高麗歌謠의 生産과 收容 = The production and reception of Koryo-Kayo

다국어 초록 (Multilingual Abstract)

In this thesis, Koryo-Kayo(高麗歌謠) was reviewed and observed in a sociological view point and discussed focusing on the flow of procedures from initial production through public reception.
Koryo-kayo had its series of distribution steps of production, intermedication and reception like as other kinds of poems and songs, that is, initial products were penetrated, as one of popular poem and song of king's residence, by intermediation of musicians and female entertainers, and contimued to Yi-dynasty. But, in line with the intermediation and reception part of the works were revised or received in a different way in accordance with the favorates or interests of the patron who received and accepted it and by the social infrastructure of Yi-dynasty of confucian idology which emphasized as sexual and dissipated songs and disappearded in the later time, however, handed down to generations and had been sung by female entertainers with other kinds of poems and songs.
As far as the person who produced and accepted it is concerned, in can by said that, it was produced by whole variety of persons from ordinary people whose name was not known to ruling classes such as patrons of king. nobilities, contemporary power families and new political power elites and even to intermidiaries of musicians and female entertainers since almost all the works were wandering about as popular private songs which has no known writer nor compositon time and penetrated into people as low-grade official songs.
It was accepted and enjoyed not only by kings and nobilities, but ordinary people considering the two-way flow of being verbally handed over in the king's residence and also in the markets and villages throughj Koryo and Yi-dynasties. And the role and function of musicians and female entertainers is conficuous in the series of process of production and reception, which is that they provided various dimension of arts to the receptors received their tastes and fashion, satisfied their need by divesting and fine-tuning newly produced works and compensation and protection from receptors.
Depending on their relationship with the receptos, whether it is active or passive, the aspects of Koryo-Kayo had been changed. Periodically speaking, in Yi-dynasty, there were thick stratum of musician and female entertainers and their capability had geen improved comparing with Koryo-dynasty, However ther role and influence as intermediary of Koryo-Kayo evolved in adverse proportion in Yi-dynasty, that is they were just passively singing the koryo-Kayo which were popularized and being used in ceremony with ritual rhythm while they sang it freely and actively in Koryo-dynasty.
But in spite of all these evolutionary changes, female entertainers partly sang fold songs and Sibi-Kasa(十二歌詞:twelve poems) in their school togeter with si-jo(時調) and chinese poems(漢詩) which Sadaebu(scholars and political powers) liked, and had been in charge of important role in transmission of Koryo-Kayo

목차 (Table of Contents)

• Ⅰ. 序論
• 1. 問題의 提起
• 2. 論議의 目的과 方向
• Ⅱ. 本論
• 1. 提示된 作品과 受容된 作品
• 2. 生産의 主體와 受容의 主體
• 3. 生産과 受容사이의 仲介者
• Ⅲ.結論