사랑서사와 박경리 문학

김은경 서울대학교 인문학연구원 2012 人文論叢 Vol.67 No.-

In this essay, I discuss the fact that ‘love between a man and woman’is of great importance in the novels of Park Kyung-ri. The fact that the narrative of ‘love’ includes extra-marital affairs and marriage relationships shows the viewpoint of the author which is based in reality. The various relations of love and marriage (family), poses problems on love itself, the family system, and marriage. I discover four kinds of extra-marital affairs in the novels of Park Kyung-ri which illustrate the intricate relationships between men and women: 1) extra-marital affairs derived from marriage disorders, 2) extra marital affairs between close relatives (elder brother’s wife and brotherin-law), 3) extra-marital affairs based on mutual feelings of love between the subjects of adultery, and 4) extra-marital affairs that pursue benefit and lust. Type 1) shows that ‘the exclusiveness of romantic love’, meaning that only love can lead to marriage, can not be true within the boundaries of the institution. In type 2), the elder brothers’ wives lead the adultery with their brothers-in-law. The elder brothers’ wives who are widows or do not love their husbands (i.e. do not receive their husband’s love)recover the damaged relationship of ‘love’ and ‘marriage (family)’ in the family system. Types 1) and 2) result from the undifferentiated relationship between ‘love’ and ‘marriage (family)’. Types 3) and 4) show how loveless marriages bring about adultery. In type 3), the husbands who married as a means of social success fall in love with the adultery subject. In type 4), the wives form the adultery relationship as a means of enjoying material, emotional and sexual pleasure, and exercising power. Through these narratives of adultery, the author shows the limitations of ‘romantic love’ and criticizes loveless marriage. And she also shows the position of the female character that remains within the family system. These issues are discussed in Chapter 2. In Chapter 3, I discuss the issue of ‘selective marriage’. The four types of extra-marital affairs do not derive from an intersection between love and the system of family. With selective marriage comes a true harmonization of love and the system of family, by differentiating the two values of ‘love’ and ‘marriage (family)’. The aspects facilitating ‘selective marriage’ are as follows: 1) the female character has the position of a social being that does not stay within the system, 2) the characters accept the plural loves that are growing loves (or possibly growing loves), which I call the ‘love of companion’, and 3) characters who experience the unnatural death of family put ‘marriage (family)’ above ‘love’. Through these discussions, I can reveal that ‘the narratives of love’represent the problem of ‘love’ and ‘marriage (family)’ in keeping with the realistic view. Park focuses on the continuation of the system of family through the narrative on extra-marital affairs. The novels of Park do not contain an overthrowing of the nature of the affairs or a beautification of love. They contain, rather, her insights on the limitations of female characters in the family system. This essay suggests that ‘selective marriage’ is a feministic alternative to this.

