지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The present study examined the formation and changes of 'Hwang Jini' story based on a true figure in the middle years of the Chosun dynasty.:
First, the 'Hwang Jini story' criticized hypocrisy of the then society, the role of which was entrusted to Hwang Jini who was in the special position of kisaeng. She emphasized her dignity as a liberal being by challenging boldly the discrimination in class and gender of the society at that time. The story emphasized the aspect of Hwang Jini as a woman artist. She had specialties both as a musician who had talents in Korean harp, singing, and appreciative criticism and as a literary woman who also excelled in Korean and Chinese verse. Thus, Hwang Jini in the story was described as: first, a critic of her society; second, a heroine who challenged the oppression against women and kisaeng of the Chosun society; and third, a woman artist who was talented as both musician and literary person - the talents considered as belonging exclusively to men in those days. The story ignored the aspect of Hwang Jini as a heroine of a romantic love story.
Second, the novels about Hwang Jini in 2000's restored the love story involved with Hwang Jini which was ignored by the 'Hwang Jini story'. She 'denied love' as she wanted to deny her tragic destiny and miserable situation as kisaeng in the novel 「Na, Hwang Jini」(TakHwan Kim). Denial of love meant denial of sexual love and womanhood of Hwang Jini, thus transforming her as a sexless being. The upper class of old Korea, though discussing Confucius and Mencius in public, was a group of men who coveted only the beauty and glamor of a woman and ignored her inner life. Hwang Jini denied the love and idealism of the upper class and was attracted to the world of ethics. However, the world of ethics left all mundane affairs out of consideration - for example, people dying of hunger and disease, the blind kisaeng HyunGeum Jin who had died of syphills, the suicide of a retired kisaeng and the inevitable homocide on the way to Mt. Kumkang. 「Na, Hwang Jini」 described closely the then upper-class men who oppressed women and people of low standing such as kisaeng.
「Hwang Jini」(GyeongLin Jeon) restored love which had been denied by the 'Hwang Jini' story or the novel 「Na, Hwang Jini」. Mrs. Shin who lived up to feminism, the wife of SaJong Lee who was in a love triangle with Hwang Jini, her sister Nan who was widowed, the blind kisaeng HyunGeum Jin who was discarded by Mr. Hwang and Hwang Jini herself who could not help but choose to be a kisaeng all lived a tragic life. The bad lucks of these women resulted from the women's fatalism unavoidable in the then androcentric society. Hwang Jini chose 'love' to cope with her tragic life. She contracted a marriage of consent with many famous men such as government officials, millionaires, scholars, members of the imperial family, doctors and entrepreneurs; thus, she disclosed hypocrisies and absurdities related with women in an androcentric society. Hwang Jini restored love, disclosed double-facedness of sexual love in an androcentric society and was eventually led to the world of ethics. She overcame her sexual desire and was reborn as a being of manhood in the world of ethics.
However, her love was expressed as a self-torturing asceticism. Especially, she complied with the rules and customs required by the then androcentric society when she loved SaJong Lee. Admitting Mr. Lee not to get divorced from his wife when she was in love with him or passing on her service to his when they relieved the poor all contradicted her image as a self-confident heroine as represented in the 'Hwang Jini story'.
First, the 'Hwang Jini story' criticized hypocrisy of the then society, the role of which was entrusted to Hwang Jini who was in the special position of kisaeng. She emphasized her dignity as a liberal being by challenging boldly the discrimination in class and gender of the society at that time. The story emphasized the aspect of Hwang Jini as a woman artist. She had specialties both as a musician who had talents in Korean harp, singing, and appreciative criticism and as a literary woman who also excelled in Korean and Chinese verse. Thus, Hwang Jini in the story was described as: first, a critic of her society; second, a heroine who challenged the oppression against women and kisaeng of the Chosun society; and third, a woman artist who was talented as both musician and literary person - the talents considered as belonging exclusively to men in those days. The story ignored the aspect of Hwang Jini as a heroine of a romantic love story.
Second, the novels about Hwang Jini in 2000's restored the love story involved with Hwang Jini which was ignored by the 'Hwang Jini story'. She 'denied love' as she wanted to deny her tragic destiny and miserable situation as kisaeng in the novel 「Na, Hwang Jini」(TakHwan Kim). Denial of love meant denial of sexual love and womanhood of Hwang Jini, thus transforming her as a sexless being. The upper class of old Korea, though discussing Confucius and Mencius in public, was a group of men who coveted only the beauty and glamor of a woman and ignored her inner life. Hwang Jini denied the love and idealism of the upper class and was attracted to the world of ethics. However, the world of ethics left all mundane affairs out of consideration - for example, people dying of hunger and disease, the blind kisaeng HyunGeum Jin who had died of syphills, the suicide of a retired kisaeng and the inevitable homocide on the way to Mt. Kumkang. 「Na, Hwang Jini」 described closely the then upper-class men who oppressed women and people of low standing such as kisaeng.
「Hwang Jini」(GyeongLin Jeon) restored love which had been denied by the 'Hwang Jini' story or the novel 「Na, Hwang Jini」. Mrs. Shin who lived up to feminism, the wife of SaJong Lee who was in a love triangle with Hwang Jini, her sister Nan who was widowed, the blind kisaeng HyunGeum Jin who was discarded by Mr. Hwang and Hwang Jini herself who could not help but choose to be a kisaeng all lived a tragic life. The bad lucks of these women resulted from the women's fatalism unavoidable in the then androcentric society. Hwang Jini chose 'love' to cope with her tragic life. She contracted a marriage of consent with many famous men such as government officials, millionaires, scholars, members of the imperial family, doctors and entrepreneurs; thus, she disclosed hypocrisies and absurdities related with women in an androcentric society. Hwang Jini restored love, disclosed double-facedness of sexual love in an androcentric society and was eventually led to the world of ethics. She overcame her sexual desire and was reborn as a being of manhood in the world of ethics.
However, her love was expressed as a self-torturing asceticism. Especially, she complied with the rules and customs required by the then androcentric society when she loved SaJong Lee. Admitting Mr. Lee not to get divorced from his wife when she was in love with him or passing on her service to his when they relieved the poor all contradicted her image as a self-confident heroine as represented in the 'Hwang Jini story'.
목차
Abstract
Ⅰ. 머리말
Ⅱ. ‘황진이 이야기‘의 의미 생성과 변모
Ⅲ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2009-710-017882348