ABSTRACT Korea’s abrupt transition into modernization was followed closely by Japanese colonialism at the turn of the twentieth century. With this social and political upheaval came the sudden hegemony of novel ideologies over an established traditional Confucian system. In public discourse and literary representations of early modern Korea, women figured as emblems of the country’s larger existential crisis. In addition, the kisaeng (generally known as female entertainers in pre-modern Korea) occupied a precarious ambiguity in the public sphere as innovators of new cultural trends and persistent obstacles to domestic morality. This study examines this ambiguity as a productive, creative deliberation regarding changing roles of women in Korea. I focus in particular on the hybridization of traditional imagery depicting female chastity (chŏngchŏl) in Yi Hae-jo’s fictionalized biography of the kisaeng, Kang Myŏng-hwa, which localized aesthetics of feminism and free love ideology for Korean reading publics. Through the biographical text of Kang Myŏng-hwa chŏn, the chaste kisaeng archetype relives the classical narrative of Ch’un-hyang and her virtuous wifely love for an aristocrat. In effect, Ch’un-hyang is remythologized in Kang Myŏng-hwa in the twentieth-century as a bridge between the past and modernity.

中文翻译：

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重新编码易海祖的《姜 myŏng-hwa chŏn》中的贞洁 kisaeng

摘要 20 世纪之交，日本的殖民主义紧随韩国突然过渡到现代化。随着这种社会和政治动荡，新的意识形态突然对既定的传统儒家体系产生了霸权。在早期现代韩国的公共话语和文学表现中，女性被视为该国更大的生存危机的象征。此外，作为新文化趋势的创新者和国内道德的顽固障碍，kisaeng（在前现代韩国通常被称为女性艺人）在公共领域占据了不稳定的歧义。本研究将这种模棱两可的情况作为对韩国女性角色变化的富有成效的、创造性的审议进行了检验。我特别关注李海乔虚构的 kisaeng 传记中描绘女性贞洁 (chŏngchŏl) 的传统意象的混合，Kang Myŏng-hwa，它为韩国阅读大众本土化了女权主义和自由爱情意识形态的美学。通过姜敏华 chŏn 的传记文本，贞洁的基生原型重温了春香的经典叙事和她对贵族的贤妻良母之爱。实际上，春香在 20 世纪的《康明华》中被重新神话化为过去与现代之间的桥梁。纯洁的 kisaeng 原型重温了春香的经典叙事和她对贵族的贤妻良母之爱。实际上，春香在 20 世纪的《康明华》中被重新神话化为过去与现代之间的桥梁。纯洁的 kisaeng 原型重温了春香的经典叙事以及她对贵族的贤妻良母之爱。实际上，春香在 20 世纪的《康明华》中被重新神话化为过去与现代之间的桥梁。