사랑서사와 박경리 문학

김은경 ( Eun Kyung Kim ) 서울대학교 인문학연구원 2012 人文論叢 Vol.67 No.-

In this essay, I discuss the fact that ``love between a man and woman`` is of great importance in the novels of Park Kyung-ri. The fact that the narrative of ``love`` includes extra-marital affairs and marriage relationships shows the viewpoint of the author which is based in reality. The various relations of love and marriage (family), poses problems on love itself, the family system, and marriage. I discover four kinds of extra-marital affairs in the novels of Park Kyung-ri which illustrate the intricate relationships between men and women: 1) extra-marital affairs derived from marriage disorders, 2) extra marital affairs between close relatives (elder brother`s wife and brother- in-law), 3) extra-marital affairs based on mutual feelings of love between the subjects of adultery, and 4) extra-marital affairs that pursue benefit and lust. Type 1) shows that ``the exclusiveness of romantic love``, meaning that only love can lead to marriage, can not be true within the boundaries of the institution. In type 2), the elder brothers` wives lead the adultery with their brothers-in-law. The elder brothers` wives who are widows or do not love their husbands (i.e. do not receive their husband`s love) recover the damaged relationship of ``love`` and ``marriage (family)`` in the family system. Types 1) and 2) result from the undifferentiated rela- tionship between ``love`` and ``marriage (family)``. Types 3) and 4) show how loveless marriages bring about adultery. In type 3), the husbands who married as a means of social success fall in love with the adultery subject. In type 4), the wives form the adultery relationship as a means of enjoying material, emotional and sexual pleasure, and exercising power. Through these narratives of adultery, the author shows the limitations of ``romantic love`` and criticizes loveless marriage. And she also shows the position of the female character that remains within the family system. These issues are discussed in Chapter 2. In Chapter 3, I discuss the issue of ``selective marriage``. The four types of extra-marital affairs do not derive from an intersection between love and the system of family. With selective marriage comes a true harmonization of love and the system of family, by differentiating the two values of ``love`` and ``marriage (family)``. The aspects facilitating ``selective marriage`` are as follows: 1) the female character has the position of a social being that does not stay within the system, 2) the characters accept the plural loves that are growing loves (or possibly growing loves), which I call the ``love of companion``, and 3) characters who experience the unnatural death of family put ``marriage (family)`` above ``love``. Through these discussions, I can reveal that ``the narratives of love`` represent the problem of ``love`` and ``marriage (family)`` in keeping with the realistic view. Park focuses on the continuation of the system of family through the narrative on extra-marital affairs. The novels of Park do not contain an overthrowing of the nature of the affairs or a beautification of love. They contain, rather, her insights on the limitations of female characters in the family system. This essay suggests that ``selective marriage`` is a feministic alternative to this.

임진왜란기 포로 체험 문학과 가족애

장경남 이화여자대학교 한국문화연구원 2008 한국문화연구 Vol.14 No.-

이 논문은 임진왜란 포로 체험 문학 가운데 실기 전 소설을 중심으로 가족간의 이산과 재회의 양상을 살펴보고 가족 이산의 고통이 가족애를 통해 극복되고 있음을 밝힌 글이다임진왜란기 포로 체험 실기는 강항의『간양록』노인의『금계일기』 정경득의『만사록』정호인의『정유피란기』정희득의『월봉해상록』이 있다 이들 기록의 중심 내용은 가족의 이산과 재회의 과정이다 가족의 이산과 재회를 다룬전 문학은 허목이 동래의 노파를 입전한 동래구 가 있고 소설로는 조위한의 최척전 을 거론할 수 있다포로 생활의 고난이 여실히 서술된 것은 『월봉해상록』을 비롯한 실기이다 실기에는 포로들의 다양한 생활상이 서술되어 있는데 중심을 이루고 있는 내용은가족 이산과 그에 따른 고통 귀환의지 등이다 가족이산의 고통은 효성 부부애부자애 등과 같은 가족애로 극복되고 있다 작가의 내면화된 가족애는 꿈을 통해 드러났다 꿈은 귀환의지의 현몽이다 따라서 가족애는 이산된 가족과 재회할 수 있는 원동력으로 작동하고 있다 동래구 는 동래 노파의 기이한 행적을드러내기 위한 의도에서 서술된 것으로 보이지만 그 이면에는 어머니와 형제에대한 애정이 자리하고 있다 기이한 행적 서술 이면에 가족애가 구현되고 있는것이다 최척전 은 후반부가 가족 서사로 볼 수 있는 바 가족의 이산과 재회가 기본 서사이다 여기서도 가족 이산을 극복하고 가족이 재회할 수 있는 원동력으로 가족애가 자리하고 있다 최척 부부의 부부애 최척과 옥영 그리고 홍도의 효성 등은 개인보다는 가족을 중시하는 태도에서 기인하는 것으로 이것이 바로 가족애이다 This paper cleared aspect of the family dispersion and meeting again that appearin the Japanese Invasion of Korea in 1592 prisoner of war experience literature. As a result, I knew that pain of family dispersion is overcome through family'slove. When it is the Japanese Invasion of Korea in 1592, literary works that do prisonerof war experience to main contents are Kanghang's <Kanyangrok>, Noin's<Kemkyeilki>, Jeongkyungdeuk's <Mansarok>, Jeonghoin's <Jeongyupiranki>,Jeonghuideuk's <Wolbonghaesangrok>, Heomok's <Dongraegu>, Jowihan's <Choecheokjeon>. Main contents of these works are family's dispersion and meeting again. It is the silki literature including <Wolbonghaesangrok> that trouble of prisonerof war life is described like truth. Various life of prisoner of wars was describedin the silki literature. Main contents family dispersion and accordingly suffering,will to return be. Pain of family dispersion is overcome by family's love suchas filial piety, conjugal love, love between father and son etc.. Writer's internalizedfamily's love was detected through dream. Dream is vent of return will. Therefore,family's love is operating by factor that can meet again with separated family. <Dongraegu> is a work that show operate by power that Dongrae old woman'sfilial piety, brotherhood can overcome trouble. Second half of <Choecheokjeon>is family narration. Family narration makes family's dispersion and meeting again main contents. This work is same with different work. Family's love is operatingby factor that can meet again with separated family. Is caused in conjugal love,filial piety is attitude which taking a serious view family more than individualseen in this work. This is family's love justly.

