정약용(丁若鏞) 전(傳)의 명명(命名)과 주제(主題) 구현 방식

정순희(Sun- hee, Jeong) 어문연구학회 2010 어문연구 Vol.63 No.-

Jeon is usually established by essential elements among Chinese proses. The elements, for example, are name, lineage, date of birth and death, personal records, characters, records of wife and children, and author's opllUon. Five Jeon by Jeong Yahg-yong are thought to be rather simple because they substantially keep those essential elements. However, his Jeon is characterized that 'name’ of the elements brings personal characters and the main subject into relief. This factor is a discriminative thing differentiating from other Jeon in the same period. The 'name' does not contain only the facts but author's intention when it reflects the characters and the main subject. Jukdaeseonsaeng is a nickname of the main character, Lee long-hwa in Jeong’s Jukdaeseonsaeng Jeon. The name is given by children laughing at Lee who is so poor as to use a bamboo belt. Jukdaeseonsaeng means 'poverty', and is an objective name that author can not put his willful interpretation into it. After the appearance of the name, the author presents the story that Lee contends for Chae Jae-gong's reinstatement and goes into exile in the repressed age by the power holders, This story emphasizes Lee's morality and integrity, and Jukdaeseonsaeng as a meaning of poverty turns over Jukdaeseonsaeng bearing up under poverty Jukdaeseonsaeng is extended from the first Lee Jong-hwa of family name, the second meaning of poverty, and to the third meaning of morality and integrity. Jukdaeseonsaeng is finally a righteous and faithful person. The author intentionally chooses the name describing the facts to show the personal characters and the main subject in the story. As mentioned above, Jeong Yahg-yong ∞nve따 the ’name' describing some facts into positive and intentional 'name' emphasizing characters and personality in his Jeon. He also makes his work more stereoscopic by consistent linking between conversion of naming and main subject.

조선 후기 산문에 나타난 ‘협(俠)’의 의미

정순희 ( Jeong Sun-hee ) 한국문학이론과 비평학회 2006 한국문학이론과 비평 Vol.30 No.-

All the works that dealt with Hyeop (俠, chivalry) as a material during the late Joseon depicted the people of the lower classes, such as beggars, servants, and gisaengs and their communications with various people. These works lay emphasis on Sin (信, faith) in Bunguyusin (朋友有信, 'Faith should reign over the relation between friends'), a rule of Oryun (五倫, moral rules to govern the five human relations), which consist of Hyo (孝, filial piety to parents), Chung (忠, allegiance to the country), Yeol (烈, faithfulness to the husband), Je (弟, giving the precedence to the elder brother), and Sin (信, faith to the friends). Hyo, Chung, Yeol, and Je come from the same thought except that they are different in aspects of the relations. All of them, except Sin, naturally require subordination and obedience, based on the unfair human relationship. But, Sin is a concept to support the equal relations among humans. Hyo, including Chung, Yeol, and Je, was a basic rule for the system and had a powerful influence on the late Joseon. In this situation, the emphasis on Sin was a criticism or reflection that the prescriptive relationship centering Hyo made it impossible to have a genuine relationship. This means that Sin was a new alternative value and practical ethics. After all, the essays written from Hyeop in the late Joseon can be thought to come from the desire for the equal human relationship on the basis of faith. In a view of the higher class, to deal with Hyeop and friendship is rebellious, subversive, and threatening. The desire for the new relationship on a basis of faith is a subject of the works dealing with Hyeop in the late Joseon.

