조선후기 韓(한), 中(중) 교유와 젠더담론의 변화 -“徐令壽閤(서영수합)”의 중국 반출을 중심으로-

박무영 ( Moo Young Park ) 한국고전문학회 2014 고전문학연구 Vol.45 No.-

In the first half of the 19th century, an event in which Seo Yeongsuhap``s poems were printed and sent to China occurred. Seo Yeongsuhap, the mother-in-law of a princess, was the highest class woman. Considering that Confucianism was strictly opposed to women``s involvement in literary activities by using Chinese characters, it was a very exceptional event. This article is written to understand this exceptional event. Seo Yeongsuhap``s poems were inserted in ``Pungsansego(豊山世藁)``-her family``s collection of poems-and ``Haegeojaesicho(海居齋詩抄)``-a collection of poems of Hong Hyungju(洪顯周), her son and sent to China. This project was driven by Seo Yeongsuhap``s sons. They had conducted a series of publication for three years during the funeral period of Seo Yeongsuhap. They proceeded this work since they wanted to raise their family``s reputation as a prestigious family in literature. As a result, their publications were actively distributed to China. Among those publications, Seo Yeongsuhap``s poems especially drew people``s attention. Therefore, the existence of a female writer called Seo Yeongsuhap played much more important role in enhancing the family``s reputation than any other male family members. This unexpected scene was possible due to the Seoul culture after the 18th century. Those days, there was a literary coterie which had a close relationship with the Chinese literary circles beyond the boundary between them. Moreover, the Chinese culture actively encouraged women to involve in arts activities freely. Because of these trends, the Joseon``s literary coterie somewhat supported this open attitude toward female artists. Hong family``s sons fully understood these cultural trends. Especially, Hong Hyungju had the experiences to contact with Chinese female artists. In this circumstances, Seo Yeongsuhap was mainly used in the project to enhance the family``s literary capability to foreign countries. However, this culture was the latest trend also in Seoul those days. Therefore, it was necessary to break through the public opinion which still took some conservative views toward women``s open literary activities. Consequently, this family constantly had discourse to correct the existing negative views. The epilogues of ``Pungsansego``, which had been written three times, shows the family``s efforts to adjust it through discourse step by step. The final result of these efforts was the Hong Hanju(洪翰周)``s ``Jisuyeompil(智水拈筆)``. With the efforts of Hong Hanju and his family, the intelligent works by using Chinese characters fully opened to women. The discourse developed by men to raise their family``s reputation resulted in drawing the common approval for women``s literary activities.

