徐居正의 太平閑話滑稽傳 에 나타난 남성성과 여성성에 대한 시선과 의미

Abstract

This paper was designed to clarify the gaze and meaning reflected in anecdotes focusing on the relationship between men and women in the Taepyeonghanwhagolgyejeon . This corresponds to the capture of the aspect of politics among the various meanings embedded in laughter through the way Seo Geo-jeong's professional experience representing literary figures in the early Joseon Dynasty expressed in his old-age work. In this case, the laughter induced in the relationship between men and women does not stop at merely parodying characters, but captures the problems of hierarchy and power that worked between men and women in the traditional era. First, in the composition of men and women, the figures of fierce, speculative, clever women and timid, weak, and foolish men are set in contrast, and the end of the relationship ends with the practice of men. Given that the composition of men and women based on the social hierarchy is being overthrown, it is easy to provoke laughter by touching taboos at first glance. The setting of the composition of men and women shows a popular tendency based on daily life. It has actively attracted realistic and realistic daily lives that can be seen around life, and the fact that the relationship between couples in the upper class, which requires a clear social hierarchy, is portrayed as a caricature shows that it can be used as a laughing matter for the public. It is characterized by the lack of expression of masculinity that takes the initiative enough to appear as a kind of self-deprecating or contradictory attitude. However, the figure in which women seem to have superiority over men in the composition of men and women, which is a factor of laughter, is problematic in that it deviates from the typical femininity required for women in the traditional era. The woman embodied in the Taepyeonghanwhagolgyejeon is not a quiet woman, but is driven by a fierce and speculative negative woman. In the course of the development of the narrative, the figure of women exercising physical force and men being embarrassed about it is even subversive. This shows that men and women embodied in the Taepyeonghanwhagolgyejeon are moving away from exhibiting general masculinity and femininity. As masculinity and femininity are caricatured, they are reproduced as cracks in predictable stereotypes. Of course, it is understood as a setting to induce laughter, but the shape of the subversion or paradox of sexual hierarchy itself supports explosiveness. Therefore, even if empathy is induced from a vertical class to a horizontal human through laughter, the intention of laughter implies politics that does not aim for horizontality in that it results in criticism of women and compassion for men through the composition of fierce women and weak men. When this understanding is deepened and expanded, a new perspective and approach to digestion in the early Joseon Dynasty, including the Taepyeonghanwhagolgyejeon can be attempted. This paper was designed to try to change this perspective.