향가의 서정성 연구 = (A)study on lyricism in the Hyangga

다국어 초록 (Multilingual Abstract)

This paper is written for explaining Lyricism of the Hyangga(향가) that is the representative literary genre in Silla era. Lyricism is considered the conventionalized attribute penetrating through Hyangga(향가) that was created by Silla people and they enjoyed. For study Hyangga's features as a lyric poetry, I put in order the previous several opinions about Hyangga's character and looked at the discussions on its Lyricism.
Regarding Hyangga(향가) published in □□Samkukyusa□□(□□삼국유사□□), not only Hyangga(향가) but also relavant narrative, the studying materials are both of them for general study on Hyangga(향가). The way are as follows.
And as I focusing on the attribute that the poetry is presented linguistic utterance, I observed the condition of poetic speaker who is the subject to utter a language, and looked at the aspect of that poetic speaker's utterance and how the result comes out. I analyzed out Hyangga's Lyricism through this kind of analytical tools like poetic speaker, utterance condition, vehicle or object.
The poetic speaker in loss wanted to overcome that state with uttering Hyangga(향가) and largely the overcoming presented in three ways. These are the ways to overcome the loss, to overcome based in the actual, to overcome through the harmony between the actual and the transcendency, and to overcome as seeking for the transcendency.
The first type is the case to utter a lyric poetry in order for overcoming when the poetic speaker lived in the actual faced to the loss, for example <Mojoockjirangga(모죽지랑가)> and <Wonga(원가)>. In <Mojoockjirangga(모죽지랑가)>, we can see that Deko(득오), the poetic speaker, tried to overcome the loss with the trust in Joockjirang(죽지랑), the object. In <Wonga(원가)>, we can see that Shinchung(신충) of the poetic speaker, tried to over come with his own confidence for the ability.
The second type is the case to overcome the loss through the harmony between the actual and the transcendency when the poetic speaker faced to the difficult state to overcome in the actual. For example, there are <Chankiparangga(찬기파랑가)>, <Jemangmaega(제망매가)>. In <Chankiparangga(찬기파랑가)>, Chungdamsa(충담사) of the poetic speaker is overcoming as presenting the will to take over the Kiparang's spirit when he faces to Kiparang's death. In <Jemangmaega(제망매가)>, Worlmyungsa(월명사) is presenting to overcome the loss with the expectancy to meet his sister in new world when he faced to his sister's death.
The third type is the case to overcome the loss as seeking for the transcendency out of the actual. <Wonwangsaengaa(원왕생가)> and <Chuyongga(처용가)> are that. In <Wonwangsaengga(원왕생가)>, Kwangduck(광덕) tried to overcome the loss with the continued desire to go into the transcendency as being out of the actual. In <Chuyonga(처용가)>, Chuyong(처용) also seek for the transcendency but he showed with resignation after the fail.
With the above Hyangga's three types of the lyricism, I came up again the lyric attributes in three that only Hyangga(향가) has. The first technique is to encapsulate personally for the objective nature, the second is two different worlds with the actual and the transcendency, and the third is the aspect of the loss and the sublimation. Through these three attributes, the Lyricism of Hyangga(향가) presented. And I could know the unique character of the Hyangga(향가) distinguished from Siga(시가), a ballad of ancient(고대가요) of the previous era and Koryo Sokyo (고려속요)of the later era.
With the above discussion, I become to classify the aesthetic value of Hyangga from the inner nature of the works realistically.

목차 (Table of Contents)

• 목차 = i
• Ⅰ. 서론 = 1
• 1. 연구 목적 및 연구사 검토 = 1
• 2. 연구 방법과 연구의 필요성 = 7
• Ⅱ. 향가의 서정성 논의를 위한 예비적 검토 = 10
• 1. 향가의 성격에 대한 쟁점과 서정성 논의 = 10
• (1) 향가의 성격에 대한 쟁점 = 10
• (2) 향가의 서정성에 대한 논의 = 14
• 2. 향가의 서정성 논의를 위한 분석틀 = 16
• (1) 시적 화자 = 16
• (2) 발화 상황 = 18
• (3) 발화 장치 = 19
• (4) 지향 대상 = 20
• Ⅲ. 향가 서정성의 세 층위 = 22
• 1. 현실에 기반한 상실의 승화 = 22
• (1) <모죽지랑가>의 낙관적 신뢰감 = 22
• (2) <원가>의 우월적 자신감 = 37
• 2. 현실과 초월의 조화를 통한 상실의 승화 = 54
• (1) <찬기파랑가>의 계승정신의 다짐 = 54
• (2) <제망매가>의 새로운 세계에의 기대감 = 65
• 3. 초월을 지향하는 상실의 승화 = 75
• (1) <원왕생가>의 지속적인 갈망 = 75
• (2) <처용가>의 현실체념적 태도 = 84
• Ⅳ. 향가 서정성의 특징 = 95
• 1. 신라 시대에 산출된 서정성 = 95
• (1) 객관적 자연물의 주관적 형상화 = 95
• (2) 현실과 초월의 이원론적 세계관 = 97
• (3) 상실과 승화의 양상 = 100
• 2. 전 · 후대 시가와의 차별성 = 103
• (1) 비유적 기법의 차별성 = 103
• (2) 세계관 인식의 차별성 = 105
• (3) 정서 회복 양상의 차별성 = 106
• Ⅴ. 결론 = 108
• 참고문헌 = 113
• ABSTRACT = 121