대산(大山) 이상정(李象靖)의 『남유록(南遊錄)』에 나타난 여행 기록의 특징과 의미

조유영 ( Jo Yu-young ) 남명학연구원 2018 남명학(南冥學) Vol.23 No.-

This paper was proposed that the intention of examining his life and the world of literature through the two types of Nam-Yu-Rok which wrote by DaeSan Lee, Sang-Jeong. The Years of MuJin(戊辰) of Nam Yu-Rok recorded that Lee, Sang-Jeong visited Choi, Heung-Won’s home in Otgol (옻골) Daegu and visited Palgongsan with him. And the years of GabSul(甲戌) of Nam Yoo Rok recorded about Lee, Sang-Jeong visited DongRae, to meet Japanese who drifted in korea during he was in public service. These two travels have different characteristics, one being private travel and the other public travel. The two types of Nam-Yu-Rok records of these two trips show many differences on different levels, such as writing style and writing motive. However, these two travel records reveal his inner world at this time in the sense that he is the travel record of the late Lee Sang-Jeong. The features and meaning of the ideal travel record are analyzed as follows. First, the travel record written by Lee Sang-Jeong, It is a concrete record of his travel experience. Through this, we will be able to understand the journey of Seonbi in the late Jo-Seon Dynasty. In addition, Lee Sang-Jeong's travel records show the frank expressions of travel experience. Lee Sang-Jeong not only experienced various situation but also recorded by travel. In this respect, we are able to identify the human aspects of Lee Sang-Jeong. Finally, Lee Sang-jeong's two travels have a distinction between public travel and private travel. This difference is becoming a distinction factors in travel experience.

가투(歌鬪)의 시조 수용 양상과 그 의미

조유영(Jo Yu-Young) 한국시조학회 2009 시조학논총 Vol.31 No.-

The Ga-Too was created and became well-known as a game in the beginning of the 20th century. The 1920's was the period that advanced cultures, and things from many other countries were accepted rapidly for modernization. There also was the 3.1 movement which contributed to making lots of discussions about people. In addition, there was the Movement for the Resurrection of Si-Jo that contributed to Si-Jo becoming a typical genre of literature. Therefore one of our traditional forms of poetry, Si-Jo, had been accepted into the Ga-Too with these many backgrounds. Looking into the aspects of this acceptance by Bool-Sun-Sa-Bon 〈The Ga-Too〉 in 1922, Shin-Min-Sa-Bon 〈Jeong-Sun-Hwa-Ga-Too〉 in 1927, Han-Seong-Do-Seo-Bon 〈Si-Jo-No-Ri〉 in 1935, Shin-Min-Sa-Bon 〈Jeong-Sun-Hwa-Ga-Too〉 and Han-Seong-Do-Seo-Bon 〈Si-Jo-No-Ri〉, they all have such similar opinions as they accepted the same Si-Jo. Reasons being that the school of people which contributed to the movement for the Resurrection of Si-Jo influenced the acceptance of Si-Jo in the Ga-Too. And publishers reflected people's tastes when they chose selections of Si-Jo. Classifying all Si-Jos in the Ga-Too according to titles, there are more Si-Jos about love than those about nature, especially among the recent Ga-Too as the Ga-Too players had been changed to women and their tastes were reflected when the Ga-Too accepted Si-Jo. There are numerous Si-Jos about the recollection of colonialization, worries about the country and loyalty to kings in Ga-Too. These are results of reflection of the people's agony about colonialization. Originally, people considered Si-Jo as an explanation of the Si-Jo-Chang, but the Ga-Too had made Si-Jo into one of the most important genres. Consequently, the Ga-Too should be evaluated correctly throughout the History of Poetry.

<대구십영(大丘十詠)>에 나타난 대구의 시적 형상과 그 지역 문학적 의미

조유영 ( Jo Yu-young ) 한국문학언어학회 2018 어문론총 Vol.77 No.-

Seo Geo Jung(徐居正, 1420-1488) is widely known as the great writer of the early Joseon Dynasty and the leading role of official literature. Although he did not live in Daegu all his life, but he recognized it as his hometown. Because Daegu is the hometown of his grandfather and father. So he wrote < Daegusibyeong(大丘十詠) > which is ten Chileon-Jeolgu(七言絶句), with a special affection and interest in Daegu < Daegusibyeong(大丘十詠) > is still known as a literary work that represents the Daegu region. However, no research has been conducted in earnest as much as the interest in the work. Therefore, we need to examine the character and value of this work as a local literature. For that reason, This paper is intended to be discussed < Daegusibyeong(大丘十詠) > from the perspective of local literature First, in this thesis, we looked at the poetic imagery of Daegu in the early Joseon Dynasty by < Daegusibyeong(大丘十詠) >. Based on this, we discussed what < Daegusibyeong(大丘十詠) > can mean as a local literature. This discussion was aimed at revealing the status and value of < Daegusibyeong(大丘十詠) >'s local literature. As previously stated The attraction in Daegu, which have been highlighted in Seo Geo Jung’s < Daegusibyeong(大丘十詠) > are still an important cultural space for the people of Daegu. In this regard, the paper is of significant value in that it can provide a new opportunity for local people to understand their region.