정약용의 초기(사환기仕宦期) 산문에 대하여

박무영 ( Moo Young Park ) 다산학술문화재단 2005 다산학 Vol.- No.6

사회정의 실현에 이바지하는 글만이 존재할 가치가 있다는 것이, 정약용의 문장에 대한 견해이다. 그러나 그의 초기 산문들 중에는 일상생활을 경쾌하게 묘사하는 서정적 산문들이 있다. 본 논문은 이처럼 문장에 대한 정약용 자신의 견해와 성격을 달리하는 서정적 산문의 세계를 다룬다. 정약용 초기 산문의 하나인 「국영시서菊影詩序」는 당대에 유행한 `소품적` 경향을 고스란히 드러낸다. 이 산문에서는 매우 예민하고 정서적으로 과잉상태인 주체에 의해 소재 가 지닌 기발한 측면이 순간적으로 포착된다. 이러한 「국영시서」의 성격은 그의 초기 산문들에서 자주 포착되는 특징이다. 비일상적이고 순수하게 문예적인 태도가 추구되고, 나아가 `기괴`가 예술과 예술가의 특권으로 인정된다. 그러나 정약용의 초기 산문은 이러한 태도를 궁극까지 밀고나가지 않는다. 일상적 삶을 영위하는 생활인으로서의 의식과 정서가 이러한 태도가 극단으로 발달하지 못하도록 견제하고 있다. 이 `일상성`엔 「칠실관화설漆室觀畵說」에서 보이는 `과학적 서정`, 「죽란시사첩서竹欄詩社帖序」에 보이는 `관료적 서정`이 포함된다. 즉 생활과 과학과 미학이 분리되지 않은 채 서정으로 결합되어 있는 것이 정약용 초기 산문의 궁극적 방향이다. 결국 정약용 초기 산문은 `소품적` 경향을 강하게 드러내지만, `소품`은 아니다. 정약용의 초기 산문들은 18세기 이후 발달하는 도시문화를 함께 향유하던 동인 집단 내에서 지어진 것이다. 따라서 도시문화를 배경으로 유행하던 당대의 `소품적` 경향이 그의 산문들에서 드러나는 것은 당연한 일이다. 동시에 적어도 40대 이전의 정약용은 엘리트 관료로서 삶을 구가하였다. 그런 그의 산문 세계가 현실세계에서 실의한 비주류 문인들이 중심이 되었던 `소품`적 작가세계와 차이가 나는 것도 당연한 일일 것이다. It is the view of Cheong yagyong`s writings that only the works that contribute to the realization of social justice is worth. However, there are lyrical proses that lightheartedly describe the daily life among the prose from his earlier works. This study will deal with the world of lyrical prose that differs from the views and characteristics that Cheong yagyong himself had about composition. The "Shadow Play"[菊影詩序] which is a prose from Cheong yagyong`s earlier works, fully exhibits the trend of "sketch"[小品] that was very popular during his period. This prose momentarily catches the peculiar aspects of the subject matter through the principal body that is very sensitive and emotionally superfluous. Such characteristics found in the "Shadow Play" are a feature that is found frequently in his earlier prose. Unusual and pure literal attitudes are pursued and furthermore, `strangeness` is recognized as a privilege of art and artists. However, the earlier prose works of Cheong yagyong does not push through with such attitude to the end. The consciousness and sentiment of a person living a daily life constrains the artist from developing such attitude to the extreme level. Such consciousness and sentiment includes the `scientific lyricism` shown in The principle of the Camera(漆室觀畵說) and the `bureaucratic lyricism` shown in the Preface to the Gathering on the Bamboo Balcony(竹欄詩社帖序). In other words, the ultimate goal of Cheong yagyong`s prose in his earlier works is where daily life, science and esthetics are not separated but are lyrically combined together. In the end, the prose written by Cheong yagyong in his earlier days strongly exhibit the trend of `similar to sketch` but is not a `sketch.` They was created within a group of similar people that enjoyed the urban culture that had developed after the 18th century. Therefore, it is inevitable that the trend of `sketch`, which was popular at that time surrounding the urban culture, shows up in his prose. At the same time, Cheong yagyong lived a life as an elite bureaucrat, at least prior to his forties. Therefore, it is only natural for his world of prose to be different from the artist world of `sketch`, which centered on the non-mainstream literary men who were disappointed with the real world.

