<강도몽유록>에 나타난 공사관(公私觀)의 변화 조짐

Abstract

This paper focused on the changes in the Conception of public/private that took place after the Japanese Invasion of Korea in 1592 and Ching Dynasty's Invasion in 1636. Public opinion( ) has a fair opinion that matches Tian-Li( ) in which the perception of 'Public( )' is expressed. Although Joseon's public opinion also apparently means a majority in its use, it was actually just a rhetorical expression. Politicians in Joseon used the Royal Court as the subject of public opinion, and only Confucian scholar(gentry male) who spoke of fair intellectuals as the subject of public opinion. Despite these movements by the ruling class, the chaos in society after the conflict caused a change in the Conception of public/private. <Gang-do-mong-yu-rok> presents new beings as narrators of public opinion through the description of the tarnished body and repeated emphasis on chastity. The damaged body then frees itself from the restrictions imposed by 'living' 'women'. And the fact that keeping chastity means that even though the character already dead women, she was surrounded by the conventional 'Public( )' realm. Meanwhile, Ganghwado's field, which is set in the background, adds strength to the victims' voices by reminding the responsibilities of politicians and shows that voices criticizing the existing public opinion are outside the Royal Court. In the process, the work shows the universal perception of the 'Public( )' shared by the writer and the public through the speaker of the character. It is summarized as a materialization through Selfless( ), Equity( ), Universality, and the concreteness through Li( ). It combines with the traditional concept of 'public'. However, at this time, special places and figures create cracks in the universal perception of public opinion. Through this work, the work prevents the lives of characters from being erased and symbolized, and at the same time resists the idea of a one-way flow to the Royal Court. These places and persona settings are meaningful in that they result in a change in the prevailing perception of the whereabouts of public opinion and the subject of implementation, regardless of the artist's intention.