조선후기 가족 담론 시조의 실현 양상과 전승 맥락

초록

The purpose of this article is to examine the songbook patterns of family discourse sijo and explore their transmission context. Research on family discourse sijo has been divided into two categories: ethical instructional sijo that sing about family ethics, and Saseol(辭說) sijo that depict various aspects of family life, both of which have yielded various interpretations and meaningful results. However, it is now necessary to integrate these family discourse sijo and examine them holistically, as this will allow us to read the flow of changing family discourse in the cultural space of the Gagok. The majority of family ethics sijo created in the 16th and 17th centuries were not included in songbook, and even when they were, they were not widely transmitted until the late 19th century. With the exception of some of Jung Cheol's works, they were only included in personal poetry collections or a small number of songbook. These works were created with the purpose of "cultivation" rather than being enjoyed as "entertainment," which is why they were not accepted as attractive Saseol(辭說) that could be enjoyed in the majority of Gagok entertainment spaces. Family ethics sijo were primarily created in the 16th and 17th centuries to cultivate ordinary people in rural communities and were often sung by Gabi and Gadong. These lyrics were not suitable for wealthy people to enjoy in the professional Gagok entertainment spaces of the 18th century. In Gagok entertainment spaces of the 18th and 19th centuries, sijo selected by singer and listener were created in place of family ethics sijo. These works depicted family relationships from a new perspective or expressed repressed desires. Most of these works were Saseol sijo rather than ethical instructional sijo and presented interesting scenes related to contemporary family systems, such as the authority of the head of household, aristocratic ideals, and relationships between husbands and wives or between in-laws. Depending on the work, these Saseol sijo were widely transmitted until the late 19th century, but disappeared from performance venues after the early 19th century. To understand the transmission context of family discourse Saseol sijo, it is necessary to examine the variation patterns of lyrics, the preferences of the wealthy who were the primary audience of family entertainment, and the historical changes in marriage and living arrangements.

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