尹熙順의 義兵歌와 가사

고순희(Soon Hee Ko) 한국고전여성문학회 2000 한국고전여성문학연구 Vol.- No.1

Among the works of Yoon Hee-Soon's Eui-byung Ka(EBK) has been studied as the one of the work of the Kasa genre. However the situation that Yoon's EBK was composed and the analysis of the lines of that song show that Y oon's EBK couldn't belong to Kasa Genre. Yoon's EBK has so complicated aspects that differs from the attributes of Kasa. There are no evidences whether Yoon's EBK was sung in western styled melody, and even the evidences chat show the existence of Yoon are not found. This means that Yoon's EBK was born in a rime of transition, so it can nor be classified into Kasa, Chang Ka, or Traditional Folk Songs. The extant studies on Yoon's EBK and Kasa have been focusing on the women's voluntary participation in Eui-byung and the diffusion of the recognition of gender equalitarianism. However it is doubtful whether Yoon's Eui-byung activities could be directly related to women's social participation or Gender Equalitarianism. It is necessary to analysis the Feministic natures of Yoon's works Yoon's Eui-byung Activities was allowed only as a Eui-byung family member, not a social one. Therefore Yoon's activities cannot be interpreted in the context of women's social participation or Gender Equalitarianism. Haejoo Yoon Family Story, Yoon's autobiography, shows no her personal life, but the family affairs. All we can draw from it is that Y oon's life was not based on the Gener Equalitarianim in a modern sense or the women's self-esteems, but on the traditional gender discrimination. In Yoon's 'Housewives Eui-byung Ka,' which appeals to the housewives to participate in the Eui-byung Activities, the role of man and wqmen and the gender discrimination are explicitly shown. Yoon's EBK has not only the Feministic nature bur also the propagandistic one. When she participated in Eui-byung, she instinctively recognized what was really needed and this made her to compose EBK Yoon's EBK was composed primarily to encourage the combat morale, so its lyrics are made of not only the plain words but also the bad ones. The Confucians who participated in Eui-byung used Kasa in Chinese, bur Yoon's was made in plain Korean and melody so it was much easier to sing than the Chinese one. The production, expression, and style of Yoon's EBK was the results of her own senses of realism and the experiences. Yoon's Kasa 'Song of Lamentation' i.s the work that expresses her own awful life and the situation Oiosun met. In thi.s work neither her father-in-law nor her son is appeared. Only Yoon herself is a protagonist and sees the world she meets. As a middle-aged woman Yoon described the world of lyricism through her own self esteemed eyes.

여성과 힘 만주망명과 여성의 힘 -가사문학 <원별가라>,<위모□>,<신□□령>을 중심으로-

고순희 ( Soon Hee Ko ) 한국고전여성문학회 2011 한국고전여성문학연구 Vol.0 No.22

The aim of this research is to analyze the changing aspects of woman`s power through the experience in Machurian exile and to inquire into its meaning targeting gasa literature such as <Wonbyeolgara><Wimosa> and <Shinsetaryong>. First of all, this research made an analysis of <Wonbyeolgara> <Wimosa> and <Shinsetaryeong> in the chronicle order of their creation. This research analyzed the work Wimosa from the aspect of an equalitarian`s desire and power for social participation; Wonbyeolgara from the aspect of a traditional woman`s change of identity and power, and Shinsetaryeongfrom the aspect of womanly power of a leader of independence movement respectively by putting focus on the changing aspect of each author`s self identity and power due to Manchurian exile. This research comprehensively inquired into the meaning of a woman`s changing aspects on the basis of the above analysis. These three women happened to get an opportunity for social participation by virtue of their Manchurian exile. The author Lee, Ho-seong and a woman of Pyonghae-Hwang family who were in their early 20s at the time of the exile, were different from each other in their attitude toward a woman`s decision to live in exile. However, the common point in these two women was that they changed their identity as a woman leader through the experience in Manchurian exile. Accordingly, there formed a ``force`` to lead their life initiatively in the inner side of these two authors. Nevertheless, this force was not given from the outside but autogenously formed inside. Afterwards, these two women authors weren`t endowed with the social strength they longed for from the outside after all. Unlike the two authors, Yoon, hee-sun was endowed with the social strength as a leader in the circumstances where 10 years had passed since her exile. Thus, Yoon, hee-sun displayed strong power tiding over a crisis while being simultaneously equipped with the identity of a leader and womanly identity of paying attention to the body and food.