경당 장흥효의 가족애 및 가문 형성과 그 의미 - 『경당일기』를 중심으로 -

김종구 전남대학교 인문학연구원 2021 가족과 커뮤니티 Vol.0 No.4

Is there a Noblesse oblique in Joseon? This discussion was intended to be clarified through the Gyeongdang Jangheunghyo's Gyeongdang Diary. Jang Heung-hyo analyzed his love for his family and confirmed his extended appearance. Jang Heung-hyo's love for his family was, first of all, managing the family's major affairs. He was either solving or watching for the well-being of family members and problems of relatives. Next, interest in women. In other words, he was very interested in his wife and daughter. His interest in his daughter, Jang Gye-hyang, was different from that of a scholar in general. It was naturally shifting to a one-handed interest. Finally, he was in charge of family gatherings and attending ancestral rites and ceremonies. His subordinates, colleagues and neighbors were loving him. Furthermore, family love was expanding to the local community. Jang Heung-hyo's love for his family forms and expands his family. This is the birth of Jang Gye-hyang, a female soldier. She was showing off her superiority by filial piety, support, education and management of household restraint, and practice of local community. This spirit leads to the honor of his grandson, Lee Hyun-il, and the honorable family. Lee Hyun-il, the recipient of Yeongnam Sarim, also loves his family and wants to continue his family, Jang Heung-hyo, who is devoted to his children and grandchildren, will be transferred to Toegye-Hakbong (Seoae, Han River, and Songam). Jang Heung-hyo presided over the respect and tried to practice it in his daily life. Jang Heung-hyo presided over the respect and tried to practice it in his daily life. This idea was passed on to the daughter and grandchild, and grew into a great family of Joseon. As Jang Heung-hyo practices respect for his family, an honorable family is forming in the future.

