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- 저자 : 신경숙 ( Kyung-sook Shin ) (검색결과 90 건)
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신경숙(Shin, Kyung-Sook) 한국시조학회 2015 시조학논총 Vol.42 No.-
이 글은 정해년(1767)에 있었던 친경, 친잠의식을 축하한 김수장 가곡이 어떻게 해서 창작되었는지를 살폈다. 논의는 크게 다음 네 가지로 진행되었다. 첫째, 1767년 2월26일에 거행된 왕이 주관하는 친경의식을 살폈다. 친경의식은 동적전(지금의 전농대 일대)에서 거행되었다. 둘째, 1767년 3월10일에 거행된 왕비가 주관하는 친잠의식을 살폈다. 친잠의식은 폐허인 경복궁 옛터에서 거행되었다. 셋째, 김수장은 친잠의식 하루 전날인 3월9일 축하가곡을 창작했다. 이 창작날짜는 김수장이 친경례 안에 들어와 있는 친잠례임을 확실히 인식했음을 말해준다. 넷째, 김수장은 병조 서리를 거쳐 몇 가지 산직 노직을 거치는 가운데, 정해 친경친잠의식 때에 이들 행사에 관여하게 되고, 그 결과 이들 축하 시조를 창작하게 되었던 것으로 보인다. This study is focused on how Kim Sujang Gagok which celebrated Chingyeon g?Chinjam procedure was created on ChungHae year (1767). It largely consists of four main parts. First, it studied Chingyeong procedure which was arranged by the King on 26 February 1767. Chingyeong procedure was performed at the East Jeokjeon (this area is now Jeonnong-dong). Second, it also studied Chinjam procedure which was arranged by the Queen on 10 March 1767. Chinjam procedure was performed at the old ruins of Gyeongbok Palace. Third, Kim Sujang created the celebrated Gagok on 9 March, the day before Chinjam procedure. It tells that he certainly recognized Chinzamryae was contained within Chingyeongryae. Finally, While Kim Sujang served as a Seoli of Byeongjo and then got an additional office and a practical office for old man, he got involved in Chingyeong·Chinjam procedure on ChungHae year. And consequently, it seems that he created those celebrated Sijo.
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신경숙 ( Kyung Sook Shin ) 한국시가학회 2011 韓國 詩歌硏究 Vol.31 No.-
Among all the court banquet ceremonies in Chosun Dynasty, only Royal Baquet had the procedure called <Kaja and Keumseul>, which was performed by four singing visitors(called Kaja), one Keum and one Seul(both called Keumseul). In this thesis, I aimed to find out its song lists which were performed in this procedure and its historical development. <Kaja and Keumseul> was the performance that expressed their gratitude for a bountiful feast which was given by the King right after they had given the King a celebratory drink. Hyomyoung-seja formulated it by adding various drawings of it in Jinchan-Uigwe, but actually this procedure had been done from early Chosun Dynasty. I confirmed these facts by the books of royal ceremonies (called Uigwe), the books of royal ceremonial rules (called Uiryeseo), and the Annals of the Chosun Dynasty. Secondly, I found the song lists which were performed in the procedure from 「Ahkjang-Gasa」, 「Ahkhak-Pyeongo」, and 「the Annals of the Chosun Dynasty」. I mainly dealt with its genre, singing visitors, singing method, and differences between court and people that was emerging while these songs was handing down until late Chosun Dynasty. I confirmed these facts by the music books of Geomungo (called Keumbo), the lyrics books (called Gajib), law books and memorandums. Finally, I found that <Kaja and Keumseul> was placed in the proper sequence and had the suitable contents for Royal Baquet.
