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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Throughout the history of Korean literature, ‘○○別曲’(Byulgok) has had quite a few interpretations based upon different standpoints. However, it still seems that the meaning of Byulgok(別曲) has not been defined yet. It is not easy to identify the essence of the term of Byulgok, since it had been used in the several different titles in respective genres such as KyungGiCheGa(景幾體歌), KoryoSokyo(高麗俗謠), Gasa(歌辭) etc and in the ages from Koryo dynasty by way of Choseon dynasty to the present age. I think it is required to search the consciousness of the writers of Koryo dynasty and the present age about ○○별곡(Byulgok), and to clarify the essence of it rather than to find the cause of continuous usage of the title “Byulgok” in weakening of signifier faculty or deterioration of the meaning.
In this paper, I found that the changing meanings are simply superficial and rather the fundamental meaning, or the literal meaning in Byulgok has been preserved as a signifier for years. When we consider Byulgok as a changing meaning, the term “Byulgok” can be appreciated as a fork songs, a notion of genre, Changing(變), or a song composed by sadeabu(士大夫) and sung by village people. By means of a literal translation of ‘別’, I understood the fundamental meaning is not simply what has nothing to do with a certain standard but also the attribute which is trying to be independent against a kind of rule or canon as a coordinating concept. In other words, according to the changes in each society and throughout the history, both the terms ‘別’ and ‘曲’ constructed antagonistic relationships such as “subject's music and king's music”, “Royal Court music and sadeabu's music”, “Kyunggichega and Gasa”, “the sadeabu and the folks”, “preserving title rule and breaking rule”, and “Changing(變) and Chung(正)”.
In this paper, I found that the changing meanings are simply superficial and rather the fundamental meaning, or the literal meaning in Byulgok has been preserved as a signifier for years. When we consider Byulgok as a changing meaning, the term “Byulgok” can be appreciated as a fork songs, a notion of genre, Changing(變), or a song composed by sadeabu(士大夫) and sung by village people. By means of a literal translation of ‘別’, I understood the fundamental meaning is not simply what has nothing to do with a certain standard but also the attribute which is trying to be independent against a kind of rule or canon as a coordinating concept. In other words, according to the changes in each society and throughout the history, both the terms ‘別’ and ‘曲’ constructed antagonistic relationships such as “subject's music and king's music”, “Royal Court music and sadeabu's music”, “Kyunggichega and Gasa”, “the sadeabu and the folks”, “preserving title rule and breaking rule”, and “Changing(變) and Chung(正)”.
목차
1. 들어가는 글
2. 용어의 문헌적 검토
3. ‘別曲’의 관습적 의미와 문학적 의미
4. 나오는 글
참고문헌
Abstract
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