조선후기 韓ㆍ中 교유와 젠더담론의 변화 - ‘徐令壽閤’의 중국 반출을 중심으로 -

Abstract

In the first half of the 19th century, an event in which Seo Yeongsuhap's poems were printed and sent to China occurred. Seo Yeongsuhap, the mother-in-law of a princess, was the highest class woman. Considering that Confucianism was strictly opposed to women's involvement in literary activities by using Chinese characters, it was a very exceptional event. This article is written to understand this exceptional event. Seo Yeongsuhap's poems were inserted in 'Pungsansego(豊山世藁)'-her family's collection of poems-and 'Haegeojaesicho(海居齋詩鈔)'-a collection of poems of Hong Hyungju(洪顯周), her son and sent to China. This project was driven by Seo Yeongsuhap's sons. They had conducted a series of publication for three years during the funeral period of Seo Yeongsuhap. They proceeded this work since they wanted to raise their family's reputation as a prestigious family in literature. As a result, their publications were actively distributed to China. Among those publications, Seo Yeongsuhap's poems especially drew people's attention. Therefore, the existence of a female writer called Seo Yeongsuhap played much more important role in enhancing the family's reputation than any other male family members. This unexpected scene was possible due to the Seoul culture after the 18th century. Those days, there was a literary coterie which had a close relationship with the Chinese literary circles beyond the boundary between them. Moreover, the Chinese culture actively encouraged women to involve in arts activities freely. Because of these trends, the Joseon's literary coterie somewhat supported this open attitude toward female artists. Hong family's sons fully understood these cultural trends. Especially, Hong Hyungju had the experiences to contact with Chinese female artists. In this circumstances, Seo Yeongsuhap was mainly used in the project to enhance the family's literary capability to foreign countries. However, this culture was the latest trend also in Seoul those days. Therefore, it was necessary to break through the public opinion which still took some conservative views toward women's open literary activities. Consequently, this family constantly had discourse to correct the existing negative views. The epilogues of 'Pungsansego', which had been written three times, shows the family's efforts to adjust it through discourse step by step. The final result of these efforts was the Hong Hanju(洪翰周)'s 'Jisuyeompil(智水拈筆)'. With the efforts of Hong Hanju and his family, the intelligent works by using Chinese characters fully opened to women. The discourse developed by men to raise their family's reputation resulted in drawing the common approval for women's literary activities.