庶民歌辭 硏究(I) = A Study on Seomin-Gasa(I)

다국어 초록 (Multilingual Abstract)

The genre of Gasa literature, an old form of Korean verse, is generally devided to Yangban-Gasa(兩班歌辭) written by noblemen, Pyeongmin-Gasa(平民歌辭) enjoyed by the masses, Gyubang-Gasa(閨房歌辭) enjoyed by women by the readers. The study by far has usually been lopsided to Yangban-Gasa and Gyubang-Gasa, and Pyeongmin-Gasa has not been studied so earnestly.
The author revised Pyeoungmin-Gasa into Seomin-Gasa, gave the definition of it and tried to make differences between the Yangban-Gasa and Seomin-Gasa in their contents, forms, expressive ways, aesthetics and etc.
The Seomin-Gasa was written by Seomin, the common people and based on the way of thinking, in other words, the consciousness of Seomin. Accordingly the Seomin-Gasa reflects and shows the Seomin's ideas, emotions and lives. The Seomin may again be devided further to Jungin, the middle people(interpreter, craftman, doctor and so on), Yangmin, the good masses and Cheonmin, degraded people such as butchers. The thinking ways of Seomin and Yangban are hard to distinguish so clearly, however I can do as follows:
Yangban's thinking; ① ideal, customary ② logic, formalistic ③ conservative, closed ④ positive(affirmative), smtoodly subject
Seomin's thinking; ① real, empirical ② chaos, variety ③ progressive, reformative ④ critical, resistive
Then, the Seomin-Gasa is, I may say, written and enjoyed by the common people and reflecting real and critical consciousness of the Yangmin and Cheonmin including Jungin.
The Seomin-Gasa can be devided further into subgroup of the recital Gasa and singing Gasa. The former includes the sorts of crictics of reality, mutual love and sorts of lamentation, and the latter does Backgu-sa(white dove song) in Twelve-Gasa, Sibjang-ga and Jipjang-ga in Jap-ga(miscellaneous songs) and Heodu-gasa of Pansori(Korean traditional long epic song).
The Gasa was appeared around in the latter part of 17 century. The proof is as follows; ① In Chunggu-youngeon (the collections of Sijo and others) compiled by Kim Chun-taik in 1728, there are Sangsa-byeolgok (a song of nutual love), Chunmyeon-gog, Gwanju-ga and etc. ② Pyeongmin singers such as Kim Chuntaik, Kim Su-jang and Kim Seong-gi were acting in King Suk-jong and Jeong-jo, and ③ After Ching's Invasion (Byeongja wars) the form of Gasa were turned out to be singing forms, essays and long styles ④ Sakdaiyeob (songs in fast tempo) loved by the common people since King Sug-jong was developed, ⑤ many transitional works of Seomin-Gasa's such as Nuhang-sa, Yongsa-eum, Tangung-ga, Wuhal-ga and so on were appeared in the middle part of 17 century.

목차 (Table of Contents)

• Ⅰ. 序論
• Ⅱ. 庶民歌辭의 槪念과 範疇
• 1. 庶民歌辭의 槪念
• 2. 庶民歌辭의 範疇
• (1) 下位範疇
• (2) 作品 現況
• (3) 다른 文學 갈래와의 關係
• Ⅲ. 庶民歌辭의 擡頭와 時代的 背景
• 1. 庶民歌辭의 擡頭
• 2. 庶民歌辭의 時代的 背景
• Ⅳ. 結論