노계가사의 창작기반과 문학적 지향

최상은(Sang Eun Choi) 한국시가학회 2002 韓國 詩歌硏究 Vol.11 No.-

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18세기 시가의 정서와 현실인식 지향 -위백규(魏伯珪)의 한시(漢詩),시조(時調),가사(歌辭)를 중심으로-

최상은 ( Sang Eun Choi ) 반교어문학회 2008 泮橋語文硏究 Vol.0 No.24

불우헌(不憂軒)과 홍진(紅塵)의 양면성 -정극인(丁克仁) 문학의 장소성을 중심으로

최상은 ( Sang Eun Choi ) 한국고시가문화학회(구 한국고시가문학회) 2015 한국시가문화연구 Vol.0 No.35

이 글은 장소성을 중심으로 정극인 문학의 작품세계를 밝히기 위하여 ‘불우헌(不憂軒)’과 ‘紅塵(홍진)’를 핵심어로 상정하고 논의를 진행했다. 정극인은 걱정 없이 지역민들과 같은 이념의 공동체로 함께 살 수 있는 장소를 만들기 위하여 노력했다. 그런데 그의 작품들을 검토해 본 결과, 관념적 이념과 추상적인 흥취만 드러나 있지 구체적인 지명이나 지역민들과 살아가는 삶의 현장이나 경험은 없었다. 정극인은 ‘불우헌’의 이념적 테두리 안에서 혼자 고답적인 삶을 살았던 것 같다. 따라서 ‘불우헌’은 그의 이념실현의 장소이기는 하지만 공동체를 바탕으로 자기 정체성을 찾지는 못했다는 점에서는 관념적·추상적 공간이기도 하다. <상춘곡>의 ‘홍진’은 배척받는 공간인 듯하지만 지향하는 장소이고, ‘산림’은 고향처럼 살아가는 진정한 장소인 것 같지만 마음 한편으로는 ‘홍진’을 지향하고 있고 경험적 삶과는 멀찍이 떨어져 있는 동경의 세계로서 관념적·추상적 공간으로 비쳐지기도 하는 불완전한 장소이다. 사대부들의 이상은 수기치인의 완전한 실현에서 오는 것이고, 그 이념의 실현 후 ‘불우’의 삶을 살 수 있는 곳이 그들의 장소이다. 그런데 ‘불우헌’과 ‘홍진’의 장소성에 대한 논의를 통해서 볼 때, 정극인은 전형적인 사대부로서 수기치인의 이념적 목표를 실현하기 위하여 한평생을 성실하게 생활했지만 반쪽의 목표 달성에 그침으로 인해 어디에도 안주하지 못하고 고민하면서 살았던 것으로 보인다. 즉, 정극인은 산림에 묻혀 지냈지만 강렬한 관인 지향적 성격을 지닌 인물이었던 것이다. This paper discussed about ‘Buruheon’ and ‘Hongjin’ to uncover Jeong Geuk-In’ literary world with a focus on placeness. He tried to create a place to live together in the community without worry. However, the results of this review of his works, there was only exposed ideological ideal and abstract interest, but no concrete scene or experiense of life to live with the local residents. He seems to be living a highbrow life in the ideological scope of ‘Buruheon’. Therefore, there is a place of realization of his ideals, but also ideological · abstract space. Because, he did not find his self-identity there. ‘Hongjin’ in <Sangchungok> seems to be a space that is being rejected, but oriented place. ‘Sanlim’ seems to be a real place like home, but there is an ideal world far away from experience life, and ideological · abstract space. In this sense, Jeong Geuk-In seems to live with worry and unable to settle anywhere due to the inability to reach an ideological goals. In other words, Jeong Geuk-In lived in the ‘sanlim’, but he was a strong officer oriented person.