기녀한시의 비틀림과 비틀기

박무영 ( Moo Young Park ) 한국한시학회 2002 韓國漢詩硏究 Vol.10 No.-

21세기 한국한문학사 서술의 여러 문제 -여성문학사의 입장에서-

박무영 ( Park Moo-young ) 한국한문학회 2016 韓國漢文學硏究 Vol.0 No.64

본고는 새로 쓰게 될 21세기 한국한문학사의 서술에 여성문학사가 어떤 기여를 할 수 있을까 탐색해본 논의이다. 한국한문학사와 여성문학사는 쉽게 제휴하기 어려운 태생적 기반을 지닌다. 한국한문학의 자료와 역사는 남성문화에 기반을 둔 것이기 때문이다. 따라서 오랜 여성배제의 결과이기도 하다. 최근 여성문학사에 대한 관심은 한국한문학사에서도 여성의 흔적을 찾는 일을 진행시켜왔고, 무시하기 어려운 성과를 거두고 있기도 하다. 그러나 여성문학사의 성과를 기존 한국한문학사에 단순히 기입해 넣는 방식의 제휴는 문학사의 기본 성격을 간과한 것이라는 것이 본고의 주장이다. 문학사란 무엇보다도 사관의 산물이고, 사관에 따른 전적으로 새로운 구성과 논의의 장을 요구하는 것이기 때문이다. 따라서 본고에서는 한국고전여성문학사와 한국한문학사의 병립이 바람직하다고 주장하였다. 각각 남성젠더적, 여성젠더적 성격을 분명히 하고 상호 참조하는 방식으로 병립하는 것이 가장 효과적이고, 덜 폭력적인 방식이라는 주장이다. 상호참조를 통해 젠더적 균형감각을 획득하는 것은 남성젠더로서의 한국한문학사의 서술에서도 필수적이라고 생각된다. 이 점이 한국고전여성문학사가 21세기 한국한문학사 서술에 기여할 수 있는 가장 바람직한 방식이라는 것이 본고의 잠정적 결론이다. This article aims to explore what women`s literary history can contribute to writing new Sino-Korean literary history in 21 century. The fundaments of Sino-Korean literary history and women`s literary history hamper collaboration between the two. That is because materials and history of Sino-Korean literary history are based on male culture. The field is a consequence of the long exclusion of women. Admittedly, recent attention for women`s literary history has been discovering the traces of women in the history of Sino-Korean literature, and made achievements which cannot be ignored. However, simply writing achievements of study of women`s literary history into the history of Sino-Korean literature cannot be the desirable method of collaboration. We should not neglect the intrinsic nature of literary history. Literary history is a product of certain view of history above all, and it demands an entirely new structure and field of discussions. Thus, it is desirable that the history of women`s literature and that of Sino-Korean literature stand side-by-side. It must be the most effective and least violent way if each of them clarify their masculine or feminine gender qualities and refer to each other. Obtaining balanced sense of gender through cross reference would also be essential for writing masculine gendered history of Sino-Korean literature. It is the provisional conclusion of this article that this is the most desirable method that the history of Korean women`s literature can contribute to writing the history of Sino- Korean literature in 21 century.

여성시문집의 간행과 19세기 경화사족의 욕망 -『정일당유고』의 간행을 중심으로-

박무영 ( Moo Young Park ) 한국고전문학회 2008 고전문학연구 Vol.33 No.-

Publishing of a scholastic lady`s collection of literary works is contradictory to the Confucian ideology which restricts women`s social activities. Women`s collections of literary works published in spite of this contradiction are the very spot where various ideologies conflict with desires. This paper intended to survey the specific aspects of that conflict through the publishing process of `Jeongildang yugo`(『靜一堂遺稿』) published in early 19th century. Gwang-yeon Yun(尹光演), her husband, brings Jeongildang Gang(姜靜一堂) into a `female Sung Confucianist(女性性理學者)` and also brings his family into `literary family` through `Jeongildang yugo`. In addition, by adding the poems of men out of the family who remembered Jeongildang Gang as an appendix, he displays the social ties of his family. That is, Gwang-yeon Yun is using `Jeongildang yugo` to make sure of his family`s social position. Publishing collections of literary works was commonly used by ruined nobles in order to preserve their families in the late Joseon(朝鮮) Dynasty. `Jeongildang yugo` shows that that kind of thing was done even by women. While, Gwang-yeon Yun`s editing style is directly opposite to the virtue to `hide their names` that women from noble classes should have. Accordingly, Gwang-yeon Yun makes Jeongildang Gang a person who earned the social respect, and on the other hand, describes her as a person who thoroughly kept `women`s virtues`. Even the men out of the family mobilized in publishing `Jeongildang yugo` joined him in bringing Jeongildang Gang into a `female Confucianist` while recalling that the publishing is contrary to the `women`s virtues`. All of this is attributed to Seoul cultural area in early 19th century where Gwang-yeon Yun belonged. That is, the atmosphere that women`s talents were positively recognized and women`s literary activities extending to the outside of family were not restrained was created in Seoul cultural area in early 19th century. That atmosphere in Seoul cultural area was the background that Gwang-yeon Yun`s desire could be satisfied.

