일제강점기 한성권번과 권번시조

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The purpose of this study is to examine the establishment process of Hanseong Gwonbeon (government female entertainers guild) and Gwonbeon Sijo in the Imperial Japan’s forced occupation period, and to understand its contents and meaning. First, this study looked at the establishment background of Gwonbeon through the process of change in the Gisaeng (government female entertainers) system. Next, this study looked into the establishment process of Hanseong Gwonbeon, Korea’s first Gwonbeon, and looked at Sijo works that introduced Hanseong Gwonbeon.
 In the Imperial Japan’s forced occupation period, Gisaeng changed along with the era and system. Joseon’s Gisaeng, who played an important role in the country as official-government-gisaeng, changed their role and meaning with the change of era. Gisaeng, who was recognized as a professional entertainer, had a sexual image emphasized through the Imperial Japan’s forced occupation period. This is because the distinction between Gisaeng, who practiced skills and arts, and Changgi (prostitute-gisaeng), who engaged in prostitution, gradually became blurred. This change in perception of Gisaeng distorted and made the image of Gisaeng negative.
 However, in the Imperial Japan’s forced occupation period, Gisaeng sought to discover their own meaning and value within the changed society and system. The Gisaeng of Hanseong Gwonbeon honed their skill-art and engaged in various social activities within the guild and system of Gwonbeon. As their activities can be confirmed through newspapers at the time, through the contents, it can be found that the Gisaeng of Hanseong Gwonbeon attempted to inherit the tradition as art entertainment professionals. It can be seen that Gisaeng clearly distinguish themselves from Changgi (prostitute-gisaeng).
 The works of Sijo express Hanseong Gwonbeon through metaphors and symbols, and take the form of a question and answer in the form of a couplet. This method is a frequently used feature in the works of Sijo in the Joseon era, and it was confirmed that these works follow the style of Sijo in the Joseon era.

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  • Feb 29, 2024
  • Barun Academy of History
  • Jihye Kang

The purpose this study is to examine the establishment process of Daejeong- Gwonbeon in the Imperial Japan's forced occupation period and Gwonbeon's Sijo based on Daejeong-Gwonbeon, and analyze its content and meaning. First, by exploring the change process of the Gisaeng (female entertainers) system, this study attempted to examine the characteristics of the Gisaeng system and changes in perception of Gisaeng in the Imperial Japan's forced occupation period. Next, this study tried to understand the process of Daejeong- Gwonbeon's establishment and its meaning through Sijo works based on Daejeong-Gwonbeon.
 In the Imperial Japan's forced occupation period, Gisaeng's role and perception changed after the abolition of the government-gisaeng system. Gisaeng, who was recognized as an artist with expertise, participating in Joseon dynasty national events and various banquets, was perceived as a professional woman who made her living from the craft since the Imperial Japan's forced occupation period. In this way, the change in the Gisaeng system and perception of Gisaeng was due to social changes at the time and had a great impact on Gisaeng themselves.
 In this situation of the times, Daejeong-Gwonbeon's Gisaeng tried to prove their own value as artists. Daejeong-Gwonbeon's Gisaengs tried to emphasize their aspect as artists through dance and song within the changed system. Especially as well as traditional dancing and singing, they tried to differentiate themselves from other Gwonbeons by showing their own unique performances by utilizing their various fortes.
 These characteristics of Daejeong-Gwonbeon are also clearly visible in the Sijo works included in the 『Joseon Beauty Bogam』. Sijo, created in the form of a question-and-answer dialogue, expresses the characteristics and prosperity of Daejeong-Gwonbeon through chrysanthemums and nature. The metaphors and symbols that appear in the works, as well as the question-and-answer form in parallel form, are a typical feature of Sijo, which was often used in the Joseon dynasty, which confirms that the Sijo works created based on Daejeong- Gwonbeon follow the traditional Sijo style.

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  • The Korean Society of Gyobang and Culture
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The purpose of this study is to examine the establishment process of Hannam-Gwonbeon during the imperial Japan’s forced occupation period and Sijo (formal poetry) works that introduced Hannam-Gwonbeon, and to analyze their content and meaning. The main characteristic of Gisaeng (female entertainers) during the imperial Japan’s forced occupation period is that they escaped from the status of government-gisaeng. As these changes had a significant impact on the Gisaeng system and Gisaeng activities, before analyzing their works, this study attempted to explore the change process of the Gisaeng system. Based on this, this study attempted to grasp the meaning of Hannam-Gwonbeon by examining Hannam-Gwonbeon’s establishment process and the Sijo’s works that introduced Hannam-Gwonbeon.
 During the imperial Japan’s forced occupation period, after the abolition of the government-gisaeng system, as the Gisaeng crackdown decree was implemented, the Gisaeng guild was established to manage these people of Gisaeng. Gisaeng was recognized as one of the occupations that make a living from dancing and singing. In a capitalist society, Gisaeng’s various activities became a means of making money.
 Hannam-Gwonbeon were a Gwonbeon, the majority of whom were from Namdo (southern Jeolla province). Although its size was smaller than other Gwonbeon guilds, their Namdo Sori gained popularity as a special talent, and they used that advantage as a competitive advantage. These characteristics of Hannam-Gwonbeon also appear in their Sijo works. ‘Wolgyehwa (laurel flowers; 月桂花)’ and ‘Nambangjigang (南方之强)’ would mean their effort and sincerity, and at the same time, they mean those Gisaeng (Gwonbeon) with outstanding skills from Namdo. Through this, it can be seen that Hannam-Gwonbeon’s unwavering momentum and hope for eternity.
 These Gisaeng of Hannam-Gwonbeon learned their skills with constant effort and sincerity amidst the changes of the times and sought to be recognized for their technical-artistic abilities through performances. For these Gisaeng, technical-artistic crafts were not simply a means to make money, but a means to prove their worth as artists with tradition and expertise. Therefore, Gisaeng during the imperial Japan’s forced occupation period should not be recognized only as a sexual object, but there is a need to re-identify as artists who continued the tradition and passed it on to future generations.

