물화(物化)된 여성의 몸 — 주이준(朱彝尊) 영물사(詠物詞) <심원춘(沁園春)> 12수 (Objectified woman’s body - Zhu Yizun’s 12 ci poetries "Qinyuanchun")

서지정보

· 발행기관 : 한국중문학회
· 수록지 정보 : 중국문학연구 / 75호 / 99 ~ 131페이지
· 저자명 : 김하늬

초록

주이준의 영물사 <沁園春> 12수는 南宋代 劉過로부터 시작된 <심원춘> 사패로 여성의 몸에 대해 노래하는 전통을 이어가면서도, 보다 다양한 소재를 사용하였고 聯章體의 형식을 사용하여 하나의 서사를 완성하였으며, 작자의 결핍과 욕망을 재현한 특정 여성의 이미지를 생산하였다는 점에서 이전의 여성의 신체를 다룬 작품과 차이가 있다. 이는 작자 주이준의 개인적인 생애의 영향을 받은 것인 동시에 ‘사물[物]’을 바라보는 명청 교체기 지식인의 시각의 변화를 반영한 것이기도 하다. 본고에서는 이 작품들을 구체적으로 분석하여 청초 여성의 신체를 다룬 영물사가 어떠한 환경에서 발전하였으며, 그것이 묘사하고 있는 여성 형상이 어떠한 특징과 의미를 가지는지 밝히고자 한다.

영어초록

This study aims to examine the 12 works from “Qinyuanchun”, poetry collection of Zhu Yizun who was an author and poet during the early Qing dynasty. The 12 works from “Qinyuanchun” by Zhu Yizun are serial poetry on women body parts as written in “yongwuci” (Ci poetry on things) style. Since the first two poems in “Qinyuanchun” style by Liu Guo on women’s foot and nails during the southern Song dynasty, there has been such trends of lyric songs and poetry on women body parts in “Qinyuanchun” tunes before becoming one of main styles when Zhu Yizun wrote 12 works in “Qinyuanchun” during the early Qing dynasty. Zhu Yizun extended the scope of “yongwuci” (Ci poetry on things) by writing about gall bladder and internal organs, where it was meaningful for him to have not only visibly seen things but also abstract areas to be included in “object” category for song lyrics and poetry.
In addition, it was the first attempt made by Zhu Yizun to use serial poetry form in order to complete 12 works on individual body parts into one story. During the early Qing dynasty, many authors and poets were highly interested in “yongwuci”, which was related to the reason they created poetry on women body parts, and this was the complete reification of women from the perspective of male intellectuals. Male intellectuals herein recognize “women” as complete “others” being interested in, observing and inspecting female body in voyeuristic eyes as the one to not to be emotionally understood and sympathized but to be “inspected” and “desired”.
The trends of “yongwuci” during the early Qing dynasty are completely different to poetry of despair as drifting people of a ruined country reflected into objects by male intellectuals in the southern Song dynasty.
For male intellectuals during the early Qing dynasty, ‘Yongwu’ was for the demonstration of their knowledge and entertainment. And they were more interested in singing about an object itself rather than revealing their inner side, which was male intellectuals’ changed thinking at that time that “object” and “myself” are separated in recognition. In this cultural context, “yongwuci” on women body parts became trends and took its place during that time.

참고자료

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