< 하서도통가(河西道統歌) >의 서술 양상과 창작배경

조유영 ( Yu Young Jo ) 한국문학언어학회 2015 어문론총 Vol.66 No.-

< Haseo-dotongga > hasn`t received attention ``gasa`` of ``Dotongga`` system in late Joseon dynasty for the Korean literature circles. This paper will study description aspects of < Haseo-dotongga > and consider purpose for writing of < Haseo-dotongga >. It provide understanding of presence aspec of gentry gasa in late Josion dynasty. < Haseo-dotongga > consist of prologue-body-epilogue. Its description aspects is very unique by describe concretely. The description aspects reflect awareness of crisis of haseo-dotong by KIM Bangwhi affair. And created for justify and establish haseo-dotong`s legitimacy. The KIM Bangwhi affair take serious damage KIM inhoo`s academic legacy and haseo academic line. So set forth a counterargument and reduction of problem are the purpose of the creation background of < Haseo-dotongga > Social Implication of < Haseo-dotongga > and dotong are including one aspect of social history of politics of late Josion dynasty

채헌(蔡憲)의 <석문정구곡도가(石門亭九曲棹歌)>에 나타난 공간 인식과 그 의미

조유영 ( Yu Young Jo ) 한국문학언어학회 2014 어문론총 Vol.60 No.-

<Seokmunjeong-gugokdoga> is a Gasa-style Gugokga-gye Poetry, was written by Chae Heon, who was Jaejisajok lived in Moongyeong in 18th century. <Seokmunjeong-gugokdoga> has sequential organization of space and it shows the go up-stream movement from the first gok to ninth gok. In this <Seokmunjeong-gugokdoga>``s organization of space had been realized by Gugokga-gye Poetry``s way of equential organization of space. This poetry has different organization of space and awareness of the scenery compare with previous generation``s Gugokga-gye Poetry. In the organization of space to construct the first gok is Nongcheongdea and ninth gok is Seokmunjung emblematized Chae Heon and his teacher Gwon Sang-il connected with waterway. The first, second, third, sixth, and ninth gok has a feature of the artificial sceneries constitute central space. This artificial sceneries configurate poet``s particular intention which are the meaning of reverence or bring honor to his family and so on in respective areas <Seokmunjeong-gugokdoga>``s organization of space and awareness of the scenery show orientation that poet seek stability from others base on he realize identity by value of academic line and family. Then set up his hermitage Seokmungugok on waterway pivot on Seokmunjeong is he try to sublimate real space to ideal space, and <Seokmunjeong-gugokdoga> is the Gugokga-gye poetry on his expression intention

조선 후기 영남지역 가사에 나타난 道統구현 양상과 그 의미-「黃南別曲」과 「黃山別曲」을 중심으로

조유영(Jo Yu young) 한국언어문학회 2017 한국언어문학 Vol.103 No.-

Hwangnam-byeolgok and Hwangsan-byeolgok are written by Gwanbin Lee(1759~?) and Heebae Yoon(1827~1900). These two authors lived in Yeongnam area. Hwangsan-byeolgok is adaptation by Hwangnam-byeolgok . Adapt is a literary custom for Gasa in late Joseon dynasty so researching adapt-consciousness is important between original and different edition. The Aouthor of Hwangsan-byeolgok is not Heebae Yoon but Youngseob Yoon was lived in Sunsan area in 19th century. Then, Youngseob Yoon and Gwanbin Lee lived same area, so it is possible to guess influence relationship between Hwangnam-byeolgok and Hwangsan-byeolgok . Hwangnam-byeolgok and Hwangsan-byeolgok are quite similar but they have lots of gap on descript Dotong. The special situation of Yeongnam Noron is reflected in Hwangnam-byeolgok . However Hwangsan-byeolgok is reflected Yeiongnam Nam-party’s Dotong-consciousness. Accordingly, the difference of descript Dotong is an evidence which is could know Youngseob Yoon’s adapt-consciousness was made in same community’s Cultural effect.

