多數 時調集 收錄 平時調에 관한 硏究 = Study on pyeongshijos recorded in the collection with many shijos

다국어 초록 (Multilingual Abstract)

This study analyzed shijo works recorded in more than 29 shijo collections based on 『Gyobonyeokdaeshijojiensoe』and their characteristics, and examined their applicability for teaching materials.
1. The object of the study is 98 shijoes of 29collections from『Gyobonyeokdaeshijojiensoe』. since the works written in 28 collections are much more than 100, given that the appropriate number of shijoes to be analyzed is 100.
2. As a result of examining authors of the selected 98 shijoes, 81% of them have a certain author or more than 2 authors. It suggests that the genre of shijo was thought highly of since its author is more identifiable than any other genre like a novel and a gasa. It. means there was a well- known author or a professional writer as well.
For the standard to identify authors, in the case that the author is indicated as the same person in more than 5 collections, it is selected as the first tested book. If more than 2 persons were recorded as the authors in over 5 collections, the one with more authors is selected. Even when a person is recorded as an author in less than 5 kinds of shijo collection, the person is regarded as the author if thought. to be an author rightly through other documents.
3. Considering the number of writings according to authors and their social status and times, I can identify the authors with 5 different kinds of social ranks, government. officials, Confucian scholars, courtly writers, and writers, and kinyeos. A large number of government official writers composed shijo, and then that song writers, Confucian scholars, courtly writers, and kinyeos writers, respectively, in orderly way. Most of shijos were written by the government official authors, and then by song writers, Confucian scholars, courtly writers, and kinyeos in orderly way.
The difference within yangban ranks, main creators of shijo, seems to be caused by a cultural difference and the development of an urban feast culture due to alienation of cultural exchange between trends. In addition, the works by courtly writers, kinyeos, and song witers frequently appear, and therefore we can recognize the popularity of their shijos.
I divided the times of shijo composition according to author's life and death by the 100 year unit before the Japanese invasion of Koea in 1592 and then by 50 year unit after that, considering that author's creating period is after thirty years old.
As a result, I can identify that shijo won public favor steadily, in that the authors of shijos and their works cover more than 10% of literature over all he period by times. However, in the period of King Sooking to King Jeongjong, the low frequency of appearance of shijo shows that the its popularity of shijo was falling in that period.
35% of the writers with definite identities created more than 2 shijos. Especally, the group of writers, who consist of song writers, kinyeos, and courtly writers, wrote more than 2 shilos, and it shows that they were relatively popular writers.
4. The subjects of shijos are classified into 9 groups such as river and lake, ethics, love, man's heroic temper, feast, revelation. critical satire, impression of objects, and village. The classification of subject based on the writer's class and status and on the collection with a large number of shijos shows that, overall, a majority of subjects were river and lake, feast impression of objects, ethics, and critical satire.
However, in the case of non-object authors, the frequency of subject was love, river and lake, and village in order, and, except for river and lake, the frequency of the appearance of subject, which was high in object authors, was low in non-object authors. This aspect of the high appearance of the subject, river and lake, shows that the works representing the writers' emotion were coexisting with those stressing artistic sides.
5. 98% of shijos were vernacular, and 78% had joint form in the linking type of the verses of a shijo. 38% of the first foots of the last of the three verses of a shijo were repetitive in more than 2 shijos and idiomatic in their usage. These features are considered as influencing the transmission and spread of shijos.
6. The shijos appearing in the textbooks and in a large number of collections have been examined. In the case of the shijos in the textbooks, they were usually idealistic in subject and written by famous high officials because the readers of the textbooks are middle and high school students. And, in terms of expression, the works with the expressions found in common Pyeongshijo were appearing in the textbooks, but, in terms of subjects and writers, they were limited in variety. Thus, a more variety of subjects and writers should be selected because there may be a misunderstanding for the students, who first read shijos through the textbooks.
7. Found in the respects of theme, author, and expression of shijo collections. the generall characteristic of Pyeongshijo is not greatly different from the typicality of frequently composed shijos. The typicality is not only the reason that shijo is preferred but also the value as materials.
Focusing on Pyeongshijo recorded in shijo collections, I examined the characteristics of shijo writers and their works, and compared them with those in currently used textbooks. Without more detailed analysis of Saseolshijo in connection with Pyeonshijo. I feel something wanting in this study. A further study also should be done on the transformative aspects of Yeonshijo, the examination of shijo in the collection with many shijos as popular literature, and close analysis on the form of those works.

목차 (Table of Contents)

• 목차
• I. 序論 = 1
• 1. 硏究目的 = 1
• 2. 硏究史 = 2
• 3. 硏究方法 = 4
• II. 고빈도 수록 작품의 선발과 개관 = 5
• 1. 작품의 선발 방법 = 5
• 2. 고빈도 수록 작품의 개관 = 7
• III. 고빈도 수록 작품의 특성 = 11
• 1. 작자면 = 11
• (1) 고빈도 수록 작품의 작자 표시방식 = 11
• (2) 작자 확정 = 16
• (3) 작자의 신분과 시대 = 18
• (4) 작자별 작품수 = 25
• 2. 주제면 = 27
• (1) 작품의 주제 분류 = 27
• (2) 작자 부류별 주제 분류 = 36
• 3. 표현면 = 40
• (1) 문체 = 40
• (2) 장의 연결형태 = 43
• (3) 종장의 첫음보 = 45
• IV. 중·고등 교과서의 교재 활용성 = 47
• 1. 중·고등학교 교과서의 작품과 그 특성 = 47
• (1) 중·고등학교 교과서 수록 작품 개관 = 47
• (2) 수록 작품의 특성 = 49
• 2. 고빈도 수록 작품과의 비교 = 53
• V. 고빈도 수록 작품의 시조사적 의의 = 56
• 1. 고빈도 수록 작품의 전형성 = 56
• 2. 고빈도 수록 작품의 선호 이유 = 57
• 3. 고빈도 수록 작품의 교재 활용 가치 = 58
• VI. 結論 = 59
• <附錄 1> = 63
• <參考文獻> = 76
• ABSTRACT = 80