고전문학 : 우탁 시조 작품의 창작 맥락과 함의

임주탁 ( Ju Tak Yim ) 배달말학회 2015 배달말 Vol.56 No.-

The purpose of this study was to provide new insights into the life of U Tak (1262-1342) by interpreting the context in which he wrote his Sijo works. Three works were selected which linked the issue of aging and U Tak’s political life and actions. The first poem “ Han Sone Gasi Deulgo ” (Taking a thorn in one hand), a self-parody, implies U-Tak’s intention to rationalize his early retirement from political office. He once had been faithfully devoted to King Chungseon, “holding an ax in one hand and an appeal in the other hand” but he resigned from his government service by declining the next King’s request for reinstatement on the basis of his old age. The second poem “ C h u n s a n e N u n N o g i n e u n B a r a m ” (The wind melting snow of mountains in the spring) restates U-Tak ’s reason of old age for not reentering into government service however it also implies he later changed his mind and wanted to return to his position but by that time he was too old. The third poem “ N e u l kji M a l r e o i g o ” (Trying not to get older) contains U Tak’s admission that practicing Neo-Confucianism was not appropriate and expresses a sense of guilt through self-parody in “ C h u n s a n e N u n N o g i n e u n Baram ”. Based on the text analysis, the author expresses different feelings at different stages in his political life and it is possible to assume that U-Tak tried to communicate with readers in the form of poetry when he needed some social sympathy to justify his political actions. Although this study does not provide sufficient evidence to accurately plot U Tak’s life chronologically it does provide a new interpretation of his writing through his issues surrounding aging. This study also provides contributions to the literary discussion by interpreting these three poems in more multilateral view in the way of connecting the undertones with the author’s political actions.

시조 대중화의 한 양상-홍랑과 < 묏버들 >을 대상으로

임주탁 ( Ju Tak Yim ) 한국고전문학회 2015 고전문학연구 Vol.48 No.-

The purpose of this study was to investigate how Hong Nang`s Sijo, which is characterized as a letter transmitting her private thoughts and feelings, has gained recognition from the public. By examining the perspectives and logic behind the author`s works, this study aimed at establishing a basis for our viewpoints and approaches so that we can verify the validity of Kisaeng`s Sijo including the poem ‘Moet-beodeul’ (wild willow). Hong Nang`s existence became known to the public after her death through efforts to understand the content of ‘Jeungbyeol’ (parting words) which was published in Choi Gyong-chang`s collection of poetry and prose. Choi Gyong-chang`s original publication did not include a preface which meant premodern readers were unaware of Hong Nang`s existence and her relationship with the author. Therefore, there was no attempt for premodern readers to analyze Hong Nang or the poem ‘Moet-beodeul’. Hong Nang has been repeatedly introduced as a faithful kisaeng by modern media because she never turned her back on her old friend despite difficult circumstances. Because ‘Moet-beodeul’ has been acclaimed as a highly artistic work, she has been recognized as an artistic kisaeng. Hong Nang and ‘Moet-beodeul’ have become popular through modern media which places a strong emphasis on androcentrism and aestheticism. After the liberation, Hong Nang and the poem ‘Moet-beodeul’ have been reconstructed as a fictitious popular narrative in various media using a combination of androcentrism and aestheticism. This perspective has influenced studies on Hong Nang`s ‘Moet-beodeul’. The perspective in Kisaeng`s Sijo is not far from the aestheticism based on androcentrism, which has become widespread through modern mass media. Therefore this study will be helpful in criticizing the perspectives and methods of preceding studies on Kisaeng`s Sijo including Hong Nang`s Sijo, and suggesting alternative points of view.

이야기 문맥을 고려한 황진이 시조의 새로운 해석

임주탁(Yim Ju-tak) 우리말글학회 2006 우리말 글 Vol.38 No.-

Ji-ni Hwang(黃眞伊) has not only been a favorite female author but also been a skillful writer of Korean poems in the period of Joseon(朝鮮) dynasty up to now. But what features and characteristics have made her and her works been famous is not elucidated so clearly. Thus I tried to read 5 works of her newly considering with their story contexts along which they have been transmitted. As the results, I could find out two facts; one is that when we approach to her works without such notion that most of her works are love or farewell songs we can catch their meaning more deeply and more accurately, the other is that she had a extraordinary capacity(mental perception) with which she could scan the other man's mind and its stream. So I suggest that we should evaluate her authority in Korean classical poetry with the two results.

