지원사업
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
Hwajeonnori(the play of flower shaped cake) is not a just play but a festival. The women oppressed under patriarchal social structure had left their home and performed their own festival at the beautiful scenery every spring. The study investigated the festivity and cultural meaning of the Hwajeonnori on the basis of the songs of Hwajeonnori. The reason is that they are just poetical compositions which literarily describe a whole course of Hwajueonnori but have value as a faithful ethnography depending on the faces.
The tradition of Hwajeonnori departed from the Mrs. Suro’s spring picnic in the Shilla dynasty. The Episode of her represented the diachronic structure that ‘the separation from dailylife repressing women, the entry into the non-dailylife and promotion of status, the separation from non-dailylife, and the incorporation into dailylife and newly stating dailylife’. If we say it is ‘the Suro Model’, it continues the later Hwajeonnori. The home symbolizes a dailylife of women oppressed under the patriarchal social structure. The women establishes their own releasing arena with leaving their homes. They freely dances, sings songs, giggles and chatters. And they reflects their situations and criticizes the society and the ideology making them so. That is to say, it happens many affairs which rarely in dailylife sphere. But the Hwajeonnori is just a instant thing. They must go back home symbolizing daily-life. They have an experience of release on the Hwajeonnori. They more actively live their dailylife only during they have the experience of release.
In this aspect, I think that the Hwajeonnori has been a festival of women’s release and a utopian model which let women assure human life.
The tradition of Hwajeonnori departed from the Mrs. Suro’s spring picnic in the Shilla dynasty. The Episode of her represented the diachronic structure that ‘the separation from dailylife repressing women, the entry into the non-dailylife and promotion of status, the separation from non-dailylife, and the incorporation into dailylife and newly stating dailylife’. If we say it is ‘the Suro Model’, it continues the later Hwajeonnori. The home symbolizes a dailylife of women oppressed under the patriarchal social structure. The women establishes their own releasing arena with leaving their homes. They freely dances, sings songs, giggles and chatters. And they reflects their situations and criticizes the society and the ideology making them so. That is to say, it happens many affairs which rarely in dailylife sphere. But the Hwajeonnori is just a instant thing. They must go back home symbolizing daily-life. They have an experience of release on the Hwajeonnori. They more actively live their dailylife only during they have the experience of release.
In this aspect, I think that the Hwajeonnori has been a festival of women’s release and a utopian model which let women assure human life.
목차
Ⅰ. 수로부인과 화전놀이
Ⅱ. 꽃과 음식, 가무악희(歌舞樂戱)와 신명풀이
Ⅲ. 수로모델과 화전놀이의 문화적 의미
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