古文論과 碑誌類의 상관성 - 陶谷 李宜顯의 碑誌類를 중심으로 -

정순희(Sun-hee Jeong) 어문연구학회 2004 어문연구 Vol.46 No.-

Bijirue was a popular official writing style used by most aristocracy class in the Chosun Dynasty. Bijirue required more exceptional skills than any other writing style. This was why it was the form used by the intellectual class, thus the artistic value of it was relatively high. Bijirue was a style that kept its form and did not become fanciful. In order to achieve this, the Chanja would arrange and compose the words delicately, showing his consciousness and writing ability as a composer. These characteristics and literary qualities allowed Bijirue to maintain its status on the discussion of the archaic style. Eu-hyun Lee was the person who developed the archaic style in the late period of the Chosun Dynasty, succeeding his master Chang-hyub Kim. He experimented his literary world by producing many pieces of Bijirue among his prose. He suggested that he use the aesthetics of Gan Um as a model of prosaic writings. Gan means the tightness between the subject and the structure with the close arrangement of the sentences, as well as the simplicity of the composition. Um means keeping the truth and reality by overcoming the temptation for writing to become fanciful. Bijirue was one of the leading literary forms amongst the main archaic styles in the Chosun Dynasty.

조선조 詩壇의 唐ㆍ宋詩風 변전의 의미

정순희(Jeong Sun Hi) 한국언어문학회 2004 한국언어문학 Vol.52 No.-

There were constant changes of Tang's and Song's poetic styles in the history of Korean Han poetry. Studies on the two poetic styles have made a conclusion that both of them suggested 'renovation'. This study is to examine the characteristics of Tang's poetic style during the reign of King Seonjo and of Song's poetic style of the late Joseon Dynasty to figure out what 'renovation' means. The poetic style before the reign of King Seonjo limited poets' private feelings to the poetic form and technique and Seongrihak(性理學)'s ideology, while romantic lyricism of Tang's poetic style during the time of King Seonjo allowed poets' private feelings to be freely expressed. Also, the scholars of Song's poetic style of the late Joseon Dynasty criticized that Tang's poetic style was unreal and cliche in that it expressed poets' romantic feelings only in the world of the court and the Taoist hermit. They put emphasis on realistic poetic writing on the basis of the reality of every day. With each different direction, romantic lyricism of Tang's poetic style led into the recovery of humanity and Song's individual reality led into 'identifying self'. The recovery of humanity and identifying self were the characteristics of modern literature, which were associated with romanticism and realism of the western literary trend. Eventually, in view of the long history of Han poetry, the changes of Tang's and Song's poetry during the Joseon Dynasty show that Han poetry, a medieval general literature, was advancing to the modern literature.

박지원 <삼종형수록대부금성위겸오위도총부도총관증시충희공묘지명(三從兄綏祿大夫錦城尉兼五衛都摠府都摠管贈諡忠僖公墓誌銘)>의 구조와 서술전략 : 정조 <錦城尉朴明源神道碑銘幷序>와의 비교를 통해