만주 망명 여성의 가사 <위모사> 연구

고순희 ( Soon Hee Ko ) 한국고전여성문학회 2009 한국고전여성문학연구 Vol.0 No.18

<위모사>는 1912년 경 이호성이 창작한 가사 작품이다. 작가는 안동의 독립운동가 김대락 집안의 며느리이다. 한일합방이 되자 김대락은 만주에 독립운동 기지를 건설하고자 만주로 떠났다. 그리고 많은 문중인이 김대락을 따라 만주로 망명했다. 이때 작가도 남편과 함께 서간도로 망명하였다. <위모사>는 어머니가 쓴 가사 <송교행>에 대한 답가이다. 전반부는 조선의 역사와 일제강점의 현실, 난세의 이주 사례, 서간도의 살기 좋음, 남녀평등의 시대 등을 읊었다. 서간도로 떠나는 것을 걱정하는 어머니를 안심시키기 위해 말한 것이다. 후반부는 서간도를 향해 떠나면서부터의 내용을 담았다. 고국을 향한 이별가와 서간도까지의 도착 과정을 읊었다. 작가는 근대계몽주의사상의 자양분을 흡수하였다. 그리고 세계를 자신의 시각으로 바라보고자 하는 주체적 여성인식을 형성하고 있었다. 한편 독립운동가로서의 자아 정체성을 확립하고 있었다. 작가는 여기서 더 나아가 남녀평등의식을 진정으로 주장하였다. <위모사>는 역사 사회 현실에 대응하면서도 역사에 의해 굴곡을 겪는 한 개인의 삶을 담고 있다는 점에서 가사문학사적 의의를 지닌다. <Wimosa> is an ancient Korean verse work created by Lee, Hoseong around 1912. Its author is a daughter-in-law of an independence movement activist of the Kim, Dae-rak family from Andong. In the aftermath of the Japanese annexation of Korea, Kim, Dae-rak left for Manchuria with the intent of setting up a base for an independence movement. A lot of kinsfolks of Kim, Dae-rak followed after Kim, Daerak to take refuge in Manchuria. At the same time, the author Lee, Hoseong also took refuge in Seogando with her husband. Wimosa is a reply verse to her mother-created verse <Songkyohaeng>. Lee, Hoseong recited the history of Joseon , reality of Imperialist Japan`s forceful possession of Korea, cases of immigration during the turbulent days, pleasant living in Seogando, and the era of equality between the both sexes, etc. in the first part of <Wimosa>. This recitations were done to reassure her mother who was worried about her daughter`s leaving for Seogando. The latter half of <Wimosa> includes the contents on the story of departure for Seogando and farewell songs for her homeland as well as the process of arrival in Seogando. The author took nourishment of the ideas of the modern illuminism. In addition, she was forming subjective consciousness of a woman with the aim of looking at the world with her own sight. On the other hand, the author was establishing a self-identity as an independence movement activist. Furthermore, the author truly argued for the consciousness of the equality of the sexes. <Wimosa> has a significance of the verse literature history in that it contains an individual life suffering history-incurred ups and downs even while coping with history, society and the realities.

