일제강점기 한성권번과 권번시조

Abstract

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.