조선후기 시가문학에 나타난 근대와 그 의미

Abstract

The aim of this paper is to have a reflective vision on the ‘experiencing modernity’ through Late Gasa(後期歌辭) and Saseol-Sijo(辭說時調). The results are as follow. First, I argue that the sublation of the modern subject is to be premised for reading desirably the modern indication from the period of Late Chosun(朝鮮後期). DenDongEoMi(덴동어미), in the text of <DenDongEoMiHwaJeonGa(덴동어미花煎歌)>, admits an equal interrelationship among the subjects by sublating a self-centeredness and affirming each individuals. She shades off to ‘l’autre’ who recognizes the self-being and affirms the other-beings from the edge of ‘le même’. She can be applicable to a humble and tender subject. Second, I observe a semiotic struggle of the subalterns in the text of Late Chosun to search a ‘potential modernity’. Late Gasa such as <MyeongWeol(明月)>, <HapGangJeongGa(合江亭歌)>, <SangJeoGa(相杵歌)>, <GyeongJuNongBuGa (慶州農夫歌)>, and Saseol-Sijo in 『CheongGuYeongEon(靑丘永言)』 「ManHoeng- Cheong(蔓橫淸)」 show us a complexity of period or class. Especially, a compassive and considerate feminity, and a low and tender voice would be able to be the alternative of post-modernity. Third, I try to reinterpret the modernity from such complex phenomenon. Gasa settled down as a mode which can receive contradictory demands of the changing stage, with holding open various routes and revealing every group’s own movement and voice. The ‘old man’ in 『ChoDangMunDapGa(草堂問答歌)』 is a man who can consider the vicinities with his own experience, and has the feminity or the otherness. Here, the people of the Transition-to-Modern Stage can be found, who might agree with and excite over the tenderness that considered the other and tolerated outbursts of various ‘newness’.