<경복궁즁건승덕가라>와 <북궐중건가>의 작품세계와 형식적 변모

고순희 ( Soon Hee Ko ) 한국고시가문학회 2008 한국시가문화연구 Vol.0 No.22

만주 망명 여성의 가사 <위모사> 연구

Ko Soon hee(高淳姬) 한국고전여성문학회 2009 한국고전여성문학연구 Vol.0 No.18

<위모사>는 1912년 경 이호성이 창작한 가사 작품이다. 작가는 안동의 독립운동가 김대락 집안의 며느리이다. 한일합방이 되자 김대락은 만주에 독립운동 기지를 건설하고자 만주로 떠났다. 그리고 많은 문중인이 김대락을 따라 만주로 망명했다. 이때 작가도 남편과 함께 서간도로 망명하였다. <위모사>는 어머니가 쓴 가사 <송교행>에 대한 답가이다. 전반부는 조선의 역사와 일제강점의 현실, 난세의 이주 사례, 서간도의 살기 좋음, 남녀평등의 시대 등을 읊었다. 서간도로 떠나는 것을 걱정하는 어머니를 안심시키기 위해 말한 것이다. 후반부는 서간도를 향해 떠나면서부터의 내용을 담았다. 고국을 향한 이별가와 서간도까지의 도착 과정을 읊었다. 작가는 근대계몽주의사상의 자양분을 흡수하였다. 그리고 세계를 자신의 시각으로 바라보고자 하는 주체적 여성인식을 형성하고 있었다. 한편 독립운동가로서의 자아 정체성을 확립하고 있었다. 작가는 여기서 더 나아가 남녀평등의식을 진정으로 주장하였다. <위모사>는 역사 사회 현실에 대응하면서도 역사에 의해 굴곡을 겪는 한 개인의 삶을 담고 있다는 점에서 가사문학사적 의의를 지닌다. <Wimosa> is an ancient Korean verse work created by Lee, Hoseong around 1912. Its author is a daughter-in-law of an independence movement activist of the Kim, Dae-rak family from Andong. In the aftermath of the Japanese annexation of Korea, Kim, Dae-rak left for Manchuria with the intent of setting up a base for an independence movement. A lot of kinsfolks of Kim, Dae-rak followed after Kim, Daerak to take refuge in Manchuria. At the same time, the author Lee, Hoseong also took refuge in Seogando with her husband. Wimosa is a reply verse to her mother-created verse <Songkyohaeng>. Lee, Hoseong recited the history of Joseon, reality of Imperialist Japan's forceful possession of Korea, cases of immigration during the turbulent days, pleasant living in Seogando, and the era of equality between the both sexes, etc. in the first part of <Wimosa>. This recitations were done to reassure her mother who was worried about her daughter's leaving for Seogando. The latter half of <Wimosa> includes the contents on the story of departure for Seogando and farewell songs for her homeland as well as the process of arrival in Seogando. The author took nourishment of the ideas of the modern illuminism. In addition, she was forming subjective consciousness of a woman with the aim of looking at the world with her own sight. On the other hand, the author was establishing a self-identity as an independence movement activist. Furthermore, the author truly argued for the consciousness of the equality of the sexes. <Wimosa> has a significance of the verse literature history in that it contains an individual life suffering history-incurred ups and downs even while coping with history, society and the realities.

개화기 가사를 통해 본 여성담론의 전개양상과 특성

고순희 ( Soon Hee Ko ) 한국고전여성문학회 2005 한국고전여성문학연구 Vol.0 No.10

개화기 가사를 통해 본 여성담론의 전개양상과 특성

Ko Soon hee(高淳姬) 한국고전여성문학회 2005 한국고전여성문학연구 Vol.0 No.10

본고는 개화기 남녀동등론이 대두됨에 따라서 새롭게 형성된 여성담론이 개화기 가사문학에 어떻게 전개되어 나타나는지 그 양상과 특성을 살피는데 목적이 있다. 우선 2장에서 개화 초창기에 주장된 남녀동등론의 본질적 성격을 살펴보았다. 이어 3장에서 구체적으로 남성과 여성의 두 시각으로 나누어 여성담론의 전개양상과 특성을 살펴보았다. 남성의 시각으로는 『독립신문』 가사를 '여성교육을 위한 남녀동등론'의 측면에서, 『대한매일신문』 가사를 '부정적 여성상에 대한 여론화'의 측면에서 살폈다. 여성의 시각으로는 <여자해방가>를 '계몽적 남녀동등론'의 측면에서, <경계사라>를 '착종적 남녀동등론'의 측면에서, <생조감구가>를 '비판적 남녀동등론'의 측면에서, 그리고 <싀골색씨 셜은타령>을 '이혼담론의 형성'이라는 측면에서 살폈다. 마지막으로 4장에서는 이상 논의한 바를 수용하여 가사문학사적 의의를 규명하였다. This paper aims to examine the characteristics and patterns how to respond 'Gaehwaki Gasa to the Men-Women Equalitarianism(MWE). In chapter 2 the characteristics of MWE newly risen at Gaehwaki are studied. The one of the key findings of chapter 2 is that the thoughts and ideology that men and women should not be treated differently in education needed for receiving the more advanced and industrialized western culture and systems were prevailing at that time. The basic educational goals of the Women schools opened based on the MWE at that time, however, were primarily focusing on the bringing up women for good housewives. In chapter 3 the characteristics and diffusion patterns of MWE described in Gaehwaki Gasa were examined in two different perspectives, masculine and feminine. Gasas in 『Donglipshinmun』(The Independence Newspaper) and 『Daehanmaeilshinbo』(The Korean Daily News) were used to examine the masculine perspective of MWE. Those Gasas were just introducing the idea of 'no need to discriminate the sex(gender)' or stress the negative aspects of Shinyeosung(Women with newly introduced self-esteemed ideology, or new intellectual women class). To study the feminine perspective several Gasas were scrutinized. Among them <Yeojahaebangga>(Women Liberalization Gasa) introduced the advent of 'Age of No Discrimination in Gender' based on the deep scrutinization of the Women's Identity. <Gyungkesara> suggests that MWE makes the world changed fundamentally, i.e. good for the women's way of living, however it also stresses and persuades women the importance of living in traditional way. <Saengjogamguga> written by a woman of Yeongnam Confucianism Family criticizes the new intellectuals, Shinyeosung, and MWE. <Sigolsaeksiseolwoontaryung>, a Gasa written by a young housewife, shows the lyricism of a divorced woman by the husband of New Intellectual. In chapter 4 the significance of Gaehwaki Gasa in the context of Korean Gasa literature history is examined. The feminine perspective evolves in many ways though the masculine perspective of MWE shows only the declaratory and superficial meaning. The women's responses by Gasas with MWE were spread out in various classes such as Old Conservative Yangban 치ass, Women of old and younger ages, New Intellectual Women etc. The Gasa literature of those times still retain the customary styles and contents as compared to the newly introducing modern literatures. The literary works examined in the paper show and witness the vivid responses of Gaehwaki women to the new intercourse of MWE though those works still hold the traditional and customary styles.