정순희(Sun hee Jeong) 어문연구학회 2015 어문연구 Vol.83 No.-

박지원은 정조의 명에 따라 을 쓴다. 그 묘지명은 정조의 와 비지류의 구성 요소, 구성의 전개 과정, 어휘에서 상당히 비슷하다. 두 작품은 주제상으로도 서로 긴밀하게 연결된다. 에서는 박명원이 어떻게 '충희(忠僖)'로운 삶을 살았는지를 보여주고, 에서는 박명원이 정조에게 어떤 '은인(恩人)'인지를 보여준다. 이때 '충희'와 '은인(恩人)'은 각각 신하와 임금의 입장에서 박명원을 규정한 말일 뿐, 박명원을 중심으로 보면 같은 말이다. 에서 박명원은 할아버지(영조(英祖))로 인해 아버지(사도세자)를 잃은 정조의 '슬픔'을 깊이 슬퍼하고, 사도세자의 묘 이장을 실현시킴으로써 정조의 '슬픔'과 실천적으로 연대한다. 그 '슬픔'과 연대의 과정이 바로 '충희'와 '은인'으로 명명된 박명원의 삶이라는 말이다. 박지원은 을 통해 박명원과 정조 사이의 이해와 연대를 보여주며, 동시에 과 박명원을 사이에 두고 박지원 자신과 정조 간의 이해와 연대도 함께 보여준다. 박지원은 또한 과 박명원을 사이에 두고 정조와 대립하기도 한다. 에서 정조는 박지원의 『열하일기』를 박명원의 저작이라고 밝힌다. 이것은 '문체반정(文體反正)'을 염두에 둔 정조의 도발이다. 이에 대해 박지원은 박명원의 에서 자신의 8촌형 박명원에게 글쓰는 재주는 없었노라고 밝히며 정조와 대립한다. 박명원은 박지원과 정조에게 각각 다르게, 결정적인 영향을 준 사람이다. 박지원과 정조는'문체반정'과 관련된 대표적 신하와 임금으로서, 자의식 강한 '작가(作家)'로서, 박명원의 행적을 담는 비지류 산문을 통해 연대하고 대립하는 것이다. Ji-won Park inscribes Myojimyeong for Myeong-won Park, which iSamjonghyeongSurokdaebuGeumseongwiGyeomohwidochonggwanJeungsichungheegongMyojimyeong>. It is similar to of King Jeongjo as well as composition, development process and word of Bijiryu. Two works are closely related to each other in the topic. Myeong-won Park shows us how to live a faithful and happy life in Myojimyeong, and gratitude for King Jeongjo as a savior. Specifically, 'ChungHee' and 'savior' are words used to define Park Myeong-won from vassal and king, but they are the same words based on Myeong-won Park. In Myojimyeong, Myeong-wonPark deeply grieved for King Jeongjo who lost his father(Prince Sado), and practically band together with King Jeongjo's sadness by moving the grave of Prince Sado. Solidarity with the sadness is Park Myeong-won's life designated as 'ChungHee' and 'savior'. Ji-won Park shows understanding and solidarity between Myeong-won Park and King Jeongjo as well as between he and King Jeongjo. Furthermore, Park Ji-won sometimes conflicts with King Jeongjo between Myojimyeong and Myeong-won Park. In Shindobimyeong, King Jeongjo determines that 『YeolhaIlgi』 is Myeong-won Park's writing. This is a provocation of King Jeongjo based on Munchebanjeong. Ji-won Park is opposed to King Jeongjo on this because he determines that Myeong-won Park, a third cousin, does not have a talent in writing in Myojimyeong. Myeong-won Park is a person who influence differently to Ji-won Park and King Jeongjo. Ji-won Park and King Jeongjo are a vassal represent and king related with Munchebanjeong and self-conscious writers. In addition, they band together and conflict through Bijiryu prose which includes track of Myeong-won Park.

박지원의 비지류(碑誌類) 산문(散文)에 나타난 ‘효(孝)’의 형상과 의미

정순희(Jeong, Sunl-hee) 한국언어문학회 2014 한국언어문학 Vol.90 No.-

Park Ji-won thinks that filial duty is not a unique sign of notion, abstraction, and daily life <Yegunmyogalmyeong>. Yegun's aspects of being dutiful and devoted are only part of the process that must be practiced in pursuing life. Filial duty (being a devoted son) is considered by Park Ji-won as a part of human figure fending concretely and genuinely minor in daily life. In other words, Park Ji-won thinks filial duty is daily life. Park Ji-won asks whether filial duty as daily life can be expressed or are there no derived problems when it is showed specifically in <Hyojanyungunmyogalmyeong>. He also raises the issue that the dutiful life of the deoted son is difficult to express concretely and its expressions can be violently exposed to stealthful scope of daily life that it doesn't want to reveal to Yungun. <Yegunmyogalmyeong> and <Hyojayungunmyogalmyeong> are regarded as identical works separated into two parts by the author's perspective, use of similar words and topic connection at filial duty, although they are each about different characters. Bijiryu, dealing with filial duty, generally emphasizes filial behavior and dutiful heart to target people and explain their deeds in detail. However, Bijiryu of Park Ji-won pays attention to meaning and expression of filial duty, its expression mode and their problems. Park Ji-won is not basically interested in designating the devoted person to target people and the filial duty. On the other hand, he criticizes that filial duty becomes particular affairs separated from daily life