<梧臺漁父歌九曲>에 나타난 ‘梧臺’의 문학적 형상화와 그 의미

조유영(Jo, Yu-Young) 한국시조학회 2014 시조학논총 Vol.41 No.-

Lee Jung-gyeong(李重慶)‘s <Odaeeobuga(梧臺漁父歌)> is made up three poems stanzaic sijo and this paper contemplate <Odaeeobugagugok(梧臺漁父歌九曲)> Lee Jung-gyeong secluded himself in Odae, because he be fascinated by Odaes beautiful scenery. However the reason of hidden side of the retire are desire for seclusion, the relationship with Mt, Unmun in three generation, and reverence for ancient sages and their remains in river near in the Mt. Unmun. Lee Jung-gyeong write nine sijo poem <Odaeeobugagugok>, and at the poem he embody fishermans daily life who were lived in Odae area. <Odaeeobugagugok>s gugok is ideal hermitage however it more close real scenery, and a poetic narrator embodied lazy fisherman in beautiful scenery. Lee Jung-gyeong has unique perspective. Particularly finding will to live in junks and consider the appearances naturalness as being more important than the inner side. This is he realized his gugok operate and write gugok poem are valuable act, like as plants and trees.

趙榥의 箕裘謠에 나타난 道統구현 양상과 그 의미

조유영(Jo, Yu-Young) 한국시조학회 2019 시조학논총 Vol.50 No.-

Jowhang(1803-?) is a writer who wrote a vast number of 111 Sijo in 『Samjuksaryu(三竹詞流). Nonetheless, he is still not properly assessed in our literature. The works of the authors of the late Choson dynasty need to be revised out of prejudice about the medieval aesthetic and retroistic tendencies. Therefore, it is possible to clearly grasp the historical significance and value of Sijo in the late Joseon Dynasty. From this point of view, I examined the 〈Kiguyo(箕裘謠)〉 of the Johwang, which is Yeonsijo of the late Joseon Dynasty. 〈Kigyou〉 is the main subject of Dotong(道統), which is the core value of the Neo-Confucianism. Therefore it has value as an important data to grasp the inner consciousness of Johwang. Therefore, in this article, I examined the system of 〈Kiguyo〉 and the genealogy of the Dotong in the works and examined the aspect of the Dotong. In addition, I discussed the features and meaning of the Dotong recognition of based on his perception of reality. It is expected that this discussion will help to expand the framework of understanding of the existent condition of the Sijo in the late Joseon literature.

조선 후기 향촌사족의 이상향 지향과 그 의미

조유영(Jo, Yu-young) 우리말글학회 2016 우리말 글 Vol.71 No.-

이관빈(李寬彬)(1759~?)의 〈황남별곡(黃南別曲)〉은 서사-본사-결사로 이루어진 가사 작품이다. 본사는 본사1과 본사2가 병렬적으로 구성된다. 본사1은 작자가 황남구곡을 찾게 되는 원인이 되고, 본사2는 그 결과로 이어짐으로써, 이들은 작품 내에서 인과 관계로 설정되어 있다. 이러한 구성방식은 작자의 산수 유람과 구곡 찾기에 대한 당위성을 제시하는 역할을 담당한다. 그리고 이를 통해 이 작품이 조선 후기 향촌사족인 이관빈의 이상향 찾기의 과정을 보여주고 있음을 알 수 있다. 그가 발견한 황남구곡이라는 이상향은 산수가 가진 실체적 아름다움보다 성리학적 이념을 체현할 수 있고 투사할 수 있는 공간이었다. 그러한 까닭으로 〈황남별곡〉의 구곡은 산수라는 실체는 사라지고 성리학적 이념에 경도된 관념적 이미지로만 형상화되고 있다. 그가 찾은 〈황남구곡〉은 사족으로서의 자기 정체성 찾기라는 과정 속에서 발견된 이상향이었다. 그리고 조선 후기 향촌 사족의 이러한 이상향 찾기는 결국 사대부 계층의 분화라는 조선 후기 사회의 변화와 그 속에서 살아가고 있는 향촌사족으로서의 내적 갈등과 고뇌가 만들어낸 결과였다. 그들은 성리학적 관념의 강한 견인력 속에서 세계를 바라보고 자신의 문제를 해결하고자 하였다. 그리고 이러한 이상향 지향에는 현실인식의 관념적 내면화가 그 기저가 되었다. This study suggested the meaning of aiming for utopia of country aristocrat in late Joeson dynasty for Gugok imagery that examine descriptive aspect 〈Hwangnambyeolgok(黃南別曲)〉 was written by Iee gwan-bin(李寬彬, 1759~?) 〈黃南別曲〉 be composed of prologue-interlude-epilogue, and interlude has juxtaposition of interludeⅰ & interludeⅱ. Interludeⅰ is cause of visiting 〈黃南別曲〉 and interludeⅱ is result of the visiting, so we know these two paragraphs are established by causality. Therefor these descriptive aspect and composition function as propose Sollen of landscape sightseeing and finding Gugok. Ultimately 〈黃南別曲〉 show finding utopia process for 李寬彬 who is country aristocrat in late Joeson. ‘黃南九曲’ was found 李寬彬’s landscape sightseeing is not ontic picturesque of landscape but area of embody and project his Neo-Confucianism ideology. This being so 〈黃南別曲〉’s Gugok is embodied ideational image too much Neo-Confucianism ideology without substance landscape despite utopia of country aristocrat in late Joeson dynasty. 〈黃南別曲〉―the utopia was he found― is the area was discovered process on finding identity. In this country aristocrat in late Joeson dynasty’s finding identity was the result of change of society in late Joeson dynasty which is internal differentiation of gentry class, and country aristocrat’s inner conflict • anguish who was living in the change.