일반논문 : 일제 강점기 만주망명지 가사문학 -담당층 혁신유림을 중심으로

고순희 ( Soon Hee Ko ) 한국고시가문학회 2011 한국시가문화연구 Vol.0 No.27

만주망명가사는 총 7편이다. 유일한 남성의 작품인 <분통가>는 독립운동가이자 혁신유림인 김대락이 창작했다. 그리고 나머지 6편은 모두 혁신유림문중의 여성이 창작했다. 따라서 만주망명가사의 담당층 및 산출 기반을 이해하기 위해서는 혁신유림에 대한 논의가 필수적이다. 그리하여 이 논문은 만주망명가사의 배경적 연구로서 혁신유림의 개념, 혁신유림의 철학사상, 혁신유림의 작품인 <분통가> 분석, 그리고 가사문학사적 의의 등을 논의하는데 목적을 두었다. 우선 2장에서는 작품의 개관과 혁신유림의 개념을 살폈다. 2.1에서는 만주망명가사 7편의 개관을 정리했다. 2.2에서는 혁신유림의 개념을 살펴보고, 만주망명가사의 작가들이 혁신유림과 그 문중 여성임을 규명했다. 3장에서는 혁신유림의 사상적 기반을 살폈다. 3.1에서는 ``유학적 노블리스 오블리제 정신``의 측면에서, 3.2에서는 ``공동체와 가족 지향 의식``의 측면에서 논의했다. 모든 것을 희생하고 여성들까지 투쟁의 현장에 서게 한 그들의 독립운동 의식이 어디에 근거하는지에 중점을 두었다. 4장에서는 유일한 혁신유림의 작품인 <분통가>의 작품세계를 분석했다. ``유학적 노블리스 오블리제 정신``이 작품 안에 구체적으로 구현된 양상을 볼 수 있다. 마지막으로 5장에서는 가사문학사적 의의를 규명했다. 혁신유림과 문중 여성이 만주망명가사를 창작한 것이 어떤 의미를 지니고 있는지에 중점을 두고 논의했다. Manchuria exile poetry consists of 7 pieces in total. The only male work "Buntongga" was created by an independence activist and innovative Confucian scholar-Kim, Dae-rak. And the rest 6 pieces of the poetry were created by the females from the innovative Confucian families. Therefore, it`s essential to have a discussion about the innovative Confucian scholars in order to understand the class in charge of the Manchuria exile poetry and the foundation of its production. Thus, this thesis is on the study into background of Manchuria exile poetry, aiming at discussing the concept of the innovative Confucian scholars, philosophical idea of the innovative Confucian scholars, analysis of the work <Buntongga> written by one of the innovative Confucian scholars. First, In Chapter 2, this thess took a look at the overview of the work and concept of the innovative Confucian scholars. In Chapter 2.1, this thesis arranged the overviews of the 7 pieces of Manchuria exile poetry. In Chapter 2.2, this thesis investigated and revealed the fact that the writers of Manchuria exile poetry were the innovative Confucian scholars and women from their families. In Chapter 3, this thesis took a look at the ideological basis of innovative Confucian scholars. In Chapter 3.1, this thesis had a discussion on their ideological basis from the aspect of ``Confucian Noblesse Oblige idea``, and from the aspect of ``Community and family-oriented consciousness`` in Chapter 3.2, with a focus on what grounds their consciousness of independence movement, which induced them even including women to be involved in the actual ground of struggle at the sacrifice of everything, was based on. In Chapter 4, this thesis made an analysis of the world of the work, <Buntongga>, the only one written by an innovative Confucian scholar. As a result, this thesis could perceive the concrete aspects of Confucian Noblesse Oblige idea be realized in the work. Lastly, in Chapter 5, this thesis inquired into the significance as poetry literature. This research had a discussion with a focus on what meanings it assumes that innovative Confucian scholars and women from their families created Manchuria exile poetry.