여말 선초 시조의 맥락과 작가의 정의론

임주탁 ( Yim Ju-tak ) 한국고전문학회 2018 고전문학연구 Vol.54 No.-

This paper, focusing on the writer’s political thought and stance, explores each context of Sijo (Korean song) texts in the late 14th century. The late 14th century in the East Asia was a period of catastrophic history of “the world”. It was the time when “the world” order centered on the Yuan Empire was reorganized into “the world” order centered on the Ming Empire. The national order of Korea centered on the Goryeo dynasty was reorganized into that centered on the Joseon dynasty. In such an era, individuals are forced to make ceaseless choices but their choices vary. So did the political choices of Sijo writers. Therefore, first of all, I searched for the context of Sijo works in the period, analyzing what the historical occasion was especially important for each writer and what kind of thoughts and feelings he had at that moment. As a result, each author of the Korean song revealed the idea that his political choice was right, and that the basis of such thought was rooted in the Confucian justice theory. The scriptures of Confucianism present a multi-layered set of conditions needed to realize the right way of “the world” and the state, assuming hierarchical order. It was the time when the thoughts of justice of the people was in the process of reforming the national order according to the new “world” order and became unified with Confucian justice. For this reason, the authors of Sijo leaned on it and tried to rationalize their political actions and choices. The sacred texts of Confucianism cover the discussions on life or justice of various levels such as the world, the state, the unit society of the state, and personal behavior. The theory of justice, which was the writers’ guide, was basically based on the sacred texts. In this respect, the discussion of this paper will give another chance for us to reflect what the justice is through Korean classical literature.

국어교과의 고전시가 작품 수용에 대한 비판 : 고등학교 국어 교과서를 중심으로

임주탁(Yim, Ju-Tak) 한국문학회 2009 韓國文學論叢 Vol.53 No.-

이 논문은 국어교육의 장에서 고전시가 작품이 소통의 매개로 기능하는 길을 모색한 것이다. 이를 위해 우선, 현행 고등학교 국어교과서에 수록된 고전시가 작품을 중심으로 하여 교수자와 학습자 간의 소통의 전제가 되는 작품에 대한 충분한 이해가 가능하도록 되어 있는지를 살폈다. 그 결과 해당 작품들은 언어 텍스트 자체가 부적절하게 제시되어 있거나(, , , , ), 비교적 적절하게 제시되어 있더라도 작품에 대해 가지는 기본적인 물음에 대한 해답을 찾기 어려웠다. 이러한 문제는 일차적으로는 국어교육의 주체, 특히 교과서를 제작하는 주체가 고전시가 연구의 성과를 비판적으로 검토하여 수용하는 과정이 결여된 데서 비롯된 것으로 판단되지만, 더 근본적으로는 고전시가 연구 주체간의 소통이 원활하게 이루어지지 않은 상황과도 밀접하게 연관되어 있었다. 그러므로 고전시가 작품이 학습자의 소통 능력을 기르는 데 실질적인 기여를 할 수 있기 위해서는 언어 텍스트가 학습자의 조건에서 충분히 이해될 수 있는 수준의 주석 및 주해 작업과 아울러 연구 부분에서 제기된 이론의 정합성과 적합성을 따지는 검증 작업이 무엇보다 절실하게 요구된다고 하겠다. This paper aims to cultivate how teacher and students communicate their own thoughts about Korean Classical poetry and song each others in class of Korean education of highschool course. For it, I scrutinize if they are able to understand the lingual texts of Korean Classical poetry and song, texts put in the textbooks, for appreciating their meanings. As the result, there is no work which meaning is sufficiently understood by teachers and students by themselves. So teacher and students could not find ways in which they have their own thoughts about thouse works, Seodong-yo, Cheongsan-byeolgok, Eobusasi-sa, and etc. I find out that the reason is as follows, (1) researchers who have studied the same work have seldom communicated their own thoughts each others (2) researchers and course-makers have not understand each others. Thus, I propose the way in which teacher and students communicate their own thoughts about Korean Classical poetry and song each others in class of Korean education like this, (1) We should seek more textbooks of Korean Classical poetry and song, which meanings teachers and students could appreciate by themselves (2) Not only researchers but also teachers should try to verify all the assumption or theories which have been cultivated in the field of Korean Classical poetry and song. (3) All the subjects who are related to it have to broaden the way in which they communicate their thoughts each others.

