20세기 대구지역 내방가사에 나타난 여성놀이문화의 변모와 사대부문화의 전유(專有) 양상

Abstract

This paper attempted to investigate the aspect of play in Daegu in the 20th century and the meaning contained therein through the play in <Hwajeonga>. Contrary to what the title suggests, <Hwajeonga>, a Naebanggasa, wrote with the backdrop of Mt. Palgong and the Geumho River in Daegu in the mid 20th century, is not a work based on a typical Hwajeonnori. The author of <Hwajeonga> took a trip to Seonyeong(先塋遊覽), moon watching(玩月), Ssangryuk(雙六), and Seonyu(船遊) based on visit to her parents' house. The artist named the title <Hwajeonga> even though it is not a general hwajeonnori and gasa written using it as a medium, because the artist herself recognized the entire play in her work as a hwajeonnori. This is because the cultural custom of Hwajeonnori and the literary custom of creating ‘Hwajeonga’ remained in the mid-20th century. Therefore, the play outside the house was recognized as a hwajeonnori, and the gasa based on it were named <Hwajeonga>. Therefore, in <Hwajeonga>, it is easy to see how the forms of Hwajeonnori and Hwajeonga remain. However, if we take a closer look at the work, we can see many changes in the content behind the formal tradition. First of all, <Hwajeonga> has weakened the functions of restoring the sense of community and strengthening the sense of solidarity through empathy, which are generally present in Hwajeonnori and the enjoyment of Hwajeonga. Instead, the emotions of the individual level are strongly revealed. The lamentation over parting with a fellow member also shows a personalization aspect. In addition, Seonyeong excursions have become a common practice, so pride in the family and region is not strongly expressed. In particular, the excitement of play is strengthened. On the other hand, the appearance of the artist in the second half of <hwajeonga>, seonyu and responded with instrumental music(器樂) is seems like as if to enjoy the sadaebu culture. However, Seonyu and response in <Hwajeonga> are morphologically similar to the play culture of the sadaebu, but the cultural context is completely different. The universal desire of contemporary women to escape from the reality of returning to their in-law's house was strongly projected here. The universal sentiment was reinforced through the appropriation of the sadaebu culture. <Hwajeonga> was able to break free from the yoke of ‘typicality’ of the ‘Hwajeonga’ group of works due to the artist’s out-of-context awareness and attitude of appropriation toward the sadaebu culture.