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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Existing research on sinminyo displays the following two problems. Firstly, there is to some extent insufficient consideration of the contemporary social conditions, and interpretations and evaluations of works were carried out according to the researchers' biases. Secondly, due to an insufficient understanding of the consumers of sinminyo, the research has been unable to uncover the complete meaning of these works.
To solve these problems in the existing research, this paper looked at sinminyo from a contemporary perspective and sought to uncover its meaning. Through this methodology, the situations of the producers and consumers of sinminyo in the 1930s were examine, and it was then revealed how interpretations and evaluations of sinminyo works would differ when looking at the texts with these situations in mind.
In the aspect of contemporary perceptions and consumption, sinminyo may be said to be a meeting of the pursuit of and longing for things Korean. Sinminyo are works created by the producers pursuing things Korean and the consumers longing for things Korean. The producers and consumers of the 1930s chose sinminyo because sinminyo had a relatively strong Joseon flavor about them.
Next, taking as our premise this sort of situation, an analysis of sinminyo works was attempted. It was discovered that 'Joseon taryeong," which praises the land of Korea, contained an ardent desire for the future, and this was the successor to traditional wording.
Unlike the opinions to be found in existing research, sinminyo did not degenerate or become hybridized, it was a form of popular song that carried out many trials and experiments within a transitional process. The revival of sinminyo is also important in terms of the traditional succession of popular songs. The revival of sinminyo can begin with the end of negative perceptions of sinminyo. This paper is significantas a first step toward a new evaluation of sinminyo.
To solve these problems in the existing research, this paper looked at sinminyo from a contemporary perspective and sought to uncover its meaning. Through this methodology, the situations of the producers and consumers of sinminyo in the 1930s were examine, and it was then revealed how interpretations and evaluations of sinminyo works would differ when looking at the texts with these situations in mind.
In the aspect of contemporary perceptions and consumption, sinminyo may be said to be a meeting of the pursuit of and longing for things Korean. Sinminyo are works created by the producers pursuing things Korean and the consumers longing for things Korean. The producers and consumers of the 1930s chose sinminyo because sinminyo had a relatively strong Joseon flavor about them.
Next, taking as our premise this sort of situation, an analysis of sinminyo works was attempted. It was discovered that 'Joseon taryeong," which praises the land of Korea, contained an ardent desire for the future, and this was the successor to traditional wording.
Unlike the opinions to be found in existing research, sinminyo did not degenerate or become hybridized, it was a form of popular song that carried out many trials and experiments within a transitional process. The revival of sinminyo is also important in terms of the traditional succession of popular songs. The revival of sinminyo can begin with the end of negative perceptions of sinminyo. This paper is significantas a first step toward a new evaluation of sinminyo.
목차
Ⅰ. 머리말
Ⅱ. 생산자와 수용자의 소통과 대화
Ⅲ. 신민요 작품 다시 보기
Ⅳ. 맺음말 : 실험과 시도로서의 신민요
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UCI(KEPA) : I410-ECN-0101-2009-673-017603021