김후란 시에 나타난 사랑의 특성 연구

양소영 동학학회 2024 동학학보 Vol.0 No.69

The purpose of this study is to examine the characteristics of love shown in Kim Hoo-Ran’s poems. The poet creates the poetic imagination and her own identity through love shown in her works. In other words, the poet gradually strengthens her identity as a female poet by achieving self-affirmation and unity with others through immersion in narcissism and also obtaining transcendence related to self-healing and family love through maternal love, rather than simply drawing love between man and woman. In Chapter 2, the poet who experiences the loss of love arouses narcissism by staring at the mirror and river water, and gets self-affirmation just as “my breath”(「Etrangere in the Mirror」). At this time, narcissism makes the internally-filled state just as “smile of generosity”(「Lovers on the Riverside」). Just as “resting in his arms until I die”(「Love is」), the internal self-fulfillment enables her to form the unity with others, and strongly draws self-affirmation just as ‘I can become the king’(「Love is」). In Chapter 3, the poet gets self-healing through care and comfort by assimilating with absolute others through maternal love. For example, the mother’s heart in 「Mother’s Heart」 is identified with the heart of calm ocean that no one can achieve. This part emphasizes mother’s deep love. To the poetic narrator, “protecting my front/back sides from snow and rain even in all sorts of tossing and turning” means that the narrator assimilates with mother, and this assimilation enables the poet to form positive spirit by healing her own deficiency. In Chapter 4, the poet delivers her mind of hoping eternal love by comparing family love to ‘star’ and ‘scent’. Especially, the star builds soul-like bright spirit in the poet. As the family love gives star-like wisdom to the poet, it drives out dark emotions dominating herself, and also gives her stable emotions within bright and positive mind. The eternal love obtained from family love enables the poet to obtain true heart and sincerity that could achieve the unity with everything. Eventually, in the eternal love, the poet firmly makes her identity as a female poet, and completes her affluent poetic imagination.

백곡 정곤수의 가족사랑과 가문의식 연구

정우락 한국국학진흥원 2018 국학연구 Vol.0 No.37

As the first full-scale research on Baekgok Jeong Gon-su, this study set out to conduct an intensive investigation into his family love and consciousness. He was active as Cheongbyeongjin Jusa during Imjinwaeran, which was an extension of his family love and consciousness since he maintained Confucianism based on the traditional family-state logic. His ancestors earned fame for their Hwanryeok and study, holding government positions during Goryeo. Lee Saek referred to them as "Seowondaeseong(西原大姓)." Based on this family line, he moved between Seongju, where his original home was, and Seoul, where the home of his adopted family was, as the main descendent of Jeong Chong, one of the nation's founding contributors. His family love was found both at his adopted family and original family at the same time. His love for his older second cousin Jeong Gwal and younger second cousin Jeong Gu at his original home was especially particular. His family consciousness was manifested as he made a pedigree and "Seowonsego(西原世稿)," wrote texts about his family, and put up a tombstone. His activities reflected his pride in his family as a reputed family in Dongguk. He promoted "respect" as an ideological foundation to sustain his family, and it developed into a Confucian training theory through Kim Going-pil, his great-grandfather on the mother's side. His family love and consciousness based on the Confucian logic of Sujechipyeong(修齊治平) was actively expressed as his patriotism. As his pride as the main descendent of a founding contributor met with his devotion to the state, patriotism was a natural obligation granted to him. Here, one can understand the circulating structure, in which "Susin" expanded to "Jega" and further "Chiguk" and inversely "Chiguk" converged into "Jega" and further "Susin." This circulating structure was based on the Confucian logic of "Sugichiin(修己治人)." 본고는 백곡 정곤수에 관한 최초의 본격 연구로, 그의 가족사랑과 가문의식을 집중적으로 탐구한 것이다. 임란을 맞아 청병진주사請兵陳奏使로 활약한 나라사상도 그의 가족사랑과 가문의식의 확장이라는 입장이다. 정곤수는 전통적인 가국논리家國論理에 입각한 유가주의를 견지하고 있었기 때문이다. 정곤수의 先世는 고려왕조에 벼슬을 하면서 환력과 학문으로 명성이 있었데, 이색의 ‘서원대성西原大姓’은 이를 두고 한 발언이다. 이러한 가계를 바탕으로 정곤수는 개국공신 정총鄭摠의 주손으로 본생가인 성주와 양가인 서울 사이를 오가며 생활하게 된다. 정곤수의 가족사랑은 양가와 본생가에 동시에 나타났고, 특히 본생가의 재종형 정괄鄭适과 재종제 정구鄭逑에 대한 사랑은 각별한 것이었다. 가문의식은 가승이나 『서원세고西原世稿』를 만들고, 가문 관련 글을 작성하거나 묘갈 등을 세우는 것으로 구체화되었다. 여기에는 그의 가문이 동국명가라는 자부심이 게재되어 있었다. 특히 가문을 지탱하는 사상적 기반으로 ‘공경사상’을 들고, 이것이 진외증조부 김굉필을 거치면서 도학적 수양론으로 발전해가는 것을 보였다. 수제치평修齊治平의 유가적 논리에 따른 정곤수의 가족사랑과 가문의식은 애국의식으로 적극 표출되었다. 개국공신의 주손으로서의 자부심과 국가에 대한 헌신이 맞물리면서 나라사랑은 그에게 부여된 당연한 책무였기 때문이다. 우리는 여기서 ‘수신’이 ‘제가’로, ‘제가’가 다시 ‘치국’으로 확장되는 것과 함께, 역으로 ‘치국’이 ‘제가’로, ‘제가’가 다시 ‘수신’으로 수렴되는 순환구조를 이해하게 된다. 이러한 순환구조는 결국 ‘수기치인’이라는 유가 논리에 근간을 두고 있는 것이라 하겠다.

