기녀시조의 작자 변증과 작품의 향유 양상

김용찬 ( Yong Chan Kim ) 민족문학사학회·민족문학사연구소 2013 민족문학사연구 Vol.53 No.-

그 동안 기녀시조는 학계의 주목을 받으며 다양한 방면으로 연구가 진행되어 왔다. 그러나 기존 연구들에서는 기녀시조의 규모가 서로 일치하지 않으며, 주로 기녀들의 창작 작품에만 주의를 기울였다. 그러나 현재 전하는 각종 문헌에는 기녀시조의 수록 양상이 모두 5가지 유형으로 나타났다. 따라서 이에 대한 상세한 변증을 거쳐야만 작자를 확정할 수 있다고 파악하여, 각각의 유형들이 지니는 작품 수록 의미를 따져 보았다. 그 결과 현전하는 기녀시조의 유형은 ‘기녀가 직접 창작한 작품’과 ‘창작을 포함한 가창 레퍼토리’로 구분할 수 있다고 보았다. 각 문헌에 기녀로 명명된 것은 모두 36명의 작품 83수이며, 그 중에서 창작이 확인된 작품은 33명의 64수였다. 따라서 앞으로의 연구에서는 이를 구별하여 그 의미를 따져야 하며, 창작이 확인되지 않았으나 즐겨 부르던 작품들에도 어느 정도 기녀들의 의식이 반영되었을 가능성도 주목해야 할 것이다. 또한 기녀시조에 함께 남아있는 기록들을 통하여, 기녀시조의 창작과 연행 환경을 엿볼 수 있었다. 현전하는 기록들에는 대체로 기녀시조가 남성들과의 관계 속에서 창작되고 향유되었다는 것을 알 수 있었다. 이러한 점이 기녀시조가 지니는 특징적 국면이라고 이해되며, 앞으로의 연구에서는 이를 꼼꼼히 따져 시조 창작과 향유 상황, 그리고 그 의미를 짚어내야 할 것이다. Until now, Kinyeo-Sijo has received attention from literary world and has been studied invarious ways. However, in previous studies, the number of Kinyeo-Sijo authors and worksdidn`t match each other and mostly, Kinyeos paid attention to creative works only. But theaspects of Kinyeo-Sijo, which exist today, are presented with 5 types. Therefore, each typewas tested to find meaning of works by having specific verification in order to identify theauthor. As a result, types of Kinyeo-Sijo, which exist today, can be categorized into two types,creative works which Kinyeo wrote and singing repertoire including creative writing. In everydocument, 36 persons and 83 works were named Kinyeo and 33 persons and 64 worksout of 36 persons and 83 works were identified as creative works. As a consequence,from now on, when studying Kinyeo-Sijo, distinguish two types of Kinyeo-Sijo, find meaningof each type of works and pay attention to the possibility that creativity was unidentifiedbut frequently enjoyed works could have Kinyeo`s consciousness. Additionally, creative writing and enjoying environment of Kinyeo-Sijo was seen throughoutdetails in Kinyeo-Sijo. In records which exist today, we can see that Kinyeo-Sijo wasmade and enjoyed through relationship with men. Considering this point of view,Kinyeo-Sijo had the understandable remarkable phase. In future, when studying Kinyeo-Sijo,we must consider creative writing and playing environment of Sijo and point out themeaning of Kinyeo-Sijo.