『집에 있는 올빼미』에 나타난 자아 정체성 찾기의 과정

정순희 ( Jeong Sunhee ) 건국대학교 동화와번역연구소 2016 동화와 번역 Vol.32 No.-

아놀드 로벨의 동화집 [집에 있는 올빼미]는 <손님>, <이상한 혹들>, <눈물 차>, <위층과 아래층>, <올빼미와 달>의 5 편의 각각 독립적인 이야기들로 이루어져 있다. 본고는 이 5편의 작품들이 `겨울 밤`이라는 시간적 배경과 `집안-집밖-집안` 의 공간적 배경을 공유하며 `나-자아 정체성 찾기`의 과정으로 연결된다는 것을 밝혔다. 낯선 타인과의 일방적 대면을 통해 자신의 특성을 알게 되는 겨울 초저녁의 거실(<손님>), 낯선 자신을 대면하며 타인을 알아가듯 자신을 알게 되는 겨울 밤 침실(<이상한 혹들>), 더 깊고 큰 자신으로 성장하느라 때로는 고통을 겪기도 한다는 것을 `눈물 차`를 마시는 것으로 보여주는 깊은 밤 거실(<눈물 차>), 나는 과연 어디에 있고 있어야 하고 있고 싶은지를 찾느라 위층과 아래층을 뛰어다니다 위아래층의 중간인 10번째 층계에 앉은 깊은 겨울 밤<위층과 아래층>), 낯선 달과 대면하여 서로를 이해하며 밀착하기도 하고 거리를 두기도 하는 겨울 새벽녘 바닷가-숲 속-침실(< 올빼미와 달>)의 과정이 바로 그것이다. 이렇게 [집에 있는 올빼미]의 5편의 이야기들은 시공간적 배경을 공유하며 수록된 순서 그대로 `올빼미가 집안과 밖에서 겪은 어느 하룻밤의 일`로 수렴되면서, 다시 삶의 과정에서 단계별로 겪는 통과의례에 대한 우의(寓意)로 확대된다. Owl At Home is a collection of fairy tales written by Arnold Lobel that comprises five books including The Guest, Strange Bumps, Tear-Water Tea, Upstairs And Downstairs, and Owl And The Moon. These five books have different stories, but this study confirmed that they were fables that were connected by different processes of finding one`s identify. The Guest is a story where the owl notices himself/herself through unfamiliar people when the owl runs into snowstorm in the living room during early evening. Strange Bumps is a story where the owl gets to know his/her unfamiliar self when the owl notices other people in the bedroom during a winter night. Tear-Water Tea is a story that describes how we sometimes undergo distress when the owl drinks “Tear-Water Tea” in the living room at midnight. Upstairs And Downstairs is a story where the owl finds where it wants to be, flying around upstairs and downstairs after drinking the “Tear-Water Tea” later in the night. Lastly, Owl And The Moon is a story where the owl and the moon get to know each other during when the owl meets and parts with the moon moving toward the seaside, forest, and bedroom within the limits of night and day. Thus, the five stories in Owl At Home share spatiotemporal backgrounds and are collected as the experiences that an owl had in one night. In addition, the “works in one night” are expanded as a fabulous lesson that present different processes for finding the identity of the owl.

투고논문 : 동계(東谿) 조귀명(趙龜命)의 산문을 통해 살펴보는 비지(碑誌),전장류(傳狀類)의 향방 시론(試論) -「유모이씨묘지명병서(乳母李氏墓誌銘幷序)」와 「외조모증정경부인이씨전(外祖母贈貞敬夫人李氏傳)」을 중심으로-

