners and also reconstructed as the principle which makes inference possible, all based on the learners` literary competence, can promote increase in practical literary competence. Although the conclusion has limitations since it results from predicted responses of theoretical learners, discussions in this study that explored the possibilities in converting background knowledge into practical knowledge is significant in an effort to resolve a dilemma in Korean classical poetry education which recognized the need for background knowledge but doubted its educational efficacy.

<관동별곡>의 창작상황과 강원도 자연의 정치적 의미

고정희 ( Ko Jeong-hee ) 한국고전문학교육학회 2022 고전문학과 교육 Vol.50 No.-

본고는 <관동별곡>에서 강원도의 자연이 어떻게 작자와 상호작용하며 작자의 정치적 지평을 확장시키는지를 탐구하는 데 목적을 둔다. 강원도관찰사로 부임하기 직전에 정철은 이이마저 물리치는 동인과 선조에게 실망하면서도 어린 병사에게 보여준 선조의 어진 마음을 믿었다. 강원도관찰사로 나가면서 정철은 임금에게 미움받는다는 심정과, 모처럼 임금과 한마음으로 백성들에게 선정을 베풀 수 있으리라는 기대감을 동시에 지녔다. <관동별곡>의 내금강 등정길에서 작자는 금강산의 빼어난 물상(物象)을 관찰하며 이이와 같은 인걸을 연상하고, 물상과 왕화(王化)의 순환을 되새긴다. 그렇지만 비로봉 꼭대기에 올라 위대한 산의 덕성을 체득하려고도 하기보다는 자신의 한계를 깨달으며, 공자가 태산에 올라 넓거나 넓은 천하(天下)를 ‘적다’고 한 이유에 대한 의문을 품고 산에서 내려온다. 결말부가 시작되는 망양정에서 작자는 거센 파도를 몸으로 느끼며 물[水]의 속성을 체득하고, 대붕이 되어 날아오르는 것을 느낀다. 대붕의 경지에서 바다를 굽어본 작자는 인간의 인식 능력으로는 바다의 깊이와 하늘 밖의 공간을 알 수 없음을 깨닫는다. 작자는 유가의 정치 공간인 천하를 넘어선 자연에서 얻은 술로 사해(四海)의 백성을 다 취하게 만들고자 소망한다. 또한 ‘명월(明月)’과의 상호작용을 통해서 선한 정치의 근본은 결국 임금의 밝음에 있음을 되새긴다. 강원도의 자연은 인간세계의 구분을 초월하여 대자연의 경지에서 수행하는 왕화를 추구하도록 작자를 이끌어준다. This article aims to examine how the nature of Gangwon province interacts with the writer and extends his political vision in Gwandongbyeolgok. Before he became a governor of Gangwon province, Jeong Cheol was disappointed by the opposite political party called Dong-in and King Seonjo since they banished the noble scholar-official, Lee Yi, from the court. On the other hand, he believed in the king’s benevolent heart toward the miserable people. When he climbs Mount Kumgang, the writer observes a magnificent landscape of it and reassures the virtuous cycle of nature and the benevolent reign of the king in his mind. Nevertheless, he neither interacts with nature nor embodies the virtue of the mountain by climbing the mountain peak. He descends from the Mount Kumgang suspecting why Confucius said that the enormous world under heaven is small. At the end of Gwandongbyeolgok, the writer embodies the attribution of water and feels that he transforms into Daebung(a gigantic imaginary bird in Taoism) with the wind and waves of the East sea in front of Mangyangjeong. From the perspective of Daebung, he realizes that human beings can neither know the depth of the sea nor the space beyond the sky. He wishes to make all the people drunk with the alcohol from nature beyond the political world. Interacting with the bright moon, he finds the king’s brilliant virtue as a fundamental factor of benevolent reign. The nature of Gangwon province makes the writer envision the ideal politics beyond all the discriminations of human politics.