가족에 대한 인정이론적 접근: 악셀 호네트의 인정이론에 근거한 가족모델의 구상

장성빈 한국여성철학회 2023 한국여성철학 Vol.40 No.-

오늘날 가족은 문제적이다. 정상가족의 ‘정상성’이 힘을 잃어가는 시점에서 가족에 대한 다양한 논의들이 생산되고 있다. 어떤 이들은 더 나아가 가족이 그저 족쇄일 뿐이며, 가족으로부터 벗어나는 것만이 해방이라고 주장하기도 한다. 이러한 배경에서, 가족의 규범성을 해명해야 한다는 과제가 우리에게 주어진다. 만일 가족을 여전히 어떤 긍정적인 성격을 담지하는 것으로서 고려하고자 한다면, 그것이 우리에게 어떤 의미인지가 설득력 있게 제시될 필요가 있다. 본 연구는 이러한 문제의식에서 우선 사랑과 정의라는 가족의 두 규범적 지향을 검토한다. 근대 핵가족 모델에서 사랑은 가족적 삶의 원리로 간주되었으며, 가족 안에서 가장 핵심적인 가치로 여겨졌다. 그러나 다른 한편으로 가족 구성원들의 평등을 요구하는 정의라는 지향이 가족 내부로 진입했다. 사랑과 정의 모두가 가족을 이야기할 때 불가결하다는 점은 분명하지만, 외견상 상반되는 성격 때문에 양자는 쉽게 조화될 수 없으며, 사랑 혹은 정의 각각을 중심에 두는 가족모델도 한계에 봉착한다. 본 연구는 악셀 호네트의 인정 개념을 통해 양자를 통합적으로 사유하고, 인정개념의 함축에 근거하여 가족에 대한 새로운 규범적 모델을 제안하고자 한다. Today, the concept of the family is under scrutiny. In an era where the traditional notion of the ‘normal family’ is diminishing in significance, diverse discussions about the family are emerging. Some argue that the family acts as a constraint, and that emancipation from it signifies liberation. Consequently, there is a pressing need to clarify the normativity of the family. To sustain the importance attributed to the family, it becomes essential to articulate its meaning. This study initiates by examining two normative orientations of the family: love and justice. In the modern nuclear family model, love is considered as the cornerstone and central value, while justice, demanding equality among family members, has permeated familial relations. Despite their essential roles in the discourse on the family, the seemingly opposing nature of love and justice poses a challenge to their reconciliation. Moreover, family models exclusively centered on either love or justice exhibit limitations. This study aims to explore these aspects in an integrated manner, drawing upon Axel Honneth’s recognition theory, and proposes a novel normative model for the family.

