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중국 명대 여성작가의 문학체험과 글쓰기 : 여성작가의 서발문(序跋文)과 서간문(書簡文)을 중심으로
정민경 이화여자대학교 이화인문과학원 2012 탈경계 인문학 Vol.5 No.2
Women in China have traditionally been considered to have suffered in silence under an ethic that was suffocating to them. However, a lot of literary works written by women were published in collections as printing technology developed in the Ming Dynasty and women writers as a group, not just as individuals, appeared. This phenomenon can give rise to a new trend in the history of Chinese literary studies, which has previously centered upon male writers, but the study of female Chinese writers is still few. This study therefore examines women’s literary activities and their literary philosophy through what the women writers directly wrote. First of all, I attempt to arrange prefaces and letters written by women in the collection of literary works Women’s Works in Recent History (歷代婦女著作考) and Collection of Letters Written by Women in History (歷代名媛文苑簡編), written by Ho Moon-gye, and The McGill-Harvard-Yenching Library’s Ming-Qing Women’s Writings (明淸婦女著作) and examine the characteristics of female literary style in them, dividing these into three large parts. The first is female education and female writing. Comparatively many books were published due to the development of the printing industry in the Ming Dynasty, and the opportunity for education was expanded to women connected to education. Women read various books and wrote their works based on the knowledge gleaned. Second, I treatliterary exchange and literary recognition through private groups. Women in the Ming Dynasty exchanged literature with each other and raised their literary knowledge through their favorite groups, wrote about their daily lives in their works, and continued to form bonds of empathy while reading theirworks together. Third, I note the individual and insignificant writing. Women in the Ming Dynasty were very enthusiastic for literary writing that expressed their own experiences and emotions. Women could encounter their own inner life through individual works describing their busy daily life and exchange their emotions with other women. In this way, female literary activities acted as a means of spreading the thoughts and desires of the heart and women’s views on literature, which are revealed directly and candidly in their prefaces and letters.
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中國 唐代小說 속에 반영된 女仙 이미지 : 『太平廣記』를 중심으로
정민경 서강대학교 인문과학연구소 2009 서강인문논총 Vol.0 No.25
Novels of China have been developing under a close relation with religion, especially a special relation with Taoism. So this manuscript pays attention to features of a women Taoist immortals[女仙] appearing with what looks and image in novels of Tang age. To begin with, a general idea of it comes by looking into a women Taoist immortals division, a minor division of a grand series of novels of "Tae Pyeong Gwang Gi[太平廣記]". Though a women Taoist immortals division of "Tae Pyeong Gwang Gi" collects stories from Han Dynasty to early Song Dynasty, an aspect of novels at that time can be looked into sufficiently because most of it was collected and created by people of Tang Dynasty. An image of a women Taoist immortals in novels of Tang age can be divided into two phases after analyzing stories of a women Taoist immortals division of "Tae Pyeong Gwang Gi". One has a looks of a women Taoist immortals of religious dimension still showing a divine nature with looks of goddess, and the other has a looks of a women Taoist immortals already secularized and degraded to the status of a lover of men. But it stresses' a wise mother and good wife' in the image of a women Taoist immortals with a religious divine nature and gives prominence to a sexy and erotic side of a women Taoist immortals by reflecting looks of a gisaeng[妓女], a women Taoist[女道士] and even a women ghost[女鬼,] in the image of a lovely women Taoist immortals. And this image of a women Taoist immortals has changed much due to writers of men and Tang society at that time. This image of a women Taoist immortals shown in the novels has become more secularized in later generations and takes on an aspect overlapping even an image of a temptress in the novels. 중국의 소설은 종교와의 긴밀한 연관성 아래에서 발전해왔으며 그 중 도교와의 관계는 특별하다고 할 수 있다. 본 고에서는 도교 속 여선의 모습이 당대소설 속에서 어떠한 이미지를 가지고 어떠한 양상으로 나타나고 있는지에 주목하였다. 우선『太平廣記』라는 소설총집을 대상으로 그 안의 소분류인 女仙類를 살펴봄으로써 그 대강을 파악해보았다. 『태평광기』의 여선류는 漢나라부터 宋나라 초까지의 이야기들을 수록하고 있지만 그 대부분이 당나라 사람들이 수록하고 창작한 것이어서 당대 사회의 면모를 충분히 살펴볼 수 있다. 『태평광기』여선류 이야기를 분석해 본 결과 당대 소설 속 여선의 이미지는 크게 두 가지 양상으로 나타났는데, 그 중 하나는 女神의 모습을 여전히 간직한 채 신성을 드러내고 있는 종교적 차원의 여선의 모습이었고 또하나는 이미 세속화되어 남성의 연인이나 상대로 전락한 여선의 모습이었다. 그러나 종교적 고결함을 갖춘 여선의 이미지 속에서도 유가 윤리적 '현모양처'의 이미지를 강조하고 있고 사랑스러운 여선의 이미지 속에도 당대 女道士나 妓妹, 심지어는 女鬼의 모습까지 투영시켜 여선의 섹시하고 에로틱한 측면만을 부각시키는 것으로 보아, 당시 남성 위주의 사회 속에서 여선의 이미지가 크게 변화되었음을 살펴볼 수 있었다. 이러한 여선의 이미지를 통해 당대소설 속에 반영된 당시 사회의 일면을 살펴볼 수 있을 뿐만 아니라 도교 문학의 세속화 과정도 동시에 찾아볼 수 있었다. 당대 소설 속에 보이는 이러한 여선의 이미지는 후대로 가면서 더욱더 세속화되어 후대 문언소설이나 백화소설 속에서는 심지어 요부의 이미지와도 겹쳐지는 양상을 띠게 된다.
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