이조년 시조 작품의 분석과 해석

임주탁(Yim, Ju-tak) 우리말글학회 2015 우리말 글 Vol.65 No.-

이 연구는 14세기 시조의 하나인 이조년 시조 <다정가>의 창작 맥락을 추론하고, 그 맥락에서 함축된 의미를 해석해 보이고자 한 것이다. 특히 모순어법의 사용 의도와 ‘자규’의 관습적 의미가 분명하게 드러나는 맥락을 추론하였다. 그 결과 ‘다정가’는 작가가 은퇴 후 처음 맞은 봄날 배꽃이 달빛을 받으며 밝게 피어 있던 밤에 절규하는 듯이 울어대는 자규가 군주의 안위와 미래에 대한 불길한 예감을 촉발했던 정서 체험을 바탕으로 창작되었을 가능성을 발견하였다. 그 맥락에서 한편으로는 중립적인 정치적 입장을 드러내고 다른 한편으로는 군주의 안위와 미래에 대한 불길한 예감과 불길한 상황을 조장할지도 모르는 정치세력에 대한 우호적 · 관용적 태도를 표명한 것이 ‘다정가’라고 해석하였다. 충혜왕이 직면할지 모를 비극적 상황이 초래되지 않기를 바라는 작가의 의도가 반영된 결과라는 점에서 ‘다정가’는 가참(歌讖)으로 수용되었을 가능성도 있어 보였다. This thesis aims to analyze the problems of the previous interpretations of sijo ‘Dajeong-ga’ (多情歌, Song of Warm Heart without Any Worldly Desire) written by Yi Jo-nyeon (李兆年, 1269-1343) and to suggest alternative interpretations. The previous explanation of Dajeong-ga was based on intuitive interpretations or faulty analysis of the materials which were used to identify unified meanings of the context in the text and the meanings of vocabulary which are composed of lingual text. In addition, there existed a misunderstanding of the previous interpretation. In particular, an interpretation based on the repeated misconceptions have had a major influence on the curriculum of Korean Language Departments which determines the direction of the public acceptance. From the perspective that the unified meanings of lingual text which was written by heung (興, one of the three traditional writing methods in the East; describing the situation which aroused poetic inspiration by foregrounding first, and, in sequence, expressing poetic feelings by figurative or bald statements) can only be achieved when creative contexts are restorable, I made external contexts corresponding to internal contexts. The oxymoron in “dajeong do byeong in yang hayeo jam mot deureo hanora ” (phonetic transcription) can reasonably be explained and creative contexts can be induced in order to reveal the conventional meanings of ‘jagyu’ (子規, lesser cuckoo). As a result, it can now be interpreted that at a night with flowers of pears blowing on the first spring after his retirement, Yi Jo-nyeon wrote Dajeong-ga based on his emotional experience, inspired by cries of a lesser cuckoo which triggered a gloomy foreboding for the safety of the King and the future. In the context, the lingual text can have the unified meanings for sure. Additionally, by utilizing oxymoron, on the one hand the writer of Dajeong-ga showed his inner personality and political position. On the other hand, he expressed amicable and tolerant attitudes toward certain political force which might have encouraged ominous presentiment and gloomy situations about the King’s safety and the future. It can be interpreted as a result of reflection of the writer’s intention to wish not to cause tragic situations which the King Chunghae (忠惠王) might confront. From that point of view, it is possible that Dajeong-ga might have been regarded as a prophetic song. I believe that this thesis will help to understand the writer Yi Jo-nyeon and his Dajeong-ga through the critical alternative analysis and interpretations towards the previous analysis and interpretations.