정훈 가사에 나타난 가문의식과 문학적 형상

최상은 ( Sang Eun Choi ) 한민족어문학회 2004 韓民族語文學 Vol.45 No.-

The object of this thesis is to look deep into the emotion of Juong-Hun`s(鄭勳) Gasa(歌辭) in the end of 16th century and the beginning of 17th century. The motive for creating of literary work consists in desire of comunication and desire of expression. This thesis discussed desire of expression in order to investigate literary character of Jeong-Bun`s Gasa. Jeong-Hun`s Gasa works are classified into three types First type is <Seongjujungheungga(聖主中興歌)> which expresses concern about adminstration. Second type is <Yongchuyuyeongga(龍湫游詠歌)>ㆍ<Sunambangongga(水南放翁歌)> which express charms of life In nature. Third type is <Tangungga(嘆窮歌)>ㆍ<Uhwalga(迂闊歌)> which deplore poor actuality. This thesis investigated common emotions in three types of Jeong-Hun`s Gasa These common emotions are expectation about adminstration and the future of Family, feeling of uneasiness and frustration. These common emotions were expressed effectively by various literary styles, figures of speech and tones From these viewpoints, Jeong-Hun`s Gasa clearly show characters of Gasa at that time. This is the meaning of Jeong-Hun`s Gasa In the history of korean literature.

현실비판가사의 현실인식과 문학적 성격

최상은 ( Sang Eun Choi ) 한민족어문학회 2002 韓民族語文學 Vol.41 No.-

고전시가의 이념과 현실, 그리고 공간과 장소 의식 탐색 -송강가사를 통한 가능성 모색-

최상은 ( Sang Eun Choi ) 한국시가학회 2013 韓國 詩歌硏究 Vol.34 No.-

This paper was an attempt to shed new light on the world of classical poetry works and to establish a new framework for the analysis of works. In order to discuss specifically, This paper targeted at Song-Gang Gasa four works. The two axes of discussion are the relationship between ideology-reality, and the sense of space and place. We could see Song-Gang Gasa four works were heterogeneous on the surface, but shared the exile consciousness at the bottom. The onsciousness of exile does not recognize it as the familiar place where he is, but recognize it as the space he have to leave. <Gwandongbyeolgok> shows that Jeong-Cheol could not obtain whole sense of place because of potential exile consciousness and excited interest of traveler, and <Seongsanbyeolgok> shows the conflict from the political realities by recognizing a familiar place in a strange space. <Samiingok> and <Sokmiingok> show the desperation that is caused by consciouti30sness of placelessness. Flowing consistently behind Jeong-Cheol`s these works is the consciousness of exile. Look through the above discussion, We can say that Jeong-Cheol`s these works is proving various layers of Jeong-Cheol`s tough life which can not find a place to settle. Through the discussion of this paper, we could see that the relationship between ideology-reality, and the sense of space-place and place could be a good way to judge the direction of writer consciousness. In other words, the significance of this paper was to find a clue that could explain the homogeneity in diversity and the various manifestation of homogeneity.

