19세기 말 한국시가문학의 구성과 ‘문학텍스트’로서의 고시가 - 모리스 쿠랑 한국시가론의 근대학술사적 의미
Composition of Korean Poetry and Classical Poetry as 'Literature test’ in the late 19th century - Meaning of Modern Academic History of Maurice Courant’s Theory of Korean Poetry -
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This paper considers a meaning of modern academic history which the relevant skills of Korean poetry includes in Bibliographie Coréenne(1894) by Maurice Courant (1865~1935). Mainly focused on the relevant records of Korean poetry of Courant, this paper examined how Courant developed a list of contents in Korean poetry. That is, it was about to empirically consider the western and eastern references of argument that he consulted. Through this research process, it was to restore the performative context which Courant produced modern knowledge as a literature through Korean poetry in the late 19th century. Courant designed total viewpoint of Korean poetry by three parts such as Chinese poem published in Korea, poetry written in Chinese and in Korean by Koreans. Courant’s theory of Korean poetry composed Korean poetry which was not known to the western. Through the records of Koreans such as a Korean book, Daedongwoonbugunok(『大東韻府群玉』), he included cultural exchanges between Korea and China, Chinese poetry published in Korea and poetry of Korea written in Chinese to his book, Bibliographie Coréenne. Besides, in difficult circumstances of approaching to poetry written in Korean by Koreans, he could include poetry of Korea written in Korean as a part of Korean poetry through site investigations and oral interviews. However, in a process of composing total viewpoint of Korean poetry, the most difficult challenge he faced was an ultimate gap between modern knowledge as ‘literature’ and poetry enjoyed in Korea. That is, in composing poetry written in Chinese, limitation of a challenge itself to select Korean poems composed only by ‘Chinese poems’ and to reorganize poetry written in Korean which were undifferentiated to music into a literature text were already disclosed. Ultimately, Courant could not build poetry of Korea written in Chinese letters differentiated to poetry of China, and he could not identify the original rule in the poetry written in Korean.
Abstract
This paper considers a meaning of modern academic history which the relevant skills of Korean poetry includes in Bibliographie Coréenne(1894) by Maurice Courant (1865~1935). Mainly focused on the relevant records of Korean poetry of Courant, this paper examined how Courant developed a list of contents in Korean poetry. That is, it was about to empirically consider the western and eastern references of argument that he consulted. Through this research process, it was to restore the performative context which Courant produced modern knowledge as a literature through Korean poetry in the late 19th century. Courant designed total viewpoint of Korean poetry by three parts such as Chinese poem published in Korea, poetry written in Chinese and in Korean by Koreans. Courant’s theory of Korean poetry composed Korean poetry which was not known to the western. Through the records of Koreans such as a Korean book, Daedongwoonbugunok(『大東韻府群玉』), he included cultural exchanges between Korea and China, Chinese poetry published in Korea and poetry of Korea written in Chinese to his book, Bibliographie Coréenne. Besides, in difficult circumstances of approaching to poetry written in Korean by Koreans, he could include poetry of Korea written in Korean as a part of Korean poetry through site investigations and oral interviews. However, in a process of composing total viewpoint of Korean poetry, the most difficult challenge he faced was an ultimate gap between modern knowledge as ‘literature’ and poetry enjoyed in Korea. That is, in composing poetry written in Chinese, limitation of a challenge itself to select Korean poems composed only by ‘Chinese poems’ and to reorganize poetry written in Korean which were undifferentiated to music into a literature text were already disclosed. Ultimately, Courant could not build poetry of Korea written in Chinese letters differentiated to poetry of China, and he could not identify the original rule in the poetry written in Korean.
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