1920년대 여성 기행가사 속 ‘출입’(出入)과 근대 체험 재현의 의미 -<노정기>를 중심으로

Abstract

This thesis analyzed the women 's works in the 1920' s as one of the works for the simultaneous understanding of modern women 's travel gasa. The reason why the 1920s was the target period is because it shows signs of full-scale change away from the traditional mountain tours that were the subject of this period. In this study, I examined the reappearance aspect of modern experience and its meaning in the <Nohjeonggi> which deals with Busan trip in 1926. The gasa <Nohjeonggi> externally show characteristic changes in the purpose of travel and composition of works. The reason is that the trip itself is a purposeful trip and that the route to the destination has been expanded. This focuses on 'me' as a travel agent and emphasizes the desire for travel. It also reflects the desire to faithfully reproduce the reality of modernity of the time. As a result, It reveals the artist 's interest by revealing details of scenery and experience of space movement. It recreates detailed scenery and civilization experience encountered in daily life of travel. First of all, scenery scenes that we experienced in everyday life on the road are screened and reproduced in detail. Next, we recreate modern civilizations such as new traffic facilities, cultural heritage, and institutions sequentially according to the passage of time. It has various forms such as order, rules, and institutions as well as visual experiences such as speed and appearance. Thus, this work shows that modernity is a cultural advancement and a free activity of women. The 'out' of the outside expresses the consciousness that it is a condition for cultural advancement with a free atmosphere. For this reason, it seems that the cultural criteria of hobbies and modernity for women who have lived traditional lives have become an opportunity to pursue the free desire of the individual more actively in the travel from the normality of the mountain tourism. These rituals coexist with the collective identity of a family, but also show women as free agents of activity.