채헌의 구곡시가 창작의 보편성과 특수성

조유영(Jo, Yu-young) 우리말글학회 2017 우리말 글 Vol.75 No.-

본 연구의 목적은 18세기 후반 문경지역의 향촌사족이었던 채헌의 석문구곡 경영과 구곡시가 창작의 배경을 살피고, 그가 지은 가사체 구곡가인 〈석문정구곡도가〉와 구곡시인 〈석문구곡차무이도가운〉을 시적 대상의 표현을 중심으로 비교 고찰하고자 하였다. 그리고 이를 토대로 그의 이원적 구곡시가 창작이 보여주는 보편성과 특수성이 어떠한 의미를 가지는지를 논의하고자 하였다. 채헌의 석문구곡 경영은 석문정 건립과의 밀접한 관련성 속에서 기존의 산양구곡을 새롭게 확장 재편하면서 이루어졌다. 그리고 새롭게 확장 재편된 석문구곡 경영의 중심은 석문정이었으며, 이곳에서 이루어진 동류집단의 모임에서는 시가 지어졌고, 노래가 불려졌다. 채헌의 구곡시는 형식적인 면에서 당대의 일반적인 차운 구곡시와 큰 차이가 나타나지는 않는다. 반면에 채헌의 〈석문정구곡도가〉는 연속체 율문의 가사 형식을 처음으로 차용하여 창작된 작품이라는 점에서 조선후기 구곡가의 변화를 상징적으로 보여주는 작품이라 할 수 있다. 또한 채헌의 구곡시는 석문구곡 각 곡의 특징적 경물을 중심으로 각 곡의 풍경을 압축적으로 담아내는 모습을 보여주는데 비해, 그의 구곡가는 확장적 서술을 통해 작자의 다양한 미적 체험이나 복합적인 공간 인식을 드러낸다는 점에서 차이를 가진다. 또한 채헌의 구곡시가 개성적 상상력을 발휘하여 서정성을 확보한다면, 구곡가는 보편화된 정형구를 활용하여 형상화의 공식성을 보여준다는 점에서 차이를 가진다. 따라서 이들 작품들은 한문과 국문이라는 표기 수단의 차이만큼 시적 대상의 표현에 있어서도 많은 차이가 있음을 파악할 수 있었다. 그리고 채헌은 석문구곡 경영에서 발생하는 개인적 차원의 미적 체험과 감흥은 구곡시로, 집단적 차원의 지향의식과 심미형상은 구곡가로 구현하고자 하였으며, 이러한 이중적 창작 태도는 시와 노래라는 갈래적 정체성과 향유방식의 차이가 만들어낸 결과였음을 알 수 있었다. This paper examines the characteristics of Sukmungugok management of Che-Heon(채헌) who lived in the MunKyung area in late 18th century. This study compares the object expressions of his poems 〈Sukmungugokchamuidogawun(石門九曲次武夷棹歌韻)〉 and his lyrics 〈Sukmunjunggugokdoga(石門亭九曲棹歌)〉 and tried to investigate the meaning of his creation. Management of Che-Heon"s Sukmungugok is closely related to the establishment of Sukmukjung. But the set Sukmungugok and poetry of Gugok seem to have actively projected an aesthetic sense of personal taste and arithmetic in his creation also it is believed that there was a considerable influence on the peer group in Seokmunjeong. Che-Heon"s poetry of Gugok doesn"t appear to be far difference from usual poetry of gugok. On the other hand, Chae Heon"s 〈Sukmunjunggugokdoga〉 is a work that symbolically shows the change of the late Chosun Dynasty in the point that it is a work created by borrowing the verse form of the continuum verse for the first time. In addition, poetry of gugok shows the scenery of each song in a compact manner, it based on the characteristic seasonal scenery of "Seomungugok". Comparatively, poetry of Gugok provides a detailed description of the author"s extensive aesthetic experience or complex spatial awareness. In addition, if Che-Heon"s poetry of Gugok has gained lyricism through his unique imagination, Song of Gugok differs in that it shows the formalism of the shaping by using the universalized. Che-Heon tried to embody the aesthetic experience and inspiration of the individual dimension in Sukmungugok management as the poetry of Gugok, The group consciousness and aesthetic features implement it as a song of Gugok. These double attitude of is the result of the difference between the poetry and the song identity of the poem and the way of enjoyment.