제주 전통 모피·피혁류 복식에 나타난 특성 분석

고순희 ( Ko Soon-hee ),장현주 ( Jang Hyun-joo ) 한국디자인트렌드학회 2014 한국디자인포럼 Vol.42 No.-

제주도가 갖는 지형학적 특성, 자연환경, 사회·문화 환경으로 인하여 제주도민의 의생활은 육지의 다른 지역과 완전히 다른 특징을 가지고 있다. 직물농사를 지어 의복소재를 마련하기 어려운 반면 중산간 지역을 중심으로 소와 말을 목축하였고, 노루, 오소리 등의 동물들이 많이 서식하였다. 따라서 중산간지역의 목축과 수렵을 삶의 터전으로 삼았던 사람들에 의해 동물의 모피·피혁류를 이용하여 복식을 만들어 착용하였다. 본 연구에서는 문헌고찰, 실증고찰, 면담 등을 통해 제주도민이 착용했던 모피·피혁류 복식에 나타난 특성을 봉제, 장식, 소재 특성으로 분석했다. 제주 모피·피혁류 복식의 봉제특성에 나타난 바느질기법은 코걸이, 감침질, 홈질, 온박음질, 휘갑치기이다. 이 중 코걸이방법은 제주에서 불리는 특이한 기법으로 특히 소가죽으로 만든 복식을 연결할 때 사용되며 가죽연결 부분이 헤어지는 것을 방지하고 튼튼하고 견고하게 하기 위한 제주만의 특색 있는 바느질기법이다. 장식특성에서는 패치워크, 상침, 코걸이, 패치, 꼬임, 절개, 찍기 등이 사용되었지만 장식기법이 화려하지는 않았으며 제주만의 기능적인 복식을 제작하는 과정에서 나타나는 장식미라 할 수 있다. 그리고 모피·피혁류 복식에 사용된 소재는 제주지역에 많이 서식하는 노루, 소, 개, 오소리, 말, 송아지 등 목축이나 사냥에 의해 얻을 수 있는 동물들이며, 동물의 털이나 가죽을 가공하지 않은 자연스러운 상태로 사용되었으며, 모피·피혁류 재료의 장·단점을 고려하여 각 용도에 맞게 털이나 가죽을 달리하였음을 알 수 있다. 이상의 연구결과를 바탕으로 후속 연구에서는 다양한 종류의 가죽과 모피, 펠트 등을 활용하여 패션문화상품 개발을 시도하고자한다. Jeju has unique features in terms of geographical, natural, social and cultural environment, different from those of the mainland. Instead of farming fibrous materials, the inhabitants residing along the mid mountains raised cattle or horses, to study Jeju` style of clothes of fur or leathers, literature and actual proofs study and interviews were implemented. decoration and materials by using the remains, revealing the corelation between Jeju. Firstly, the style of Jeju`s traditional fur or leather clothes included various needle work such as stitching by bamboo needles which was one of the unique needle works existing only in Jeju. This needle work was used for clothes of cow leather to protect pain when wearing them. Secondly, decorative techniques such as patchwork, decorative saddle stitching, a nose pendant, patch, twist, cutting and stamping were used in Korea traditional fur and leather garments. These decorative techniques are not colorful but show us beauty of decoration of Jeju in the process of designing Jeju functional clothes. Thirdly, The material used in Jeju traditional leather and fur garments came from cattle and wild animal such as roe deer, cows, dogs, badgers, horses, calves etc. This material were used in garments without processing. The materials were apporiately used in Jeju, considering both advantages and disadvantages of material. Based on the results ofa follow-up study or research in a variety of leather and fur, felt, and take advantage of attempting to fashion the development of cultural products.