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Women's Sexual Labor and State in Korean History
  • Dec 1, 2004
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  • Chung-Hee Soh

Journal of Women's History 15.4 (2004) 170-177 [Access article in PDF] Women's Sexual Labor and State in Korean History Chunghee Sarah Soh Having studied the "comfort women" issue over the past several years, I have come to the conclusion that the enduring historical patterns of asymmetrical relations between Korean women's sexual labor and its appropriation by state institutions constitute a major underlying, social psychological factor that contributed to overall societal indifference to the horrific ordeals former comfort women suffered for nearly half a century before the transnational social movement for redress began in the early 1990s. 1 Countless young girls and women in colonized Korea (1910-1945) and elsewhere in East Asia and the Pacific islands, whose estimated numbers are up to 200,000, were forced to engage in sexual servitiude by the imperial Japanese military during the Asia Pacific War (1931-1945). 2 The majority of the young females recruited as comfort women came from lower classes. Many were deceived by "human traders" who lured them with promises of well-paying jobs only to deliver them to brothels and military comfort stations. Some, however, chose to leave home, not out of economic necessity but in search of independence and freedom from domestic violence against and gendered mistreatment of daughters. 3 In addition, we should note here that one of the strategic reasons why imperial Japan targeted Korean unmarried women in their recruitment of military comfort women was the fact that they were sexually inexperienced, due to the cultural emphasis on and strict social enforcement of the cult of female virginity in Korean sexual mores. Furthermore, it should be pointed out that in the Korean history of women's enforced sexual labor, imperial Japan was not the first foreign nation to take advantage of its superior political power position in the exploitation of Korean women's sexual labor. More than 700 years ago, when the Koryo Dynasty (918-1392) on the Korean peninsula came under the Mongols' domination at the end of a thirty-year warfare (during which about half of a million women and children were taken by the Mongolian army), the Korean state was forced to round up young females and send them as kongnyo (literally, "tribute women") to the Mongols of the Yuan dynasty (1271-1368) for over eighty years. 4 The tribute women were the Mongol's version of the comfort women. The Chinese demand for Korean kongnyo did not stop with the demise of both Koryo and Yuan dynasties. The state of Choson Dynasty (1392-1910) continued to recruit and offer kongnyo to China's Ming dynasty (1368-1662) until around 1521. 5 [End Page 170] In the seventeenth century, when the Manchus vanquished Ming and came to power, the Korean nation suffered two Manchu invasions in 1627 and 1636, and hundreds of thousands of Koreans were forcibly taken to China. When some of the captured women returned home, they were regarded as defiled women and rejected even by their families. 6 Many of the returnee women hanged themselves, and it is said that their corpses littered the streets. The term hwanhyangnyo (literally, a home-coming woman, referring to the returnee women from China) degenerated into hwanyangnyon (a promiscuous woman, or a slut), to be despised and ill-treated. 7 The painful prejudice and ostracization that Korean returnee women suffered more than three centuries ago still resonate deeply in the psychological fear of social stigmatization that comfort women survivors have experienced in their postwar lives in contemporary Korean society. To understand the centuries-old pattern of societal rejection of survivors of forced sexual labor, we need to consider the systemic binary division of women according to normative functions of their sexuality in the history of Korean patriarchy. The majority of women, who were socialized to be obedient wives and selflessly devoted mothers, was taught to regard virginity to be more precious than life itself, while a small number of women was trained to entertain men professionally, offering bodily services for sexual recreation. From the social structural perspective of Korean history, state...

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  • Research Article
  • 10.1017/s1557466007021092
Traveling through Autonomy and Subjugation: Jeju Island Under Japan and Korea
  • May 1, 2007
  • Asia-Pacific Journal
  • Koh Sunhui + 1 more

SummaryDespite centuries of subjugation by larger neighbours—Joseon Korea, Imperial Japan, and South Korea—Jeju island society has maintained a distinct identity and a measure of autonomy. Relations with both Korea and Japan have at times had devastating effects on the islanders, but also contributed to the dynamism of Jeju island society and opened up new routes for islanders to continue traveling as a vital part of their social life.

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