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본고는 여주인공이 시댁을 떠나 탈속적 자기공간으로 향하는 <취미삼선 록>과 <화정선행록> 두 작품을 비교분석함으로써, 공간에 대한 당대 여성의 주체적 인식이 지니는 사회문화적 의미를 고찰하는 한편, 공간의식과 관련한 두 작품의 의식적 지향성의 차이를 규명하고자 하였다. 두 작품에서의 탈속적 자기공간은 선계(仙界)와 흡사하게 형상화되고 있는 데, 이는 조선후기 당대 현실에서 고통을 겪었던 여성들이 한시 등을 통해 상 상 속에서 지향했던 선계를 실재적인 공간으로 구체화하고 있다는 점에서 공 통점을 보이고 있었다. 관념화된 이상을 현실화된 실재로 그려냄으로써 여성 의 새로운 대안공간을 제시하고 있는 것이다. 그런데 <취미삼선록>에서는 여주인공이 일시적으로 탈속적 자기공간을 찾는다면, <화정선행록>에서는 여주인공이 지속적으로 탈속적 자기공간에 머문다는 점에서 큰 차이를 보이고 있었다. 그 원인은 <취미삼선록>의 여주 인공이 적국(敵國)보다 우위의 입장에서, 못난 남편을 만났다는 특수한 상황 이 부각되는 가운데, 별다른 자기각성 없이 자기공간으로 향한다면, <화정선 행록>의 여주인공은 적국보다 열세의 상황에서, 군자형 남편과의 불화를 통 해 당대 남성 일반의 여성에 대한 태도를 문제 삼으며, 대외적 활약을 통한 자기각성 속에서 자기공간으로 향하였기 때문임을 규명하였다. <취미삼선록>의 탈속적 자기공간이 시가(媤家)에 대한 ‘일시적 일탈공간’ 이라면, <화정선행록>의 탈속적 자기공간은 시가에 대한 ‘근원적 대체공간’ 으로 제시되고 있는 것이다.


Heroines in Chuimisamsonrok and Hwajungsonhaengrok leave to the self-space undergoing trouble with concubine or husband. This thesis compare with the aspect of the search for self-space of each heroines. The heroines in these two novels all search for unworldly self-space leaving the house of husband. Buy the way, these self-space are described as fairyland so these two novels show a point of sameness giving body to the search for fairyland as in the world of Chinese poetry. But then these two novels show differences also. In Chuimisamsonrok the heroine Muyang princess abides in the unworldy self-space ‘Chuimi palace’ for a little while, in Hwajungsonhaengrok the heroine Chunghyohye keeps her residence in ‘Seongui palace’, the unworldly self-space, continuously. The cause of these differences is allied to the motive of the search for unworldly space. Muyang princess, the heroine of Chuimisamsonrok is confronted with unreasonable marriage and conflicts with concubine of gentry class birth. Chunghyohye, the heroine of Hwajungsonhaengrok, conflict with the princess being married unreasonably and her husband was married unreasonably. Next, Muyang princess in Chuimisamsonrok comes into collision with husband of a small mind, but Chunghyohye in Hwajungsonhaengrok comes into collision with husband, a man of true honor. Last, Muyang princess in Chuimisamsonrok has no outside experience, on the other hand Chunghyohye in Hwajungsonhaengrok accomplishes awakening of herself through the outside experiences as participating in battle field. From these analyses, ‘Chuimi palace’ in Chuimisamsonrok is the temporary deviational space against husband's house as the general space under patriarchic system. but ‘Seongui palace’ in Hwajungsonhaengrok is shown as substantial alternative space against husband's house. As a result, the main subject of Chuimisamsonrok is temporary mockery to male-dominated patriarchic society. On the side, the overall theme of Hwajungsonhaengrok inclines to the more positive critique about male-dominated patriarchic society.


Heroines in Chuimisamsonrok and Hwajungsonhaengrok leave to the self-space undergoing trouble with concubine or husband. This thesis compare with the aspect of the search for self-space of each heroines. The heroines in these two novels all search for unworldly self-space leaving the house of husband. Buy the way, these self-space are described as fairyland so these two novels show a point of sameness giving body to the search for fairyland as in the world of Chinese poetry. But then these two novels show differences also. In Chuimisamsonrok the heroine Muyang princess abides in the unworldy self-space ‘Chuimi palace’ for a little while, in Hwajungsonhaengrok the heroine Chunghyohye keeps her residence in ‘Seongui palace’, the unworldly self-space, continuously. The cause of these differences is allied to the motive of the search for unworldly space. Muyang princess, the heroine of Chuimisamsonrok is confronted with unreasonable marriage and conflicts with concubine of gentry class birth. Chunghyohye, the heroine of Hwajungsonhaengrok, conflict with the princess being married unreasonably and her husband was married unreasonably. Next, Muyang princess in Chuimisamsonrok comes into collision with husband of a small mind, but Chunghyohye in Hwajungsonhaengrok comes into collision with husband, a man of true honor. Last, Muyang princess in Chuimisamsonrok has no outside experience, on the other hand Chunghyohye in Hwajungsonhaengrok accomplishes awakening of herself through the outside experiences as participating in battle field. From these analyses, ‘Chuimi palace’ in Chuimisamsonrok is the temporary deviational space against husband's house as the general space under patriarchic system. but ‘Seongui palace’ in Hwajungsonhaengrok is shown as substantial alternative space against husband's house. As a result, the main subject of Chuimisamsonrok is temporary mockery to male-dominated patriarchic society. On the side, the overall theme of Hwajungsonhaengrok inclines to the more positive critique about male-dominated patriarchic society.