기녀시조의 미의식과 여성주의적 성격

김용찬 순천대학교 남도문화연구소 2013 南道文化硏究 Vol.0 No.25

그동안 기녀시조는 학계의 주목을 받으며 다양한 방면으로 연구가 진행되어 왔다. 그러나 기존 연구들에서는 기녀시조의 규모가 서로 일치하지 않으며, 주로 기녀들의 창작 작품에만 주의를 기울였다. 그러나 현재 전하 는 각종 문헌에는 기녀시조의 수록 양상이 모두 5가지 유형으로 나타났다. 따라서 이에 대한 상세한 변증을 거 쳐야만 작자를 확정할 수 있다고 파악하여, 각각의 유형들이 지니는 작품 수록 의미를 따져 보았다. 그 결과 현전하는 기녀시조의 유형은 ‘기녀가 직접 창작한 작품’과 ‘창작을 포함한 가창 레퍼토리’로 구분할 수 있다고 보았다. 각 문헌에 기녀로 명명된 것은 모두 36명의 작품 83수이며, 그중에서 창작이 확인된 작품은 33 명의 64수였다. 따라서 앞으로의 연구에서는 이를 구별하여 그 의미를 따져야 하며, 창작이 확인되지 않았으 나 즐겨 부르던 작품들에도 어느 정도 기녀들의 의식이 반영되었을 가능성도 주목해야 할 것이다. 또한 기녀시조에 함께 남아있는 기록들을 통하여, 기녀시조의 창작과 연행 환경을 엿볼 수 있었다. 현전하는 기록들에는 대체로 기녀시조가 남성들과의 관계 속에서 창작되고 향유되었다는 것을 알 수 있었다. 이러한 점 이 기녀시조의가 지니는 특징적 국면이라고 이해되며, 앞으로의 연구에서는 이를 꼼꼼히 따져 시조 창작과 향 유 상황, 그리고 그 의미를 짚어내야 할 것이다. In the Choseon Dynasty era, although Ginyeo was considered as the lowest class of people, Kinyeo was required to understand culture of high class people like nobles. Literary work of Kinyeo was usually focused on Hansi(Chinese poem) or Sijo and especially Sijo was often created in the middle of entertaining nobles. Considering circumstance where Kinyeo sang a song, Kinyeo-Sijo could be fully understood when creative works of Kinyeo and frequently played repertoire are included in the Kinyeo-Sijo. In this text, with various documents which were classified as Kinyeo’s work, Kinyeo-Sijo's sense of beauty and characteristic of the feminine were considered. Premising the size of Kinyeo-Sijo which resulted from previous studies, original work environment and enjoying aspect of Kinyeo-Sijo were examined. Based on this research, the meaning of the sense of beauty and characteristic of the faminene were examined. Because Sijo was a genre which was originated from men, despite Kinyeo’s creative work and singing, women were strangers in a genre of Sijo. However, in a restricted meaning, mind and emotion of women were reflected in Kinyeo-Sijo in that it was created and played by women. Because there was a different aspect other than man writers' literary world, we can observe woman writers' literary world in Kinyeo-Sijo. All the while, the studies which came from feminine aspects resulted from reflective overview of theory of literary work and author. In future, we can assess Kinyeo-Sijo positively at a point of extending Korean literature research methodology.

기녀 全不關의 자의식과 '守節' : 서사한시, 전, 야담의 대비적 고찰을 통하여

황수연 洌上古典硏究會 2002 열상고전연구 Vol.16 No.-

This paper was intended to examine the meaning of the maintaining the integrity of a kinyeo(妓女). Because the kinyeo were thought as a 'the public thing', they were prohibit to maintain the integrity for a her man. However, the intellectuals who left the poet and story about the kinyeo wrote the integrity of kinyeo and praised the fidelity. The intension that the intellectuals made a beauty for the kinyeo's fidelity was more serious than the praising the high level woman's fidelity. Cheonbulkwan who was a kinyeo had lived in Manop in the late 18th century. Though her father was a nobleman, her social status was lowest in the Chosun dynasty because of her mother who was kinyeo. Her first name 'bulkwan' expresses "there is no relationship with the father", it contains the social identity of the kinyeo. She was pushed to serve the officer, but she did not want to do that. There was no choice but only to kill her by herself. She was drowned to death. There are three style writings about the Cheonbulkwan's life and death. They are <Cheonbuliwan Haeng>(seosahansi) written by Seon Hae Eung, <Cheonbulkwan Cheon>(cheon) by Cheonwoo, <Cheonbulkwan jumped to the water to keep the noble status>(yadam). There are some discords between the writhins because of the time and informations and the view of the writers. Seong Hae Eung indicated the mistake in the employment of the officer in <Cheonbulkwan Haeng>. Cheonwoo emphasized her fidelity by contrasting the faithless of the minister in <Cheonbulkwan Cheon>. The anonymous writer of the yadam <Cheonbulkwan jumped to the water to keep the noble status> paid attention to the social standing and criticized the inconsistency of the standing social. Every man writers changed the real so as to tell something;as a result, Cheonbuliwan's real will was transformed. The whole life of kinyeo, even love and sex, were controlled, prohibit, ungerstood by the social and national institute, so she could not do what she wanted. Because Cheonbulkwan could not live on her will, she had only choice to suicide. Therefore, the meaning of the integrity of Cheonbulkwan is not the keeping the love for man, but the keeping the self-consciousness.

