중국 고대 女性詞에 드러난 여성담론의 史的 고찰

Abstract

This research analyzed the correlation of the background of creation of categorical context of female Ci(女性詞) of each period in respect of the historical viewpoint(史的) by investigating female writers’ Ci works(詞), which exist in Chinese ancient literature, and investigated the value of their Ci works from the viewpoint of feminism, as the ambient literature. Firstly, feministic history of Tang· Wu, which began from court empress, was mostly in the stage of writing Ci as an attempt. Contents of them stopped at the image of women who waited for King’s selection or objectified women as the target for praise for their beautiful curves. Meanwhile, Ci, which were created as the lyrics for singing, changed to creation of Ci that expressed emotion during late Tang Dynasty, where female Taoists(女道士) appeared. During Song Dynasty, female discourse fully appeared through Ci genre. Women who were suppressed due to development of Confucian family rules(家法) expressed their feelings, gisaeng created Ci to exchange culture with men, and lots of women expressed pain of war due to the invasion of northern Jin(金)· Yuan(元) powers. Female discourse that stood out in Ci works of Yuan Dynasty was forced faithfulness culture and the spirit of the times, ‘retirement’. During the time when social status was clearly divided and suppression over women was severe, female writers faithfully showed internalization of such view of the time. This was expressed through singing of the objects of the value of fidelity like Sagunja (Four Gracious Plants), of the spirit of the time, ‘retirement’. Meanwhile, female writers who had created Ci to express their private emotion came to band together during late Ming Dynasty. Nevertheless they were the women who gathered mainly with families, appearance of female Ci writer group(女性詞社) greatly extended the area of female Ci. Female Ci writers, who perceived the value of their works as professional writers and obtained consumers of their works, not only greatly grew quantitatively, but also developed qualitatively through exchange with other writers. Discourse included in female Ci during this period was various. Female writers freely expressed a single plant along the street, blue sky and lake, history and values as well as their sorrow or inflamed anger through Ci works, also, they gained literary pleasure using the style, Ci, as a medium of exchange. During Qing Dynasty, female writers came to write preface in their own language and they wrote preface and postscript to each other’s work, without depending on male literary persons’ evaluation or acknowledgement any more. Appearance of female writers who had writer consciousness also changed discourse of Ci works to awareness on women’s life. Accordingly, Ci style not only performed as the means to express their subjective emotion or feelings, personal experience, and world recognition, but also a tool to pose women’s life as a social matter.