물화(物化)된 여성의 몸 — 주이준(朱彝尊) 영물사(詠物詞) <심원춘(沁園春)> 12수 = Objectified woman’s body - Zhu Yizun’s 12 ci poetries "Qinyuanchun"

다국어 초록 (Multilingual Abstract)

This study aims to examine the 12 works from “Qinyuanchun”, poetry collection of Zhu Yizun who was an author and poet during the early Qing dynasty. The 12 works from “Qinyuanchun” by Zhu Yizun are serial poetry on women body parts as written in “yongwuci” (Ci poetry on things) style. Since the first two poems in “Qinyuanchun” style by Liu Guo on women’s foot and nails during the southern Song dynasty, there has been such trends of lyric songs and poetry on women body parts in “Qinyuanchun” tunes before becoming one of main styles when Zhu Yizun wrote 12 works in “Qinyuanchun” during the early Qing dynasty. Zhu Yizun extended the scope of “yongwuci” (Ci poetry on things) by writing about gall bladder and internal organs, where it was meaningful for him to have not only visibly seen things but also abstract areas to be included in “object” category for song lyrics and poetry.
In addition, it was the first attempt made by Zhu Yizun to use serial poetry form in order to complete 12 works on individual body parts into one story. During the early Qing dynasty, many authors and poets were highly interested in “yongwuci”, which was related to the reason they created poetry on women body parts, and this was the complete reification of women from the perspective of male intellectuals. Male intellectuals herein recognize “women” as complete “others” being interested in, observing and inspecting female body in voyeuristic eyes as the one to not to be emotionally understood and sympathized but to be “inspected” and “desired”.
The trends of “yongwuci” during the early Qing dynasty are completely different to poetry of despair as drifting people of a ruined country reflected into objects by male intellectuals in the southern Song dynasty.
For male intellectuals during the early Qing dynasty, ‘Yongwu’ was for the demonstration of their knowledge and entertainment. And they were more interested in singing about an object itself rather than revealing their inner side, which was male intellectuals’ changed thinking at that time that “object” and “myself” are separated in recognition. In this cultural context, “yongwuci” on women body parts became trends and took its place during that time.

국문 초록 (Abstract)

주이준의 영물사 <沁園春> 12수는 南宋代 劉過로부터 시작된 <심원춘> 사패로 여성의 몸에 대해 노래하는 전통을 이어가면서도, 보다 다양한 소재를 사용하였고 聯章體의 형식을 사용하여 하나의 서사를 완성하였으며, 작자의 결핍과 욕망을 재현한 특정 여성의 이미지를 생산하였다는 점에서 이전의 여성의 신체를 다룬 작품과 차이가 있다. 이는 작자 주이준의 개인적인 생애의 영향을 받은 것인 동시에 ‘사물[物]’을 바라보는 명청 교체기 지식인의 시각의 변화를 반영한 것이기도 하다. 본고에서는 이 작품들을 구체적으로 분석하여 청초 여성의 신체를 다룬 영물사가 어떠한 환경에서 발전하였으며, 그것이 묘사하고 있는 여성 형상이 어떠한 특징과 의미를 가지는지 밝히고자 한다.

참고문헌 (Reference)

1 엄귀덕, "梁代 宮體詩人들의 觀淫症" 한국중문학회 27 : 27-40, 2003

2 유지나, "페미니즘⋅영화⋅여성" 여성사 1993

3 김지현, "장염사학이론연구" 서울대학교 대학원 2009

4 질 발렌타인, "사회지리학" 논형 2009

5 김선희, "격물궁리지학, 격치지학, 격치학 그리고 과학 - 서양 과학에 대한 동아시아의 지적 도전과 곤경 -" 한림과학원 (17) : 119-157, 2016

6 葉嘉瑩, "迦陵文集 卷6" 河北教育出版社 1997

7 唐圭璋, "詞話叢編" 中華書局 1996

8 袁宏道, "袁中郎全集 卷十五"

9 嚴迪昌, "淸詞史" 江蘇古籍出版社 1990

10 秦夢佳, "淸初詠物詞研究" 廣西大學 2018

11 朱彝尊, "朱彝尊詞集" 浙江古籍出版社 2011

12 김하늬, "朱彝尊 前⋅後期詞의 창작 양상 변화" 서울대학교 2018

13 김하늬, "朱彛尊 애정시 <風懷二百韻> 고찰" 한국중국어문학회 83 : 47-75, 2015

14 김하늬, "朱彛尊 ≪靜志居琴趣≫의 애정표현 방식" 서울대학교 대학원 2012

15 朱彝尊, "曝書亭集詞注" 校經廎 1814

16 朱彝尊, "曝書亭集" 世界書局 1989

17 진성수, "明末⋅淸初 考證學의 淵源 考察 − 黃宗羲⋅顧炎武⋅王夫之를 중심으로 −" 동양철학연구회 (72) : 203-236, 2012

18 董靜怡, "明代詠物詞研究" 南京師範大學 2010

19 許伯卿, "宋詞題材研究" 中華書局 2007

20 楊海明, "唐宋詞美學" 江蘇敎育出版社 1998

21 엄귀덕, "南朝閨怨詩새로 읽기" 인문과학연구소 55 (55): 285-301, 2016

22 張宏生, "劉過 《沁園春》豔體詠物詞與南宋詞學的發展" (1) : 2013

23 張宏生, "典雅與俗豔—朱彝尊 《沁園春》寫豔諸作的時代風貌及其歷史評價" (5) : 2012

24 張翠穎, "兩宋長調 《沁園春》審美略探" 11 (11): 2008

25 김만원, "中國詠物詩試論: 六朝를 中心으로" 16 : 1988

26 劉俊文, "中國基本古籍庫"

27 이경규, "《악부보제》 연구" 6 : 1994

28 龍建國, "《沁園春》的形式特點與發展曆程" (01) : 1997