한문학 연구의 젠더적 관점 확장을 위한 시론-‘남성성’을 중심으로

Abstract

This paper is the current academic classification and is intended to review the study of gender perspectives in ‘classical chinese’, which is supposed to be my research area, and to suggest a theory about the consideration of ‘masculinity’ in order to expand the perspective. Considering ‘women’s gender’ in classical chinese for nearly a generation, the work of a few female artists created and passed down in a gendered literary life environment envisions the theory of the artist, and in the eyes of men, It can be roughly classified as a study on whether or not it is reproduced by the method, and a study based on feminist perspective that presupposes ‘women’s problem consciousness’ is added. Based on these achievements, the gender and especially feminist perspectives of the study of classical chinese will be the work of burying the classical chinese itself, including the new canon of classical chinese. As the overview of past achievements shows, the study of classical chinese considering gender has been based on a ‘feminist’ perspective that is directly or indirectly related to ‘female gender’. But from the perspective of gender, which is generally agreed on the meaning of “socially formed sex,” “male” is also subject to consideration. The masculinity of the ruling class of Joseon Dynasty, referred to as the ‘Yangban’ or ‘Sadaibu’, is relatively clearly recognized as the image of ‘the noble gentleman who follows the doctrinal norm’s physiological norms’. The process itself and its reality are not elaborated. It is necessary to consider the ‘details’ that make up men who were the normative gender norms and the forms of their social practice. This paper seeks to contribute to the expansion of the gender perspective of the study of classical chinese by looking for examples of how masculinity is built in terms of ‘moral training’ and ‘home management’.