19세기 여성기행가사 연구

Abstract

This paper analyzed the statements and emotional expressions of travel Gasa written by women in the 19th century. It was written to discover the literary and historical significance of women’s travel Gasa by analyzing Joseon Dynasty travel Gasa, and women’s creative literature. Women's travel Gasa reflects the universality of travel Gasa and the specificity of the subject of women's travel. This was suitable to discover the new aspect of women who became Gasa creators in the 19th century. Existing studies have shown that female travel Gasas inherited the travel Gasas of the nobleman and the characteristics of women are reflected in the contents of the work as well. The emphasis on family interest and emotional expression was pointed out as a particular aspect of female authors, and the universal aspect of inheriting existing travel Gasa in expressing objects was also noted. In addition to the previous study that explained the specificity and universality of women's travel Gasa, this paper revealed the meaning of using typical expressions considering the artist's gender, and specifically focused on women’s different emotional expressions depending on the spacious background they were in such as daily life basis and travel places. Based on the transmission form of the work, author, travel motivation, composition of the work, journey, and travel method, this paper introduced three different works of women's travel Gasa in the 19th century. Among them, 〈Buyeonohjeonggi〉 and 〈Geumhaengilgi〉 were created by noble women named Yeonan Lee (延安李氏, 1737~1815) and Eunjin Song (恩津宋氏, 1803~1860), respectively. 〈Honamgihaengga〉 is a work similar to women's travel Gasa in terms of riding a sedan chair as a travel method and by looking at typical expressions of literature. Based on the aforementioned ideas, this paper viewed 〈Honamgihaengga〉 as a female creative work of the aristocrats. If there were different copies among the three works, they were briefly introduced and unified into one single name. This paper analyzed the three works by focusing on the method of a statement and emotional expression. 〈Buyeonohjeonggi〉 is a work that reveals a woman’s pride and authoritative attitude, and uses a narrative method over the time, but selectively presents the events. The speaker of 〈Buyeonohjeonggi〉 recognizes travel as a reward for playing a good role as a woman. 〈Geumhaengilgi〉 is a work that emphasizes the poetical taste of the speaker, who is a housewife in charge of a family and enjoys time at travel destination. Epic statements and descriptions are used as statements to describe the landscape. Regarding the aspect of expressing emotions, it honestly reveals the inner side of oneself who desire to lament one’s situation and express eager to sightsee. 〈Honamgihaengga〉 is a literary representation of the experience using various rhetorical expressions in the process of describing the scenery. The speaker's identity is rarely revealed in this work, but the desire for travel and the desire for creating Gasa is directly expressed. To sum up, the 19th century women's travel Gasa showed three distinctive characteristics. First, the process of establishing women’s self-identity through building relationships with the outside world is shown in women’s travel Gasa. Second, the speaker honestly tells her feelings about what she has seen and expresses a new desire that she realized at the travel destination. Third, by recording the experiences, narrative and descriptive features are shown based on the author’s experiences in the outside world. In the creation of travel Gasa from the early Joseon Dynasty to the late Joseon Dynasty, travel Gasa has expanded the hierarchy of authors, lengthened the work, and contained the characteristics of seeking for visiting real sites. The expansion of women becoming authors, using narrative statements, describing landscape through imagery, and seeking worldly taste for the art, are the characteristics of women’s travel Gasa that have been succeed. The women authors have set their target readers as other women and created Korean Gasa to share feelings. This paper has shown the women’s independent travel experience even though they traveled within the family community. The fact that women considered the emotional expression and literary style while writing Gasa has the literary and historical meaning of women’s travel Gasa in the 19th century.