조선후기 기녀제도의 변화와 경기(京妓)

강명관 ( Myeong Kwan Kang ) 한국고전여성문학회 2009 한국고전여성문학연구 Vol.0 No.18

기녀가 서울 시정의 일정한 공간에서 춤과 음악, 그리고 성(性)을 판매하는 공간인 기방은 조선전기에는 존재하지 않았던 것으로 보인다. 기방은, 조선전기 기생의 정기적 선상제도(選上制度)가 붕괴하고 난 뒤 17세기 후반 이후에 나타난 것으로 보인다. 임진왜란 이후 기녀 선상제도가 사실상 폐지되자, 국가와 궁중에서 일상적으로 기녀를 동원하는 일이 줄어들자, 부정기적으로 선상된 기녀들 중 일부가 서울에 남아 시정으로 진출하게 되었던 것으로 보인다. 시정에서의 기녀 영업처가 곧 기방이다. 기방의 성립으로 인해 국가와 지배계급뿐만 아니라, 도시의 중간계층들도 기녀의 예능을 향유할 수 있게 되었다. Once every 3 years, a certain number of women were selected as female entertainers, collectively called `kinyeo`, from women slaves who belonged to local public authorities. The selected women were then referred to Jangakwon in Seoul, where they learned music and dance and, later, mobilized to entertain the loyal family and noble men at banquets. But the regular selection system was abolished after the Korea-Japan war, that is, Imjinwaeran broke out in 1592. As a result, mobilizing kinyeo by the state and the royal court became less frequent than before. Since then, kinyeo was selected irregularly. Some of the selected opened so-called `kibang` in Seoul, which was a facility for entertainment business. Those women who opened kibang in the capital city were collectively called `Seoul kisaeng` who started selling entertaining products like music, dance and even sex. Initially, kinyeos` entertaining talents were only for noble man, that is, the ruling class. But such talents could become enjoyed also by urban people of the middle class as kibangs were opened. This brought dramatic changes in entertainment and music cultures in the late Joseon period.

드라마 및 영화 ‘황진이’의 의상과 메이크업 표현에 관한 연구

김은하(Kim Eun-Ha),이미희(Yi Mi-Hee) 한국인체미용예술학회 2008 한국인체미용예술학회지 Vol.9 No.-

  The purpose of this study is research about costumes and make-up of ‘Whangjinie’ in TV drama and movie.<BR>  The Kinyeo"s costume and make-up was erotic and extravagant on Kinyeo"s occupational characteristic. Also Kinyeos generally wore hair in the style of Uneun-Mory with Gache insearted, and wore brilliant costume. The luxury of Kinyeo"s appearance became resource of reappear about Whangjinie"s appearance.<BR>  therefore Whangjinie"s costume and make-up in the TV drama and movie were expressed splendid and beautiful with strong color contrast. especially, expression of TV drama and movie about Whangjinie"s costume and make-up absolutely differented each other. Whangjinie of TV drama expressed with oriental esthetic and Whangjinie of movie expressed modern esthetic. Also the expression of Whangjinie"s costume and make-up in the TV drama and movie has been compromised as our modern trend with reappear the historical style.