박태원의 자화상 소설에 나타난 가족주의의 의의

안미영(Ahn, Mi Young) 구보학회 2010 구보학보 Vol.5 No.-

이 글에서는 박태원의 자화상 소설에 나타난 가족주의의 성격을 살펴보았다. 가족주의는 가치의 중심을 개인보다 가족전체에 두려는 태도, 가족적 인간관계를 사회적 영역에까지 의제(擬制)적으로 확대적용하려는 태도로 볼 수 있다. 박태원은 초기 소설에서 개인보다 가족을 중심에 둔 모습을 보여주고 있으며, 월북이후 소설에서는 가족관계를 인민에게까지 확대 적용하는 의제 가족주의를 보여주고 있다. 초기 소설에는 근친 혈육에 대한 육친애를 보여주고 있다면, 후기 소설에서는 인민군의 투쟁의지 발로차원에서 확대된 가족(인민)애를 보여주고 있다. 1940년대에 이르면, 박태원은 자신의 일상을 다룬 자화상 소설에서 가장(家長)의 피로와 아버지의 기쁨을 부각시킨다. 일련의 소설에서 위험과 불안으로부터 가족을 지키기 위해, 가장은 현실과 맞대면하고 굴욕을 감내해야 함을 자각한다. 1940년대 일제 군국주의 파시즘의 그늘에서 ‘가족’은 유일한 안식처였으므로, 그는 유일무이한 위안거리를 사수하기 위한 노력한다. 해방기에 이르면 박태원은 가족을 근간으로 한 작품을 쓰지 않는다. 독립운동가 김원봉의 업적을 소개하고 조선시대 의적 홍길동을 다룬 장편 등을 창작한다. 해방기에 이르면 그의 사고는 ‘근친 혈족’에서 벗어나 있으며, ‘가족’으로부터 거리를 둔다. 박태원 소설에 나타난 가족주의의 추이를 살펴보면 다음과 같다. 1930년대: ‘근친 혈족’에 대한 육친애 → 1940년대: ‘가족중심’주의 → 해방기: 민족담론 모색 → 월북 후 1950년대: 의제 가족주의(인민애) 표면적으로 박태원의 가족주의는 이와 같이 변모해 왔지만, 박태원이 작품초기부터 가족주의를 중시했다는 사실에 더 주목할 필요가 있다. ‘개인’보다 ‘가족’을 중시하는 가족주의 이데올로기 자체에 이미 전통과 집단의 운명을 중시하는 사유방식이 내재해 있기 때문이다. 1940년대 자화상소설에서 드러나듯 박태원은 자기 가족의 안위를 위해 친일의 오점을 남겼으나, 해방기 민족 담론을 거쳐 북한에서는 민족과 인민 모두를 가족의 범주에서 사유하기 때문에 월북을 비롯한 북한에서 일련의 창작활동을 지속할 수 있었던 것이다. This study examined the nature of familism observed in Park Taewon’s self-portrait novel. We can say that familism is an attitude to put the center of value not in individuals but in the whole family and to extend the application of family-like human relationship to social areas fictitiously. In his early novels, Park Tae-won shows his stance more family-centered than individual-centered, and in the novels written after going to the North Korea, he exhibits fictitious familism that applies family relationship to all people. While the early novels display love for blood relations, the later ones display love for the expanded family (people) as an expression of combative spirit of the People’s Army. Turning the 1940s, Park Tae-won spotlights fatigue as a family head and happiness as a father in his self-portrait novels depicting his daily life. In a series of novels, the family head realizes that he has to confront the realities and endure humiliations in order to protect his family from dangers and anxieties. Under the shadow of Japanese militaristic fascism in the 1940s, ‘family’ is the only refuge, so he struggles to defend his one and only comfort. During the period around the Liberation, Park Tae-won does not write works based on family. He introduces the achievement of Kim Wonbong, an independent movement leader, and creates a long story on Hong Gil-dong, a chivalrous robber in the Chosun Dynasty. In this period, his thought breaks away from ‘immediate blood relatives’ and keeps a distance from ‘family.’ The trend of familism observed in Park Tae-won’s novels is as follows. In 1930s: Love for ‘immediate blood relatives’ → In 1940s: ‘Familism’ →Around the Liberation: Search for national discourses → In 1950s after going to North Korea: Fictitious familism (love for people). Outwardly Park Tae-won’s familism developed in this way, but what we should pay more attention to is the fact that he valued familism from his early works. It is because the ideology of familism, which gives priority to ‘family’ over ‘individuals,’ is underlaid with the thought of valuing traditions and the fate of the whole. As revealed in his self-portrait novels in the1940s, Park Tae-won stained his career by cooperating with Japan for his family’s safety, but going through national discourse during the period of the Liberation, in North Korea he embraced the nation and all the people within the scope of family, so he could continue to write a number of additional novels.