정순희 ( Sun Hee Jeong ) 동방한문학회 2013 東方漢文學 Vol.0 No.54

대부분의 乳母 묘지명에서 주인공의 삶은 ``바라봄``이나 ``추억``으로 대상화되는게 일반적이다. ``유모``의 삶은 ``나``와 거리를 둔 채, ``나``를 위한 희생과 충실함으로 규정된다. 주인공을 대상화하고 주인공 삶에 거리감을 두는 것은 주인공의 삶에 대한 객관적 시선과 평가로 귀착되기 마련이다. 그런데 조귀명의 「유모이씨묘지명」은 유모의 삶을 ``나``의 성장과정에 연결된 ``고난``으로 밀착시킨다. 이 묘지명이 대상과의 밀착을 통해 이루어내는 점은 바로 자기 정서의 토로와 진정성이다. 조귀명은 「외조모증정경부인이씨전」을 통해 외면적으로는 외할머니의 삶을 褒奬하고 그의 삶에 연민을 표하고 있는 듯이 보인다. 그러나 그 연민과 찬탄은 「유모 이씨묘지명병서」에서 보인 것과 같은 정서적 밀착이라고 보기 어렵다. 오히려 그것을 넘어 외할머니 삶의 문제적 국면들을 제기한다. 그것은 두 가지 국면에서이다. 첫째는 규범적 婦德(여성의 덕:여성성)으로 포괄하기 어려운 외할머니의 삶이다. 고난과 슬픔에 대한 강하고 생생한 표현이나 토로는 중세 여성의 태도로 보기에는 문제적이다. 비지류, 연시례, 學問, 治道 등 남성 영역에 대한 사유와 言行들 역시 문제적이다. 둘째는 외할머니 삶의 불행한 ``귀결``이다. 외할머니가 가정에서 보인 혹독한 노력은 결국 집안의 몰락으로 귀결되고, 외할머니가 남성 영역에서 보인 현명함은 無子(불임)로 귀결된다. 여성의 노력과 영민함이 불행으로 귀결된다는 점에서 문제적이다. 조귀명은 이렇듯 전 양식을 통해 외할머니 삶의 문제적 국면들을 노출 시키고, 그것을 다시 문제로 제기한다. 친인척 위주의 비지류와 타인 위주의 전장류에서 돌출하는 두 산문을 살펴본 결과, 조귀명의 비지류는 작가의 감정과 정서를 표출하는 것을, 전장류는 대상의 삶의 문제적 국면을 이성적으로 점검하고 문제화하는 것을 위주로 한다고 보인다. 아울러 이러한 특징은 조귀명에게만 국한된다기보다 조선후기 인물 일대기 산문인 비지류와 전장류의 변화 방향의 하나로 유추할 수 있을 듯하다. We examined changing aspects of prose of Bijirye and Jeonjangryu through <Youmoleeshimyojimyeong> and <Woijomojeungjeonggyeongbuinleeshi-jeon>, prose of Donggye Jo Gwi-Myeong. Life of heroine is objectified ``looking`` or ``memory`` in Myojimyeong of most nannies. Life of ``nanny`` is restricted to sacrifice and faithfulness for ``me`` with keeping a distance from ``me``. It is only concluded objective attention and assessment about life of heroine to object the heroine and to keep a distance from life of the heroine. Therefore, ``a nanny`` and ``me`` can`t be closed in the Myojimyeong. However, <Youmoleeshimyojimyeong> of Jo Gwi-Myeong concatenate from life of a nanny to ``hardship`` connected a process of ``my growth``. It is just exposing and honesty of my emotion to concatenate a object in the Myojimyeong. Thus, we think that Bijiryu style in the late Joseon Dynasty is changed to styles which character`s life story is dealt and author`s real feelings are expressed. It seems to be that Jo Gwi-Myeong externally wrap up his grandmother`s life by <Woijomojeungjeonggyeongbuinleeshijeon>. Jo Gwi-Myeong express humane sympathy and admiration to his grandmother who conducted too difficult works as women in the Middle Ages. However, the sympathy and admiration are hard to judge a emotional closing like <Woijomojeungjeonggyeongbuinleeshijeon>. Other than expressing sympathy of his grandmother`s life, it bring up problematic aspects of his grandmother`s life. First, his grandmother`s life is difficult to include as normative women`s virtue. There is a problem to regard as a attitude of women in the Middle Ages. Also private ownership, word and behavior of male domain such as Bijiryu, Yeonsirye, study and governability are problem. Second, his grandmother`s life is a unhappy ``consequence``. Her hard effort in home is concluded home fall, and her wise showed in male domain is concluded childless. It is problem that effort and smartness of women are concluded unhappy. Jo Gwi-Myeong expressed problematic aspects of grandmother`s life by Jeonjangryu style, it was brought up a problem again. According to the two prose of Jo Gwi-Myeong, Bijiryu is changed as prose which express feeling and emotion and Jeonjangryu is changed as prose which reasoningly examine and become an issue about problematic aspects.