드라마 및 영화 ‘황진이’의 의상과 메이크업 표현에 관한 연구

김은하,이미희 한국인체미용예술학회 2008 한국인체미용예술학회지 Vol.9 No.1

The purpose of this study is research about costumes and make-up of ‘Whangjinie’ in TV drama and movie. The Kinyeo's costume and make-up was erotic and extravagant on Kinyeo's occupational characteristic. Also Kinyeos generally wore hair in the style of Uneun-Mory with Gache insearted, and wore brilliant costume. The luxury of Kinyeo's appearance became resource of reappear about Whangjinie's appearance. therefore Whangjinie's costume and make-up in the TV drama and movie were expressed splendid and beautiful with strong color contrast. especially, expression of TV drama and movie about Whangjinie's costume and make-up absolutely differented each other. Whangjinie of TV drama expressed with oriental esthetic and Whangjinie of movie expressed modern esthetic. Also the expression of Whangjinie's costume and make-up in the TV drama and movie has been compromised as our modern trend with reappear the historical style.

보문 : 조선후기(朝鮮後期) 기녀(妓女)의 두식(頭飾)에 관한 연구(硏究)

정주임 ( Ju Im Jung ) 대한미용학회(구 대한미용과학회) 2010 대한미용학회지 Vol.6 No.4

The purpose of this study is to investigate the Kinyoe`s hairstyle of the latter period of Chosun through a genre picture and old literature. The Kinyoes` hairstyle is very magnificent and extravagant because of the characteristics of their occupation. The types of the Kinyoe`s hairstyle included Uneun-Mori and Chignon and the types of headdress were Karima, Seugae-Chima, Changout, Chunmo, Cheoneui. In the case of the headdress, a group of yangban women used it in order to cover their faces according to the rule of the Confucianism tradition-avoidance of the opposite sex, but Kinyoes wore it by way of ornament and beauty. From the late eighteenth century to the mid nineteenth century, Kinyoes wore Uneun-Mori with Gache and used Chignon as a simplification of Uneun-Mori with Gache in the late nineteenth century. This trend resulted from the rationality and utility of practical thought, and showed a change from Uneun-Mori with Gache to Chignon as a simplification of Uneun-Mori with Gache. As the system of social position was disturbed in the latter petiod of Chosun and extravagancy spread all over the society, common women naturally imitated the Kinyoe`s magnificent and extravagant hairstyle.

조선 전기 기녀의 소수자로서의 전략

전지원(Jeon Jee won) 동양한문학회(구 부산한문학회) 2016 동양한문학연구 Vol.44 No.-

Kinyeo(妓女) officially was present as an artist trained for the yangban(兩班, the literati), foreign envoys, frontier of the military, but informally was present as a means for solving the sexual desire of yangban. They did exist defined minority of minorities without subjecting to consideration of the labor and they were exploited the artistic talent and sex by yangban. However, maybe Kinyeo did not only exist as others of yangban, and unilaterally was not forced to do sexual service for the yangban. Kinyeo was minorities but had their survival strategy. To reveal this, I used Pilgi(journal, 筆記) and the Annals(實錄) in the early Joseon Dynasty, I tried to check the Kinyeo of the real image. As a result, yangban and Kinyeo was dominating-dominated Relation ship, but Kinyeo took advantage of the attributes of the joy in reverse, so survived proactively by collecting the property or having a subjectivity of sex or being Gicheop(妓妾). 기녀는 공식적으로 여악, 외국 사신 접대, 변방 군사 접대를 위해 훈련을 받은 예술인으로서 존재하였지만, 비공식적으로는 사족 남성의 성적 욕망을 해결하기 위한 수단으로 존재했다. 그들은 노동에 대한 대가도 제대로 받지 못한 채 예술적 재능과 성을 사족 남성에게 착취당하는 소수자 중의 소수자로 존재했던 것이다. 하지만 그렇다고 해서 기녀가 일방적으로 사족 남성의 타자로서, 특히 성적으로 수탈당하기만 했던 존재는 아니었던 것으로 보인다. 조선 전기의 기녀는 소수자로서 존재했지만 나름의 생존 전략을 가지고 있었던 것으로 보인다. 이를 밝히기 위해 조선 전기 필기류 산문과 그와 상관성 높은 실록의 자료를 활용하여 기녀의 실상을 확인해 보고자 하였다. 그 결과, 사족 남성과 기녀가 지배/피지배의 관계라는 것은 인정할 수밖에 없지만, 기녀는 그 관계 속에서 지배층이 추구했던 쾌락의 속성을 역이용하여 재산을 확보하거나, 성에 대한 자기 의지를 관철하거나, 혹은 기첩이 됨으로써 주체적으로 생존을 도모하고자 했던 것으로 보인다.