金浩然齋의 생애와 「호연제유고」

박무영(Park Moo young) 한국고전여성문학회 2001 한국고전여성문학연구 Vol.- No.3

This thesis traces and reconstructs the life of woman poet Ho Yeon Jae Kim,(金浩然 齋) who lived from the late 17th century to the early 18th century, and the bibliographical matters of <The Posthumous Works of Ho Yeon Jae>(『호연제유고』) at this present stage. She lived at all over Keong Ki Do and Clung Cheong Do, and she was from the upper classes, the family of No Ron party(老論) at the early 18th century. So the life of Ho Yeon Jae as the writer shows this literary environment in detail. And we can confirm that the transcription was acted by both copying Chinese characters phonetically and translation. We can assume that this kind of transcription was established at the late 18th century through the repeated, continuous copy in women's quarters. This fact shows the way how the Chinese poetry was enjoyed in women's quarters of the aristocratic class at this period. That is, <The Posthumous Works of Ho Yeon Jae> was the joint works of Kim Ho Yeon Jae, the writer and Cheong Song Shim(靑松 沈氏), the transcripter. And through the existence of this work, we can see the concrete situations that Chinese poetry was written and enjoyed at women's quarters of No Ron family all over Keong Ki Do and Chung Cheong Do at 18th century. I will make plans for the future to makes dear che universal shape that the Chinese poetry was enjoyed by women writers ac the late Choseon period.

국포 강박의 시학 - 18 세기 남인계열의 미적 동향에 대한 연구의 일환으로

박무영(Moo Young Park) 한국한문학회 2002 한국한문학연구 Vol.0 No.29

N/A

홍석주의 지리적 상상력: 노정표 만드는 사람

박무영 ( Moo Young Park ) 한국고전문학회 2010 고전문학연구 Vol.38 No.-

The late Choson period was an era when ``Life on the road`` had been invigorated. A change of a lifestyle accompanies the change of individual`s mind. This study examined this change of individual`s mind from the aspect of alternation of spatial imagination, laying emphasis on Hong Suk-ju(洪奭周). Hong Suk-ju was select for several reasons. He was the one who experienced all kinds of possible actual journeys of his period. He was not only highly interested in travel and classic geography, but also a prolific writer in these fields. Hong Suk-ju`s spatial imagination represented in his geographical works can be defined as imagining the road. He left works on pioneering the pathway throughout Choson and even China. He expressed his aspiration to travel through those paths in his writings. Hong Suk-ju connected the eight provinces of Choson and the eighteen provinces of China by a path, which was centered in Han-yang(漢陽). His works show that former spatial imagination which perceived each place of cultural memory as a dot transformed into a linier spatial imaginationwhich links each existent place on the earth through the road. This transformation of spatial imagination led to transformation of aesthetic imagination. The linier spatial imagination which we can observe in Hong Suk-ju`s case is the aggregation of Choson society`s experiences till the time. Thus, his imagination cannot be entirely attributed to himself. Furthermore, this inquiry mainly discussed the geographical works before the literature. Nevertheless, confirming that there was the change of geographic imagination behind the late Choson period`s literary imagination is the achievement of this study.

경전 패러디와 기호 조작의 세계 -홍길주(洪吉周) 작, 「고진경전(皐津經傳)」과 「감서(甘誓)」,「무성(武成)」의 작품론으로-

박무영 ( Moo Young Park ) 우리한문학회 2008 漢文學報 Vol.18 No.-

8051 MCU의 Peripheral Block에 대한 VHDL 모델링

박무영(Moo-Young PARK),조중휘(Joong-Hwee CHO) 대한전자공학회 1993 대한전자공학회 학술대회 Vol.1993 No.7