근대 화전가 속 놀이문화의 재현 양상과 그 의미-1950~70년대 작품을 중심으로-

Abstract

In this thesis, I considered that the 1950s became an inflection point in the synchronic flow of hwajeonga after the 20th century, and examined the world of hwajeonga in the 1950s and 1970s. This is also a work to explore the direction of the decline of hwajeonga. To this end, 15 works that can be estimated of the times were analyzed and the composition of the works and the representation of the play culture were analyzed. In the works of the 1950s and 1970s, female writers are still living in a space of Gyubang, reminiscing about the difficulties of their unfreezing life. On the other hand, works that participate in noreum through parental visits are appearing, and the fact that works that start by retrieving personal history in the introduction are appearing which is a different point. In addition, unlike before, in the 1950s and 1970s, the symbolism of the place or the economic mobilization power of the place was not reproduced in a significant way, unlike before. In the full-fledged play part, the plays that were mainly reproduced are 'dance' and ‘character criticism’. The atmosphere of play is also changed from the pursuit of theft and dignity of playing, and pursuing to play cheerfully and liberally. It has been changed from having solidarity and harmony by placing an emphasis on hierarchy and sense of rank to ‘playing smoothly’. This means that compared to the attitude that emphasized the positive sense of community, the attitude has changed to a passive attitude. Reproduction of this atmosphere of noreum and character criticism has resulted in paying attention to the individuality of individual members rather than emphasizing the collective identity of the village and the clan. In the 1950s, modernization was promoted in earnest, and the social influence of literati in the local community was weakening. Accordingly, the cultural significance of Hwajeonnori based on the community consciousness of the clan or village fades. The weakening of the sense of community, represented by hierarchy and rank, emphasized individual individuality and brought a sense of predicament and diversity in play. On the other hand, the function of satisfying the needs of cultural education has weakened. Accordingly, it shows that the center of gravity of the Hwajeonga has shifted to a playful element. Since then, tourism has replaced the elements of play that have been projected onto the Hwajeonga, and the cultural elements seem to have been replaced by a new popular culture that emphasizes individual autonomy.