홍원(洪原) 기녀(妓女) 조생(趙生) 관련 『조생첩(趙生帖)』일고(一考)

박종훈 ( Chong Hoon Park ) 한국한문학회 2009 韓國漢文學硏究 Vol.0 No.44

『혜담집(蕙萏集)』에 나타난 19세기 사랑과 욕망

하지영 한국고전여성문학회 2017 한국고전여성문학연구 Vol.0 No.35

『Hyedamjib(蕙萏集)』 is a collection of Sino-Korean poems that were exchanged between Yun Je-gyu(尹濟奎, 1810-1879)) and Kinyeo(妓女) So Ok(小玉, 號 蕙裳小史, hereinafter referred to as 蕙史 or Hye-sa). It showcases various social sentiments that characterize late Joseon period such as longing for free love, lust, and desire for social status. Hyedamjib's reciprocal construction, the attitude of the male narrator and usage of sijo(three-verse form found in Korean poetry) do not conform to the traditions of Sino-Korean poetry, but show strong influences of Korean literature. Hyedamjib demands attention to its explicit depiction of sexual intercourse. Open expression of lust uninhibited by moral conventions is not unique to Hyedamjib alone, and is found in many 19th century literature. But Hyedamjib's graphic portrayal of sexual intercourse was unprecedented at the time, making it an important controversial piece that requires much scrutiny. And its reciprocal, collaborative form which brings out the desires of the male and female narrators and their crashes is another element of intrigue. Hye-sa's voice and desire for social ascension are diluted as the poems develop, until she is left with only her body as an objectified tool. This change is suggestive of the reality where female desires are reduced and ignored under the expansion of the male desire. 『혜담집(蕙萏集)』은 윤제규(尹濟奎, 1810-1879)와 기녀 혜사(蕙史)가 주고받은 것으로 설정된 한시를 엮은 시집이다. 이 시집은 조선 후기에 부상하였던 자유연애의 갈망, 성적 욕망, 신분 상승의 의지를 다각적으로 보여준다. 또 연작 화답시 구성과 남자 화자의 태도, 시조의 수용을 살펴볼 때, 『혜담집』은 한시의 전통적 규범을 준수하고 있다기보다는 국문 문학의 영향이 강하게 감지되는 작품이다. 특히 성애 장면을 노골적으로 형상화하고 있다는 점에서 이 작품은 주목을 요한다. 물론 『혜담집』은 평지돌출적인 것은 아니다. 도덕에 규제받지 않고 자유롭게 분출되는 성적 욕망이 19세기 문학 곳곳에서 확인되기 때문이다. 하지만 자신의 성적 경험을 노골적으로 형상화하는 것은 전례가 없기에 『혜담집』은 문제작으로 다루어질 필요가 있다. 아울러 『혜담집』은 화답시라는 특징적 구조에 기반하여 남성 화자와 여성 화자의 욕망과 그 충돌을 드러내고 있다는 점에서 보다 흥미로운 작품이라 할 수 있다. 『혜담집』 전반부에 비치던 혜사의 목소리, 신분 상승의 욕망은 점차 희석되어가고 도구로서의 육체만 남는다. 이는 남성 화자의 팽창되는 욕망하에 여성의 현실적 욕망은 축소되거나 외면 받는 국면을 시사해 준다.