고전문학 : 조선후기 가사의 어조(語調)와 이념적 지향 -교훈가사, 현실비판가사, 개화가사를 중심으로-

최상은 ( Sang Eun Choi ) 반교어문학회 2009 泮橋語文硏究 Vol.0 No.27

이 글은 조선후기 가사의 성격과 문학사적 위상의 한 단면을 가늠해 보기 위하여 작품의 어조와 이념에 주목하였다. 대상 작품은 교훈가사, 현실비판가사, 개화가사로 한정하였다. 어조는 대상에 대한 화자의 태도인데, 대상에 대한 화자의 태도는 화자의 이념과 현실인식에 따라 달라진다. 논의를 통하여, 15·16세기의 가사 작품에 나타나는 순응의식과 `온유한 목소리`가 17세기 이후 대립의 식과 `격앙된 목소리`로 바뀌어 가는데, 이 과정은 조선을 지탱해 온 주 이념인 유교 이념의 위상 변화와 궤를 같이 함을 알 수 있었다. 그리고 유교를 이념으로 하는 사대부의 문학으로 성장·발달한 가사는 17세기 이후 사대부 지배체제와 유교의 권위가 약화됨에 따라 다양한 이념대립과 현실인식을 보여주었는데 18·19세기, 특히 개화기에 이르면 더욱 복잡한 양상을 띠게 된다. 그럼에도 불구하고 대부분 작품의 바탕에는 유교 이념이 자리잡고 있어서, 급변하는 시대를 감당할 새로운 이념의 정립은 이루어지지 못했다. 그리고 다양한 계층의 각기 다른 현실인식을 허용하지 않는 보수화된 유교 이념과 다양한 현실인식을 보여주는 여타 이념이 제각기 다른 목소리를 냄으로 인해 이념 간 소통의 장벽이 높아졌다. 이것이 개화기 사람들 의식의 난맥상이고 당시 사회의 비극적 현실이었음을 가사 작품을 통해서 확인할 수 있었다. Focusing mainly on the tone of the work and the ideology of it, this paper tries to analyze the character of Gasa and position of the history of Korean literature in the late period of Joseon(朝鮮). For the purpose of it, I researched into `Morality-Gasa`(敎訓歌辭), `Reality-criticism-Gasa`(現實批判歌辭), and `Enlightenment-Gasa`(開化歌辭). The tone is an attitude of the speaker toward the object. The speaker`s attitude changes on the basis of the thoughts and the recognition of reality. Through this research, I try to show that Gasa in the 15-16th centuries, when the hierarchical ideology of the Middle Ages worked for social stability, has `adaptation thought` and `tender voice`; however, Gasa in the late period of Joseon, including the 17th century and `the age of enlightenment`(開化期), has `confrontation thought` and `excited voice`. Such a change was interrelated to the declining Confucianism and the increasing ideologocial conflicts. Since the 17th century when the authority of Confucianism grew weaker, Gasa has shown various aspects of reality. This change in the 18-19th century, especially in the age of enlightenment(開化期), became more complicated. Nevertheless, Confucianism deeply rooted into the works prevented them from forming new ideologies corresponding to the changing times. In other words, Confucianism and various new ideas failed to make themselves understood, which made the ideological conflicts worse. In relation to thought, this was the limit which people at that time was not able to pass.

송순(宋純)의 꿈과 〈면앙정가(勉仰亭歌)〉의 흥취

최상은 ( Sang Eun Choi ) 한국시가문화학회 2013 한국시가문화연구 Vol.0 No.31

척추압박골절환자에서 시행한 교통지 차단의 치료효과

최상은 ( Sang Eun Choi ),서정욱 ( Jung Wook Suh ),황성미 ( Sung Mi Hwang ),임소영 ( So Young Lim ),신근만 ( Keun Man Shin ) 대한통증학회 2004 The Korean Journal of Pain Vol.17 No.2

사화기 은일가사 < 낙지가 >와 < 서호별곡 >의 관념성과 작가의식

최상은 ( Sang Eun Choi ) 한민족어문학회 2015 韓民族語文學 Vol.0 No.71

In this article, I tried to clarify the nature of the Eunilgasa of the era of Sahwa in the early Josun Dynasty around < Nakjiga > and < Seohobyulgok >·< Nakjiga > is the work that well exposed author`s consciousness that live by royal pride and Confucian philosophy in Joseon where recived vital force of celebrated mountain from Kunlunshan to Eungbong, and in Damyang where is standard in Joseon. And < Nakjiga > exposed author`s consciousness that want to hermit life to rely on Zhongchangtong’s < Nakjiron > by forgeting the chaotic political reality. By the way, Looking from sense of place, < Nakjiga > also exposed that writer Lee-Seo was staying only in the world of the idea. Because he lost his place Hanyang and lived in Damyang, but he did’nt make Damyang place. < Seohobyulgok > illustrates writer’s figure of taking imaginary trip to hideout of ancient sages through the authentic precedent, instead of the actual scenery of the Hangang and Excitement of the excursion. Heo-Gang did not have a real sense of place in the Hangang. So he searched about for natur of ancient sages. Natur of ancient sages is the abstract place only in consciousness that is not place of concrete experience. He was able to cover complaints and frustration about the political reality and show off the poetic adventure indulge in the excitement through citation of an authentic precedent and abstract sense of place. This is abstract excitement of < Seohobyulgok >·< Nakjiga > and < Seohobyulgok > have in common that two works described abstract philosophy and excitement by excluding conflicts related to the political reality as much as possible. Here could say that two works both involve conflicts behind hermit life through incomplete sense of place. Here could say that two works both involve conflicts behind hermit life through incomplete sense of place. < Nakjiga > and < Seohobyulgok > tell us the process that chaotic political realities bring about idea, the idea becomes indicators of life of hermits.