<星山別曲> 연구의 동향과 쟁점

Abstract

This article organizes the research history of Seongsanbyeolgok in detail and reveals the history of discussions so far. Although there are existing references to the research history of Seongsanbyeolgok, it has the limitation that it is mostly described briefly. In addition, approximately 50 to 70 years have passed since the 1960s and 1980s when the controversy surrounding Seongsanbyeolgok was most active, and it would be historically significant to look again at the value of previous research and reconsider the direction of subsequent discussions. Accordingly, in this paper, we focused on the research from the early stages of the history of Korean literature research to the period when research on Seongsanbyeolgok was most actively conducted. In the early stages of research history, Seongsanbyeolgok received relatively little attention compared to Jeong Cheol’s other lyric works. This early stream of research took a turn as materials directly related to Jeong Cheol and his literary activities were discovered. Based on the above data, various opinions were presented regarding the creation period of Seongsanbyeolgok and the object of praise. Until now, the author of Seongsanbyeolgok has been recognized without a doubt as Song Kang. Afterwards, the theory that Seokcheon (石川) was created by Im Eok-ryeong (林億齡) created quite a stir in academia, and the focus of research shifted to the issue of authorship. Most studies have refuted the theory of Seokcheon's creation and have moved in the direction of giving more weight to the existing opinion that it was Jeong Cheol's work. Since then, as counterarguments and rebuttals have come and gone, research has been actively conducted on the author, creation period, and object of praise for Seongsanbyeolgok. Subsequent studies criticized this research trend for overlooking the internal interpretation of the work, and focused on the structure and aesthetic characteristics of the work. The studies elucidated the position of Seongsanbyeolgok in literary history by understanding the relationship of influence with various works surrounding Seongsanbyeolgok, presented the unique characteristics of Seongsanbyeolgok by focusing on the conversational structures, On the other hand, it can be divided into those that reveal the aesthetic qualities of Seongsanbyeolgok in the area of ​​pavilion and garden culture. Through the above review of research history, it was confirmed that many issues surrounding Seongsanbyeolgok are still open for discussion and that various interpretive possibilities are clearly open.