만주망명가사의 작품세계와 미학적 특질

고순희 ( Soon Hee Ko ) 한국고전여성문학회 2012 한국고전여성문학연구 Vol.0 No.25

이 논문은 만주망명가사의 작품세계를 분석하여 그 미학적 특질을 규명하는 데 목적이 있다. 연구의 대상은 만주망명가사의 대부분을 구성하고 있는 여성의 작품이다. 먼저 작품세계의 양상을 객관적으로 분석했다. 서정적 세계, 서사적 세계, 그리고 교술적 세계 등 진술양식의 분석틀로 나누어 그 양상을 분석했다. 작품 전체를 지배하는 것은 서정적 세계이다. 서정적 세계는 ``고국과 고국인에 대한 서정``과 ``나라의 현실에 대한 서정``으로 구성되었다. 서사적 세계는 망명서사와 결혼서사로 이루어졌다. 망명서사는 직접적으로, 혹은 서정적 진술 속에서 서술되었다. 교술적 세계는 젊은 작가의 가사에서 발현되었다. 젊은 작가는 논리적으로 자신의 견해를 서술하기도 하고 애국계몽의 발언을 당당히 표출했다. 다음으로 만주망명가사의 미학적 특질을 규명했다. 만주망명가사는 현대의 독자들과 만나 실현화될 때 다양한 미학적 특질을 드러낸다. 만주망명가사는 가사 장르의 기본적 특성 상 시적 평면성을 어느 정도 지닌다. 하지만 서사적 세계와 교술적 세계는 작품에 현실성을 부여하고, 이러한 현실성은 서정적 세계의 진정성을 확보해주었다. 그리고 다소 평면적일 수 있는 가사문학임에도 불구하고 현실성과 진정성으로 말미암아 그 시적 긴장을 어느 정도 유지할 수 있었다. 한편 만주망명가사는 여성 특유의 소박하면서도 생생한 문체로 말미암아 시적 생동감을 획득하고 있는 미학적 특질을 드러낸다. 이러한 만주망명가사의 미학적 특질은 남성 작 만주망명가사 <憤痛歌> 및 ``만주망명인을 둔 고국인의 가사``의 것과 차이점을 지닌다. The purpose of this study is to analyze poetic statement form and explicate their aesthetic characteristics of ``Gasa at Manchuria Exile`` during the Japanese Colonial Rule. This study was focused on the 6 Gasa`s <WemoSa>, <JosonByeolseo>, <GanunSa>, <WonbyeolGara>, <SinseTaryeong>, <NunmulpurinYibyeolga> which is written by women. In Chapter 2, The world of these gasa`s has been analyzed in three ways. First the lyrical world of those works were analyzed from two viewpoints, (1), the missing on the lost country and the peoples in there, (2), the outpourings of spirit into the reality that the country has been taken away by Japan. Secondly the narrative world of these gasa`s were analyzed. Thirdly the didactic world of these gasa`s were analyzed. The feature of the lyrical, narrative and didactic world of these gasa`s were objectively analyzed .In Chapter 3, the aesthetic characteristics of ``Gasa at Manchuria Exile`` is clarified. When the works meet with readers, the works is realized and reveals various aesthetic characteristics. ``Gasa at Manchuria Exile`` has basically poetic planarity, because these ganre are Gasa. But the lyrical and narrative world has reality and authenticity, therefor maintain the poetic tension. the didactic world which is made by two young women give to works reality. On the other hand ``Gasa at Manchuria Exile`` gains the poetic vibrancy by the simple and vivid style of feminine. These aesthetic characteristics of ``Gasa at Manchuria Exile`` Were compared with <Buntongga> written by nan and ``Gasa`s written by the Families of Diasporan Koreans in Manchuria``.