【作者】 吴美福；

【导师】 蔡美花；

【作者基本信息】 延边大学 ， 亚非语言文学， 2005， 硕士

【摘要】 朝鲜时代随着儒教的引进和父权制文化的确立,女性不仅得不到社会的肯定,在家庭中也不能确保安定的地位,只能忍气吞声地过日子。女性原本应该是一个独立的人格体,但历史上的妇女总是比行使家长权威的男性差一等,还得逆来顺受地忍受着人格的侮辱。这种不合理的社会理念渐渐被制度化、规范化,而当时的人们却不具备任何改变现实的能力。在封建礼教“七去之恶”、“三从之道”的种种拘束下,女性的自由行动是不被允许的。但是她们开始自觉认识到人性的真正价值,并试图打破各种规矩和樊篱从自身所处的不合理社会中解脱出来。闺房歌辞装载的正是这种她们认识到长期受压抑的自身处境从而发现自身价值并摸索改善方法的心路历程,她们还以此来消解不满情绪并展现各自不同的自觉过程。闺房歌辞所刻画和表现的是,在强大的儒教理念统摄下女性所能采取的最大限度的反抗与批判。 本文主要研究闺房歌辞中体现的女性意识,为此首先要对闺房歌辞这个概念下一个明确的定义。闺房歌辞是指两班贵族妇女们传唱的、称作“加沙”或“都鲁马利”的闺中文学,这种歌辞的作者或作者群不管是女性还是男性大体上是由女性享有并传唱的。 本文主要的研究目的是,以闺房歌辞体现的女性生活的变化为中心,探明朝鲜朝传统女性的女性意识。论文从真挚细腻的情感分析入手,以女性主义角度概括闺房歌辞的主要特征,同时还考察儒教封建父权制度及其造成的男女差别、以及在变革时代女性对自由的追求如何具体体现在闺房歌辞当中。 本文的闺房歌辞女性意识研究分三个章节:首先分析朝鲜朝女性的社会地位,第Ⅱ章主要概括闺房歌辞所形成的社会文化背景,对无学的美德、七去之恶与三从之道、不事二夫的烈女崇尚制度等方面进行考察;第Ⅲ章根据闺房歌辞所体现的女性生活内容分为训诫歌、花煎歌、感叹身世歌三类进行分析:第Ⅳ章对闺房歌辞体现的女性意识进行概括,主要是女性自我意识的发现、传统婚姻制度的更多还原

【Abstract】 In Korean Feudal times, with the introduction to Confucianism and accomplishmentof the culture of feudal domestic disciplines, women couldn’t keep their stable position in society, even nor at home, and they had to lead a bitter life. Although they were born historically as an independent character, women had to experience scorn of being inferior and incompetent, compared to men who were considered as the head of a family. What’s worse, there were no distinct ways to improve such unreasonable social views at all, for they were thought of as normal systems at that time. Trapped in the feudal etiquette of "seven chains of punishment" and "three chains of virtue" women couldn’t have any freedom at all. However, realizing their self-worth, they made great efforts to break away from the unreasonable systems and conditions they were confronted with. They began to reconsider their position and indicate their consciousness, using domestic songs which show willingness to improve existing problems and their complaint. So it is the most attracting part that female consciousness in domestic songs is vividly depicted in a literary way through the full resistence and criticism that women could take under the control of firm Confucian sense.The concept of domestic songs has been mentioned in this thesis to study female consciousness of domestic songs. Domestic songs are defined as the songs whose writers are women or in which women take part in the writing group and are mainly enjoyed by women, even though they are written by men. They also belong to domestic literature once called "wind" or "roll " among the noble domestic women.The purpose to study this thesis is to cast light on the conventional Koreanwomen’s consciousness, taking the changes of the women’s life shown in domestic songs as the heart.That is to say, its purpose is not only to understand the traits of domestic songs well from the view offemale literature, attentive to true and fine feelings, but to study how the Confucian feudal household discipline, the scorn on women which is based on such unreasonable discipline, and their pursuit of freedom appear in domestic songs, with the change of times.In order to study the female consciousness, this thesis is classified into three chapters and sections. In the second chapter, the social background where the domestic songs came into being has to be divided into three parts like "virtue of no learning", "seven chains of punishment and three chains of virtue", "worship of female martyrs caused by non-remarriage rules", which is essential to study Korean women’s social position. In the third chapter, the women’s life in domestic songs is divided into "taking lessons", "roaming gardens", and "complaint about a sad life". In the fourth chapter, female consciousness is mainly analyzed in three sides which are "entire discovery of women’s self, "criticism of conventional marriage" and " aspirations for the equality between male and female".To study female consciousness in the domestic songs, the methods of criticism of literary sociology, historism, and feminism are also used.Domestic songs which are not for noble men but for women show the women’slife in noble families and their realistic consciousness by singing the female problems related to them.In short, it makes all the difference that domestic songs , different from other female literature, were created in the set of the whole Korean women who suffered from the Confucian restraint and so depicted their life, even in the agony from Confucian logic, taking conformity and virginity as their creeds.更多还原