율곡 이이의 문학사상과 16세기 문학의 한 국면

조세형 ( Se Hyoung Cho ) 한국어교육학회(구-한국국어교육연구학회) 1993 韓國國語敎育硏究會 論文集 Vol.49 No.-

한국 애정시가의 전통과 시공간적 상상력

조세형(Cho Se-Hyoung) 국어국문학회 2007 국어국문학 Vol.- No.147

The aim of this paper is to examine the aspect how a spatiotemporal imagination has interposed itself in the literary tradition of Korean love poem(especially in farewell song). The results are as follow. As for Don't Across That River(公無河歌) or Song in the Western Capitaj(西京別曲). some troubles are occurred by 'Nim(the beloved)' who is departing from this side to that side of the 'river', a visible border. The speaker of 'Would you go?(歸乎曲) premises a border of 'here/there' by representing the action of 'go/come'. Hwang Jin Yi(黃眞伊) has a positive understanding of 'here' that the parting lover must come back to, as well as 'now' that means the earthly life. She considers the action of 'so' as the secession from 'now' of a valuable time and 'here' of a harmonic space. Thus, she desires the action of 'come again' to recover from the lack. A result of that is a Sijo(時調) work A Long Long Night of Winter Solstice. In the Song of Longing for the Absolute Object(yeon gun, 戀君) such as Song of Jeong Gwa Jeong(鄭瓜亭) and Longing for the Beauty(思美人曲), the beloved appears as an absolute being who is not to change or move. It is a contrast to love poem, which treats the beloved as moving always and unbelievable man. Two aspect originated from parting situations have varied into the motif of love or the motif of yeon gun with the speaker's spatiotemporal imagination. Some contrastive mental activities such as 'dailiness/transcendency' or 'eros/thanatos' may be possible. though the place we live is same.

조선후기 국문문학 및 인접예술장르의 미적 원리와 그 의미

조세형 ( Cho Se-hyoung ) 서울시립대학교 도시인문학연구소 2024 도시인문학연구 Vol.16 No.1

본고는 조선후기 국문문학 장르들을 중심으로 당대 예술장르의 구성원리와 미적 원리를 살피고 비교문명론적 시각에서 근대전환기 동아시아 예술의 특질과 그 의미를 추적하였다. 그렇게 함으로써 오늘날의 ‘포스터모던’한 여러 예술현상에 대한 문명사적 전망을 얻고자 하였다. 조선후기 국문문학은 사실성의 확보가 아니라 기호의 재현에 관심이 있었다. ‘반복을 통한 재현’은 조선후기 국문문학 장르뿐 아니라 민화 같은 인접 예술장르에서도 광범위하게 나타난다. 동아시아는 자연과 연속적으로 존재하는 일원론적 사유체계를 가졌으며, 그에 따라 예술에서 서양과는 구분되는 특질을 보여주었다. 동양적 사유는 인간과 자연의 분리를 전제로 이분법적으로 인식하는 서양의 그것과는 달랐다. 근대와 후기근대를 지나며, 예술에서는 동서양의 사유가 섞이는 모습을 보여준다. 작가의 관념과 해석이 중요해지고, 그 작가마저 ‘과잉된 주체’의 역할은 제한되는 경향이 있다. ‘작가의 후퇴’를 통해 근대 이후 작가가 대변하던 견고한 근대적 주체의 해체가 시도된다. 근대 너머의 문턱에서 ‘과도한 주체’를 극복하고자 할 때, 타자와의 연속성을 확보하는 일은 필연적이다. 전근대, 동아시아의 이러한 생각들로부터 적극적으로 탈근대적 대안을 찾으려는 시도가 필요하다. This paper examines the compositional and aesthetic principles of art genres in the late Choson, and traces the characteristics and meanings of East Asian art during the modern transition from a comparative civilizational perspective. By looking at East and West from the perspective of comparative civilization theory, we will be able to go beyond Western and modern chauvinism, and explore what significance today’s various ‘poster modern’ artistic phenomena have in terms of the history of civilization. I tried to measure it. The Korean literature of the late Choson was concerned not with ensuring reality but with the representation of symbols. The ‘representation through repetition’ appears not only in the Korean literary genres of the late Choson, such as Saseolsijo(사설시조), late-Gasa(후기가사), and Pansori(판소리), but also in adjacent art genres, such as People’s Painting(민화). East Asia has a monistic thought system that exists in continuity with nature, and as a result, it has exhibited characteristics that distinguish it from the West, not only in literature but also in art. The Eastern thought for maintaining a monistic relationship between humans and nature is different from that of the West, which assumes the separation of humans and nature and perceives it dichotomously. On the one hand, modern times exhibit a dichotomous attitude that assumes matter as a separate object, while on the other hand, there is also a monistic attitude that views matter and spirit as integrated. The process that progressed through the modern and post-modern times shows the mixing of the two ways of thinking from the East and the West. The author’s concepts and interpretations become more important, and even the author’s role as an ‘excessive subject’ tends to be limited. Through the ‘author’s retreat,’ an attempt is made to dismantle the solid modern subject that the author has represented since the modern era. When trying to overcome ‘excessive subjectivity’ at the threshold of modernity, securing continuity with others is inevitable. It is necessary to actively attempt to find post-modern alternatives from these pre-modern, East Asian ideas.