우리말 노래 창작의 사상적 기반: 주체와 타자에 대한 담론을 중심으로

임주탁(Yim, Ju-Tak) 국문학회 2007 국문학연구 Vol.16 No.-

From the era of the Silla Dynasty through that of the Joseon Dynasty, the cultural elite of Korean society had been deeply involved in the composition, transmission, and preservation of the songs composed and sung in Korean, adjusting their attitudes whenever their ideological stance on the Korean language and the idea of the self changed. A rough chronological outline of significant historical moments in this regard is as follows: 1. Gyunyeo ( 均如) and Iryeon (一然), renowned Buddhist monks from the Goryeo Dynasty, recognized and emphasized that universal truth could be learned and reached through Korean vernacular, as well as through the Chinese language. Owing to this endorsement, the cultural elite of the nation participated actively in the production and consumption of Hyanga (鄕歌), popular songs orally transmitted in Korean, especially during the periods of national crisis, such as the invasions of the Kitans (契丹族) and the Mongols (蒙古族). 2. King Sejong (世宗) of the Joseon Dynasty was working on this very legacy when he invented the Korean alphabet Hangul and used it to compose Yong-bi-eo-cheon-ga (龍飛御天歌) to glorify his royal ancestors. In doing so, he provided his people, who could speak only Korean, with an opportunity to read and learn about the ancestors of the new dynasty, who, he believed, were now immortalized in heaven. 3. The idea that Gyunyeo and Iryeon shared with Sejong had gradually weakened since the first half of the sixteenth century, when two Confucian scholars, Tweghyeh ( 退溪) and Yulgok (栗谷), developed alternative discourses on the Korean language. While Tweghyeh denied the value of Korean as a language for philosophical truth, Yulgok seems to have been more optimistic about the capacity of his mother tongue. Nevertheless, they both composed songs in Korean ―respectively, Do-san-sib-i-gok (陶山十二曲) and Go-san-gu-gok-ga (高山九曲歌)―to describe the self-sufficient lifestyle of the Junzi (君子), or man of virtue, seeking truth in the world. Their emphasis on a premeditated set of rhythm in composition, however, provided an ideological basis for the syllabic verse known as Sijo (時調), which became popular among the cultural elite in subsequent generations. 4. Between the end of the seventeenth century and the beginning of the eighteenth century, another group of Confucian scholars noted that the popular songs sung by the common people might be in some sense more appropriate to express natural emotions of the Koreans than the highly artificial syllabic verse form of Sijo. Damheon ( 湛軒), for instance, maintained that the Koreans should distinguish themselves from the Chinese as they were the subject of their own thoughts and emotions. It was under the influence of him and his colleagues that the once-disregarded genre of Hyanga was rediscovered and revitalized to appear frequently in contemporary song collections. The history of the Korean songs had thus been affected by the ways in which the cultural elites of Korean society defined the relationship between the Korean and the Chinese language, and, consequently, by the ideas of the self or subject that they had cultivated. When they were able to widen their idea of the self to embrace the common people, the cultural elite of the Goryeo and Joseon Dynasties did not hesitate to recognize Korean as a poetic and philosophical language, whereas, when they needed to differentiate themselves from the common people, they disregarded the very linguistic medium that their social inferiors used to communicate and compose songs, as well.

향악의 개념과 향가와의 관계

임주탁(Yim, Ju-Tak) 한국문학회 2018 韓國文學論叢 Vol.79 No.-

이 논문은 우리 문헌과 중국 문헌에서 향악(鄕樂)ㆍ향가(鄕歌)의 용례를 검토하여 향악의 개념과 특성, 그리고 향악과 향가와의 관계를 논의한 것이다. 향가란 무엇인가는 여전히 해결되지 않은 채 남아 있는 물음 이다. ‘조선인’이 ‘조선고유’의 음악과 시가를 명명했던 용어였다는 생각이 널리 받아들여지고 있지만 향악과 향가는 중국 문헌에서도 일찍부터 사용되고 있던 용어였다. 향악은 향당(鄕黨)이라고 일컬어지는 지역사회의 향민을 교화하기 위해 제후국(諸侯國) 시기의 주나라 왕실에서 만들 어진 이가(夷歌)의 음악을 천자의 음악과 어울릴 수 있게 합악(合樂)하여 만든 음악을 일컫는 용어였다면, 향가는 향당으로 재편된 지역사회에서 가당(歌堂)을 매개로 유지ㆍ전승되던 이가(夷歌)의 음악을 일컫는 용어였다. 모두 향당의 음악이라는 점에서는 다르지 않지만 향악이 국인 (國人)이 만든 음악이라면 향가는 향인(鄕人)이 만든 음악이었다. 향악이 세계 보편성을 지니는 것이라면 향악에 비해 지역성이 짙은 음악이 었다. 보편성과 지역성의 관계는 언어를 통해 선명하게 나타날 수 있다는 점에서, 이 연구 결과는 향가의 언어를 일컫는 향어(鄕語)의 용례를 검토하여 그 개념과 향가와의 관계를 규명할 때 향가의 정체에 한 걸음더 나아가는 데 기여할 수 있을 것이다. 다만 이 논의를 통해 향악ㆍ향 가라는 용어가 ‘조선인’이 ‘조선고유’의 음악과 시가를 명명하기 위해 만들어 쓴 것이 아니라 중국과 ‘조선’에서 일반적으로 사용된 용어였다는 사실은 분명하게 확인할 수 있었다. What is Hyanga (鄕歌) that is generally referred to a name of historical genre as a set-form verse and song of Korean language in the Silla Dynasty? Why did not the songs be called just as songs? The intellectuals of the Josoen Dynasty, in which the cultural toadyism was further strengthened, did not call the songs they composed such a name. Is it true, then, that the intellectuals of Silla or Koryo named their songs such a term in preparation for Chinese poetry or song? In order to solve these questions, this paper explores the concepts and characteristics of the term by examining two terms, hyangak (鄕樂, music for local community) and hyanga (song of local community) used in Korean literatures and Chinese literatures as well. As results, we can afford confirming three facts at least. First, the terms were not originally used by the intellectuals of Korean dynasties but also by Chinese intellectuals. Second, it was one of means by which the ruling powers of the nation, who were trying to establish the cultural order of the world in common, were able to establish the royal wind through the wind of the ruler and the wind of the community. Third, the hyanga was an alternative of cultural vehicle for the ruling group of community to communicate with the people of local areas, and to cultivate or civilize them. These results suggest not only that the oriental society should be understood in relation to the recognition of the reality of the governing group who wanted to integrate local communities into the new nation and to integrate them into the only cultural world order, but also that this perspective should be understood in relation to the ruling group’s awareness of the reality of the world and local communities.

