지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This study starts with the reflection that the understanding and approaches about Lee Geungik(李肯翊)’s <Jukchanggok(竹?曲)> for the past years are limited to the dimension to check the typical features of Yeongungasa(戀君歌辭) and Exile gasa(流配歌辭). On the surface, <Jukchanggok> seems to stick to the general contents and the structure of the Yeongungasa and Exile gasa. However, there are also distinct features to distinguish among them. Here is to probe into those in earnest.
<Jukchanggok> is regarded as Yeongungasa which is in the surplus of the consciousness of Yeongun(missing the king), but at the same time it shows individual characteristics such as the absence of setting up the heavenly world or the passiveness in the settlement of the relationship with Nim(the king). Besides, the exile experience seems to lessen even though the work is considered as Exile gasa. This is because he was not in directly involved in the exile. In other words, he was an accompanier, not the party concerned. The work was based on the collective exile experiences in the dimension of family. Furthermore, when it comes to considering the historical situation the family of Lee Geungik was facing, the work had the aim to keep and protect the family in the condition of political oppression. That’s why we can find the emotion of Gamgun beyond Yeongun in the work. <Jukchanggok> is a writing that has political intentions and goals. This kind of general and conventional adoptions of Yeongungasa and Exile gasa function as not only a passage but also a medium of writing which is allowed to contain those contents.
<Jukchanggok> is regarded as Yeongungasa which is in the surplus of the consciousness of Yeongun(missing the king), but at the same time it shows individual characteristics such as the absence of setting up the heavenly world or the passiveness in the settlement of the relationship with Nim(the king). Besides, the exile experience seems to lessen even though the work is considered as Exile gasa. This is because he was not in directly involved in the exile. In other words, he was an accompanier, not the party concerned. The work was based on the collective exile experiences in the dimension of family. Furthermore, when it comes to considering the historical situation the family of Lee Geungik was facing, the work had the aim to keep and protect the family in the condition of political oppression. That’s why we can find the emotion of Gamgun beyond Yeongun in the work. <Jukchanggok> is a writing that has political intentions and goals. This kind of general and conventional adoptions of Yeongungasa and Exile gasa function as not only a passage but also a medium of writing which is allowed to contain those contents.
목차
1. 문제제기: 연군과 유배에 가려진 <죽창곡>
2. 연군가사로의 수렴과 이탈: 연군의식의 과잉과 관계 설정의 소극성
3. 유배가사로의 수렴과 이탈: 집단 차원의 유배 체험과 개인 차원의 체험 부족
4. 정치적 행위로서 허용된 글쓰기: 연군을 넘어선 감군(感君)의 정서
5. 결론
참고 문헌
[Abstract]
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UCI(KEPA) : I410-ECN-0101-2015-800-001676576