서평 : 고전시가연구의 현재 좌표, 그 세 방향 -①최재남, 『서정시가의 인식과 미학』, 보고사, 2003; ②양태순, 『한국고전시가의 종합적 고찰』, 민속원 2003; ③김석희, 『조선후기 시가 연구』, 월인, 2003-

조세형 ( Se Hyoung Cho ) 민족문학사학회·민족문학사연구소 2004 민족문학사연구 Vol.25 No.-

문학문화 논의와 문학교육의 방향

조세형 ( Cho Se-hyoung ) 한국고전문학교육학회 2003 고전문학과 교육 Vol.5 No.-

The aim of this paper is to reconsider a meaning of 'literary culture' and to search a desirable direction of literary education. The results are as follows. Literary culture is not a term which has a specified boundary of concept. This term is effective because of 'strategic flexibleness'. With it, the perspective viewing the life and literature can deal with and be connected with the life or the literature. The concept of 'life culture’ has the matter of practice, and can't free itself from the matter of axiology. Also, the axiological practice needs a concern of literary history. A comprehension of life and literature can be complete by a historical perspective in addition to a static one. Literary Education can be finished more completely by axiological and historical Education, which is the core of humanities.

<관동별곡>에 나타난 중세적 표현방식과 그 현대적 의미

조세형 ( Cho Se-hyoung ) 한국고전문학교육학회 2011 고전문학과 교육 Vol.22 No.-

This paper aims to investigate the addressee's activeness in the medieval East Asian literature with an comparative literary approach to GwandongByeolgok, and to reconsider the characteristic of the medieval writing as a cultural act of a medieval intellectual. GwandongByeolgok is more influenced by Mengzi(孟子) which is Confucian scripture, rather than by Chìbìfù(赤壁賦) which is an expression of Taoistic idea. A 'confrontation consciousness' founded in various parts of GwandongByeolgok is counteracted intactly to a 'critical distance' which Songgang(松江) had about Dongpo(東坡) and his work. Songgang tried to accept the literary influence of the central part of the East Asian civilization or to reject it as an intellectual of the middle part. The intellectuals of the middle/marginal part of East Asia internalized and possessed exclusively the dominant ideological system come from the central part of the civilization. And Songgang could be exactly the example.