불우(不遇)와 고뇌, 떠남의 현재성

정순희(Jeong Sun-hee) 한국언어문학회 2015 한국언어문학 Vol.94 No.-

Haksaru was built in Hamyang, Gyeongbuk when Choi Chi-won of the Silla Dynasty worked as a governor there. ‘Haksa’ is the name of Choi Chi-won when he was in government service after returning to his country. <Hamyanggunhaksarugi> of Park Ji-won is a writing on a high structure that citizens in Hamyang call as ‘Haksa’. Choi Chi-won went to Tang Dynasty at the age of 12, and passed the state examination at the age of 18, and returned to the Silla Dynasty at the age of 28. Choi Chi-won lived alone in a foreign country during his childhood and adolescence, however he came back after his success. At that time, the Silla Dynasty had been perishing, and intellects were not appreciated when they returned after their success. The dynasty did not give an opportunity to them. Finally, Choi Chi-won works a variety of occupations for the local government. One day, he disappeared while going to Mount Gaya, and people believed that he became a ‘Shinsun’. However, Park Ji-won said that Choi Chi-won did not disappear suddenly and become a Shinsun. Park Ji-won thought that Choi Chi-won would ponder for a long time on the high structure constructed by him, and would spend a sleepless night deciding to go out into the world beyond his base. Furthermore, Citizens in Hamyang remember such Choi Chi-won, and called the high structure as ‘Haksaru’. The structure’s name is not ‘Munchanghu’ which is a name called after Choi Chi-won’s death and ‘Goun’ which is a name made by himself after deciding on his departure. Calling the high structure to ‘Haksa’ means that people remember Choi Chi-won who thought alone for a long time to decide to go out into the world. Park Ji-won interpreted about the name of ‘Haksaru’, and deeply understood sympathized with Choi Chi-won. According to the Park Ji-won, ‘Haksa’ exists anywhere at any time. Therefore, it means that Choi Chi-won is ‘Haksa’ a thousand years ago, Park Ji-won is ‘Haksa’ a thousand years later, and there is ‘Haksa’ everywhere.

『梅翁閑錄』에 대한 문헌학적 고찰

정순희(Jeong, Sun-hee) 한국언어문학회 2011 한국언어문학 Vol.76 No.-

. The biggest difference between the Jangseogak and the Cheollidae versions of the 『Maeonghannok 』 is a quantity of episodes that the former is composed of 146 episodes while the latter is composed of 261 ones. The Jangseogak version is a reduced edition which excludes 100 stories about review, discussion, family of the author, Yanghan Park, and contradictory contents to ethics in the Joseon era from the Cheollidae version. This is because the author considered realistic and interesting stories as important. The Maeonghannok is set in the Joseon era from 1677 to 1746 when Yanghan Park was alive, and deals with people and anecdotes of people of the time. The Cheollidae version is chronicled, and volume one includes the upper classes’ morality, thoughts and metaphysical aims, whereas volume two does stories of lower classes, rebels and life of upper classes. However, the Jangseogak version places the stories in the volume two of the Cheollidae version at the beginning. In addition, it is out of chronicle sequences of the stories. This has a more effect on interest of realistic stories than the reviews. The Jangseogak version has common stories with the Cheollidae version, but it hows some differences. First, it attenuates realism by deleting or shortening names and positions, and escapes from argument by deleting reviews. Second, it concentrates interest on specific stories and context by deleting less important and necessary stories, and by joining several stories or dividing one story into several ones. Third, it intends clarification of subject by deleting, replacing and inverting phrases. To sum up, the Jangseogak version seems to shift from recorded literature aimed facts and explanation to narrative literature aimed interest and context as important though it is dissimilar to the Cheollidae version in quantity, order and content of the stories. Meanwhile, the Cheollidae is the earliest and superior version while other copies of the 『Maeonghannok』 are modified or summarized. It contains the largest number of stories and personal circumstances and feelings. Also, it remains intact, whereas other copies have some errors in phrase and context by the changes.