<안민가>의 창작 동기와 의미 해석

임주탁(Yim, Ju-Tak) 한국문학회 2011 韓國文學論叢 Vol.57 No.-

이 논문은 <안민가>의 의미 해석을 둘러싼 논쟁의 발단이 관련 서사와 노래 텍스트에 대한 합리적인 독법의 부재에서 비롯되었다고 판단하여, 텍스트의 합리적인 독법을 제시하고자 하였다. 이를 위해 두 가지 의문 즉, ‘경덕왕은 왜 화랑을 기리고 찬양했던 충담사를 불러 인민을 다스려 평안하게 하는 길을 노래로 제시해 줄 것을 요청하였는가?’ ‘그 요청에 따라 지은 노래는 어째서 유가적 사유의 패러다임을 활용하였는가?’하는 의문을 해소하고자 하였다. 두 의문을 해소하는 과정은 <안민가> 관련 서사를 총체적으로 이해하고 노래 텍스트의 의미를 핍진하게 해석하는 과정이 되기 때문이었다. 충담사는 중앙집권적 관료제도의 정착을 추진하는 국왕의 통치 방향에 반대하는 귀족 세력의 대변인으로서 <찬 기파랑가>에 상징적으로 제시했던 통치 문제에 관한 생각을 국왕의 요청에 따라 <안민가>를 통해 구체적으로 명시하였다. 그 내용은 기파랑과 같은 귀족이 신하의 지위에서 어머니가 지식을 사랑으로 돌보듯 인민을 돌볼 수 있도록 해야 나라가 태평할 수 있다는 것이었다. 그리고 그것이 국왕이 지향하는 통치 이념과 원리에 모순되지 않고 부합한다는 생각을 아울러 제시하였다. 그러므로 <안민가>는 특정한 종교 이념이나 사상을 표현한 작품이 아니라 잠재적인 청자가 익숙해 있는 사상과 사유의 패러다임을 활용하여 통치 문제에 대한 생각을 피력한 작품이라 할 수 있다. 이로써 <안민가>의 의미 해석을 둘러싼 논쟁은 어느 정도 해결될 수 있으리라 기대한다. Why did King Gyeongdeok(景德王), 35th king of Silla Dynasty, ask Chungdamsa who had made Changiparang-sanoiga(讚耆婆郞詞腦歌), one of Hyangga, for him to make a song of ruling over the people peacefully? Why did Chungdansa, as a Buddhist monk, present his opinion about the reign system of the days through Confucian paradigm and thought? For the two, I find answers as follows. 1. Ascertaining whether it is true that the meaning of Changiparang-sanoiga is high, King Gyeongdeok intended to check the meaning was related to the reign system of the days. 2. Chungdamsa presented explicitly his opinion at Anmin-ga, which was implicitly presented at Changiparang sanoiga. 3. The opinion was not of Chungdamsa but of Jingol(眞骨) noble members who had left out of the reign group arround King Gyeongdeok, and had maintained their Hwarang(elite youth in Silla Dynasty) organizations. 4. The meaning of Anmin-ga is this; "If ruling over the people peacefully, you must give a member of Jingol noble class like Giparang(耆婆郞), hero of Changiparang-sanoiga, important positions, like subject positions, and let them take care of the people like mother loves her children. 5. The reason why Chungdamsa presented that meaning through Confucian paradigm and thought is related to the fact the addressees of Anminga were well acquainted with them. Shortly, he, as a addresser, considered characteristic of addressees and conveyed the message to them gracefully. I expect that this results could deepen our appreciating Anmin-ga, Changiparang-sanoiga, and real context of their descriptive text.

<청산별곡>의 독법과 해석

임주탁 ( Ju Tak Yim ) 한국시가학회 2003 韓國 詩歌硏究 Vol.13 No.-