송강가사에 나타난 여성화자와 송강의 세계관

조세형(Cho Se hyoung) 한국고전여성문학회 2002 한국고전여성문학연구 Vol.0 No.4

본고는 송강이 그의 가사 작품에 여성 화자를 선택한 이유와 그 의미를 살펴보는 것을 목적으로 한다. 본고의 논의를 통하여 얻은 결론은 다음과 같다. 첫째, <전후미인곡>의 여성화자가 나타날 수 있는 근거를 송강가사의 전반작인 표현 특성 및 송강의 세계관을 통하여 알아 보았다. <관동별곡>과 <성산별곡>은 세계를 둘이 아니라 하나로 파악하려는 송강의 세계관을 그 바탕에 깔고 있다. 송강의 문학 세계는 선험적인 것과 경험적인 것 모두를 아우르려는 그의 세계관을 반영한다. 둘째, <전후미인곡>의 여성화자는 송강가사 전반에서 드러나는 일상성과 더불어 여성성의 원리를 구현하고 있음을 논증하였다. <사미인곡>에서 보이는 화자의 이중적인 태도는 한편으로 관념적이면서 한편으로 현실적인 지향을 보인 송강의 의식 세계를 드러내며, 현실지향과 초월지향이 동시에 구현되는 '몸'과 관련된다. <속미인곡>에서는 별도의 인물이 등상하여 동일한 인물의 내면에서 있을 법한 모순된 심리를 나누어 맡고 있는 점이 다르다. 육체 페미니즘의 기준으로 보자면, 결국 송강의 현실 지향성과 초윌 지향성이라는 양가적인 성향을 가장 잘 드러내 줄 수 있는 것은 여성화자였다. 셋째 송강가사에서 드러나는 일상성과 여성성의 문제가 결국은 근대적 정후와도 연결될 수 있음을 조선후기의 문학사적인 사실과 관련하여 검토하였다. 일상성 내지 육체성의 주제는 일관된 세계관의 소산으로, 현실과 초월이라는 송강의 사유방식과 밀접한 관련이 있다. 송강가사의 '님'은 문화적 전통과 공통된 가치체계 위에 송강 개인이 변용한 결과이다. 이것은 당시로서는 당위의 체계이던 것에 대한 의문을 제기한 셈이다. <전후미인곡>은현실의 몸을 통하여 초월이 발현되는 새로운 시ㆍ공간을 이미 구유하고 있었다. The aim of this paper is to examine the reason why Songgang choose a female speaker in his Gasa works and its meaning. The results are as follows. First, I inquire the basis that a female speaker can appear in two Miingok(미인곡) with general expression characteristic of Songgang Gasa and Songgang's view of the world. Gwandongbyeolgok(관동별곡) and Sungsanbyeolgok(성산별곡) are based on Songgang's view that he understands the world as one. His works reflect his own view of the world that put both the experiential thing and the transcendental thing together. Second, I prove that the female speaker of two miingok embody principles of a feminineness in addition to a ordinariness found in overall Songgang Gasa. The duplicate attitude of Samiingok(사미인곡)'s speaker reveals Songgang's consciousness system which shows on the one hand ideality orientation and on the other hand reality orientation, and is connected with the 'Body' which embodies the transcendence orientation and the reality orientation simultaneously. In Sokmiingok(속미인곡), another speaker appears and the two share one person's inconsistent inner mind. So this work is different to Samiingok. It is a female speaker that can show Songgang's duplicate orientation best, in the respect of Corporeal Feminism. Third, I determine that the matter of ordinariness and feminineness in Songgang Gasa is finally linked to a modern indication, connecting with the literary-historical facts of Late Chosun(조선) Age. The ordinary or bodily theme of Songgang Gasa is a output of Songgang's coherent world-view, the transcendence and reality. 'Nim(님, the lover)' of Songgang Gasa is a result that Songgang deforms the cultural tradition and common value system. This is to raise a doubt about a system of what should be. Two Miingok has already a new time and space where a transcendence is revealed through a body of reality.

조선후기 문학의 표현특성과 그 문학사적 의미

조세형 ( Cho Se-hyoung ) 한국고전문학교육학회 2014 고전문학과 교육 Vol.27 No.-

The aim of this paper is to search the aspects of expression characteristics in Korean literary genres in Late Choseon such as Saseol-Sijo(사설시조), Late Gasa(후기가사), Pansori(판소리). The results are as follow. Saseol-Sijo used repetitive expressions, modifier enumerations, structural reversals, so was lengthened within in syntactic construction of lyric. Late Gasa showed interest in an individuality and a textualization of cognition system of representation, with enumerating contiguous things in the almost unlimited lines. Pansori also enumerated things or actions, it was the result of episteme of its stage. These genres strongly revealed the intention to express speaker/narrator's inner emotion with the enumeration of things or actions; bulking the volume of emotions in Saseol-Sijo, empathizing the individuality in Late Gasa, or performing identity of part and situational emotion in Pansori. The phenomenon of a cross penetration of viewpoint was commensurate with expressing both the literary concentration for realities of the days and the inner side of speaker/narrator. The people's agony and exploration between resemblance and representation is widely found in Korean literature in Late Choseon.

<시골여자 슬픈사연>과 <녀자의 설음>에 나타난 근대전환기 구여성의 위기와 목소리

조세형 ( Se Hyoung Cho ),정인숙 ( In Sook Jeong ) 한국어교육학회 2010 국어교육 Vol.0 No.133

This paper aims at studying the crisis and the voice of old fashioned woman during modernizing period in <Sad story of rural woman> and <Woman`s sorrow>. In <Sad story of rural woman>, the voice of woman`s parents-in-law has been introduced. In this text, an old fashioned woman has suffered from married life in the home of the husband`s parents and an reasonable claim for divorce from husband. Nevertheless, she keeps her position and has a dream of meeting her husband again. On the other hand, the voice of woman`s husband has been introduced in <Woman`s sorrow>. Crashing into voices of husband and wife as the contracting parties in a marriage, trouble between husband and wife reaches the climax. It is important to illuminate existence of old fashioned woman as an excluded person during modernizing period, comparing with the man of modern city.

후기가사의 표현 특성과 그 문학사적 의미

조세형 ( Se Hyoung Cho ) 한국시가학회 2007 韓國 詩歌硏究 Vol.22 No.-