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신경숙(Shin, Kyung-sook) 우리문학회 2013 우리文學硏究 Vol.0 No.38
이 글은 근대 초 음악계에 있었던 최초의 저작권 침해 소송을 다루었다. 이 소송을 통해 근대 초 음악계, 출판계의 조선가요 인식을 탐색하는 것이 이 글의 목표이다. 구체적으로 다음의 세 가지 내용을 다루었다. 첫째, 고소로부터 결말에 이르는 과정을 밝혔다. 두 소송은 모두 서울의 창가교사 이상준이 제기한 것인데, 1932년과 1933년에 연이어 벌어졌다. 첫 번째 제소는 이화여전 음악과 교수 3인을, 두 번째는 서울의 7개 출판사 주인을 대상으로 한 소송이었다. 당시 이상준은 조선민요를 채보한 세 권의 악보집을 출판했는데, 피고소인들이 그의 악보집을 무단으로 절취했다는 것이다. 이 사건이 법정 싸움에 머물지 않고 사회문제로 비화되는 과정을 추적했다. 둘째, 노래책 발간으로부터 소송이 끝날 때까지의 사회적 반응들을 다루었다. 이들 노래책들은 구전되던 조선가요를 서양식 오선보로 제작한 것들이다. 이 악보집과 소송을 바라보는 사회적 시선은 크게 두 가지로 요약된다. 하나는 민요를 서양식 화성 형태로 편곡한합창곡의 적절성 문제이고, 다른 하나는 민요 악보의 저작권 귀속 여부이다. 이에 대한 사회적 관심 추이가 소송 결과로 이어지는 과정을 밝혔다. 셋째, 이상준의 민요 채보의 의의를 다루었다. 그의 채보는 민요 악보가 전혀 없는 상태에서 이루어진 최초의 성취였다. 당시는 서양의 음악을 배우는게 당위였던 시절이었다. 이런 상황에서 이상준은 조선 고유의 노래를 들은 대로 악보화한 점에서 의의를 지닌다. This article is mainly on the first copyright infringement lawsuit in the music business of the early modern ages. The purpose of this article is to research understanding of the Joseon song in the music and the publishing business of the early modern ages through this lawsuit. It addresses three topics. as follows. First, it researches the process from the charge to the judgement. Two lawsuits were all taken by Lee Sang-joon, who is a Chang-ga teacher in Seoul, in 1932 and 1933. He first sued three professors of music at Ewha Womans College and then he also sued seven owners of a publishing company in Seoul. At that time, He published three song transcription books with the Joseon fork songs which was orally transmitted and he claimed that they used his books without any permission. Their court battle deteriorated into a social problem and this article traces this process. Second, it covers the social reactions from publishing song transcription books of both sides till the end of trial. These sensational books were made by western staff notation. There were two social recognitions about their books and lawsuit. First, it was the matter of relevance whether fork songs could be arranged for western chorus with western harmony or not. And second, it was the matter of copyright ownership of fork songs. This article researches that this social interest lead to the outcome of the lawsuit. Third, it also deals with the meaning of Lee Sang-joon’s fork songs transcription. His work was the first achievement of the time when there were no written scores of fork songs. At that time, western music was a advanced technology which had to be mastered. But he kept listen and transcript the Joseon fork songs which was all orally transmitted.
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신경숙 ( Kyung Sook Shin ) 한국영미문학페미니즘학회 2006 영미문학페미니즘 Vol.14 No.1
The critical evaluation of John Keats has almost always involved issues of vulgarity, effeminacy, and puerility. Keats has constantly been re-created in the discourse of literary critics who confronted, interpreted, and negotiated the effeminate characteristics that they associated with Keats typified in Byron`s telling reference to him as Johnny Keats. The male subjectivity that critics assumed of the true poet and the effeminate traits of Keat`s person and poetry seemed mutually incompatible and had to be resolved. I argue that both the favorable and the hostile evaluations of Keats and his works depended on how successfully one accommodated or repudiated his effeminacy. In contemporary evaluations Keats never escaped references to his mawkishness and to the Cockney, a term dissonant with the normative masculinity of the hegemonic class. Even when Keats`s fame was consolidated in Victorian England, the image of Keats as a poet of sensuality and sensation (not of thoughts), of promises (not of accomplishments), and of effeminacy (not of respectable masculine subjectivity) persisted. Critics had to confront the overwhelming presence of Johnny Keats either to denigrate or praise him. Whether they praised or denigrated him, critics wanted to kill the figure of Johnny Keats because an effeminate poet could not be part of the tradition of English poetry.
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신경숙(Shin Kyung-Sook) 한국시조학회 2004 시조학논총 Vol.20 No.-
이 글은 19세기 궁중 연향의식에서 사용된 우리말 악장을 발굴하는데 목표를 두고 진행되었다. 이 작업을 통해 다음의 네 가지 결과를 얻었다. 첫째, 여러 궁중 연향의식들 중에서 야연(夜宴)에서 한글 악장이 사용되었다. 둘째, 야연의 악장들은 모두 〈악가삼장(樂歌三章)〉이란 용어를 사용하고 있다. 셋째, 이들 작품들은 모두 세 편 가곡이 하나의 짝을 이루고 있다. 넷째, 이들 작품은 모두 임금 또는 세자의 작품들이다. In this thesis I tried to unearth some Korean Akjang, written and sung by Korean language, not by the form of Chinese verses. In 19th century they used the Korean Akjang at Court banquet cerymony in Chosun Dynasty. I had got four meaningful conclusions through this study, as follow. 1. There are various banquets but they used Korean Akjang only at Ya Yeon, a sort of night banquet. 2. The Akjangs arranged at YaYeon are called Ak-ka-Sam-jang which means three songs at the banquet. 3. These Akjangs were usually composed of 3 pieces of Gagok, the Korean traditional vocal music, as one. 4. The Kings and princes wrote all the words of these music.
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