한국 근대회화에 표현된 부부(夫婦) 이미지

이선옥 원광대학교 인문학연구소 2011 열린정신 인문학연구 Vol.12 No.2

This research was conducted centering around a picture of “a married couple” as a basic and minimum unit to compose a family. Since the origin of mankind, a couple has existed in any way or type. Thus, pictures of a married couple in certain times imply the example of a couple that the society required.The oldest couple picture found in Korea is the one drawn in Goguryeo Tomb Murals. In the Goryo Dynasty, Portraits were drawn for King and Queen including royal family and high officials. It is difficult to make a practical confirmation of the example of an ancient couple because of few works left, but it seems to have based on mutual respect between a couple. The Joseon Dynasty, it is difficult to see a picture showing a married couple in spite of lots of other portraits except some for record of events or genre paintings. Emphasizing Confucian ethic of the Distinction between man and wife, there was inequality requesting the wife one-way dedication for the filial duty to parents and respect to husband. This is known as “Distinction between man and wife” in Samkanghengsildo: Three Bonds in Confucianism or Oryunhengsildo published and distributed many times is described in only ‘A Virtuous Woman Part’. It was in modern times that family paintings were practically painted. That is, family was regarded as “couple-centered” from a complicated relation of parents, sisters and brothers, and children. At this point, the tie to connect the couple was understanded as affection. The family in the pictures painted in this changing society shows the contradicted family structure and cognition. Both traditional family and modern nuclear family are expressed and mutual relationship or position between the married couple shows multi layers. Even if a couple is painted together, the woman was expressed as a woman reading to imply she is awakened and enlightened with a new knowledge and as a wise-mother and good-wife for a happy family.And also paintings showing love of a couple increased after experiencing national crisis with poverty and family separation in the period of Japanese occupation and civil war, 6.25. Lee Jungseob imaged a couple’s love as a hen and a cock in his work, 〈A couple(부부)〉, and Chun Kyeongja imaged a couple as snakes in her work, 〈Ecology (생태)〉. Since 1970’s, rapidly developed modernity and industrialism changed a family from a traditional extended family to a nuclear family. A traditional family began to show various types in family relationship. There appeared international marriages and even man-man couples or woman-woman couples. Such variety was reflected in various images of a couple in paintings.

Discussing the Meaning of ‘Love’ in a Family from the Viewpoint of The Family Precepts of Yan Zhi Tui: Governing a Family and the Sacrament of Matrimony

Ying-Fen Su 강원대학교 인문과학연구소 2018 Journal of Humanities Therapy Vol.9 No.2

The Family Precepts of Yan Zhi Tui serves as the essence of the family culture in Chinese culture. The family bears responsibilities for birth, nurture, and education; moreover, it is a place where another family is built via marriage, and a place where belief and value are manifested. Down to today, the decline of human society should be traced back to the decline of the family. Thus, humanistic healing must start from the family. From the viewpoint of Chinese culture and the sacrament of matrimony, this paper attempts to discuss the meaning of marriage, then proceeds to talk about the difficulties in governing a family, administering family affairs, and earning a living, and finally proposes a modern management mode which combines Chinese culture and a religious family life and whose ideal lies in this: harmony shall accomplish love.