관기의 문학 공간은 크게 공적 공간과 사적 공간으로 구분할 수 있다. 공적 공간은 주로 宴․遊宴 등으로 표현되며, 사적 공간은 會․小集․小會․혼자만의 공간 등으로 다시 구분할 수 있다. 宴과 會는 공동체 공간이라는 점에서는 상통하지만 공적 공간과 사적 공간이라는 점에서 큰 차이가 있다. 특히 운초는 관기의 신분으로 役을 수행하는 자리에서 시를 지을 경우와 役에서 벗어나 소실이 된 뒤 다른 사람들과 함께 한 자리에서 시를 지을 경우를 구분하고 있다. 이는 자신과 詩가 연회의 흥을 돋우기 위한 도구임을 항상 의식하고 있는 官妓, 자신이 詩를 위한 모임에 참여한 小室임을 구분하여 표현하는 태도로 보인다. 조선시대의 여성이 가족의 단위를 넘어 시회를 가질 수 있었던 것은 일반적으로 그들이 남성․바깥세상과의 교류가 가능한 신분이었기 때문이다. 그렇다면 어떤 여성의 시회도 기생들, 기생첩들이 참여하는 모임만큼 자유롭고 활발하지는 못하였다. 이로 미루어보면 조선 후기에는 기생․기생첩들의 시회가 다양하게 존재했을 가능성이 있다. 19세기 전반기에 한양에서 雲楚, 瓊山, 錦園, 瓊春, 竹西 등이 한 그룹으로 문학 활동을 하였다는 점은 이미 ‘삼호정시사’라는 명칭으로 알려진 바이다. 그런데 이들의 문학 활동과 모임은 三湖亭보다는 오히려 五江樓･一碧亭 등에서 더 활발하게 이루어졌다. 이들을 운초그룹이라 명명할 수 있다. 운초 그룹은 운초의 오강루, 경산의 일벽정 등 시회 구성원 각자의 별장과 정자를 두루 다니며 매우 빈번하고 활발하게 시회를 열었다. 운초 그룹의 구성원들은 모두가 모임의 주체가 되어 자신의 정자와 별장을 시회 장소로 제공하며 매우 적극적으로 자신들의 문학 공동체에 참여하였다. 오강루, 일벽정, 삼호정 등에서는 운초, 경산, 금원, 죽서, 경춘이 주관하는 시회뿐만 아니라 남편이 주관하는 시회도 자주 열렸다. 운초 그룹 구성원들이 그 시회에 참여하기도 하였다. 또한 운초 그룹은 관기 시절에 교류를 맺었던 벌열층, 정치에서 소외된 사대부 문인층, 중인층 등 다양한 계층의 남성들과 지속적으로 교유를 하였다. 물론 이들이 각 지방 관아에서 벗어나 한양에서 다시 만날 수 있었던 데에는 남편들의 역할도 중요하였을 것이다. 그러나 운초 그룹 구성원 개개인과 남성들과의 직접적인 교유관계가 운초 그룹의 시회 결성과 분위기에 영향을 미쳤다. 이들은 대부분 19세기에 활발하게 시회 활동을 하였던 인물들이다. 따라서 여성 문학 공동체의 형성 과정에는 남성과의 교유관계, 특히 남성 시회와의 교류가 매우 중요한 역할을 하였다.

State gisaeng's literary space can be distinguish into public and private spaces. Among above sharp bifurcation of literary space, Banquets and banquets on travel are public space, weather gatherings and small gatherings are private space. However in the both banquets and gatherings the tenets of people to people contact or the idea of get together can be derived. They are entirely different from the idea of spaces. The former is public space while the latter is private space. Uncho had entirely different attitude when she composes poem for enjoyment in group after she became a concubine from when she compose poem as a state gisaeng in order to execute her official job. Gisaeng's were only permitted to freely associate with men and participate in social activities in the Chosun society. The status of gisaeng's was respectful in many way and no other women were able or allowed to enjoy such freedom which they prevailed. It;s same depiction even in the literary sources. During the early 19th century Uncho, Seomsan, Keomwon, Seomchun, and Jukseo made a literary circle called Samoho villa sisa. However, their literary activities were mostly played at Ogang villa and Ilbyeok villa rather than Samho villa from which their circle name originated. Ogangru is Uncho's resort villa and they can be called Uncho group. Remarkbly, Ogang villa, Ilbyeok villa, and Samho villa had organized Uncho, Seomsan, Keomwon, Seomchun, and Jukseo's poetry gatherings as well as the poetry gathering by their husbands, close relatives and friends. Uncho's group has continued their association with men from diverse social classes, such as powerful aristocrats, intellectuals estranged from the political power, and middle class. Thus this group has incorporated all people through the conducting poetry gatherings. Their social association was possible on behalf of their husbands. Nevertheless, it is very meaningful that their social association had strong effects on their poetry group and poetry, that can provide such new aspects for more scholarly debate. As we can highlight that the concept of social association with men and men's poetry group played an important role in the formation of women literary community during the Chouson dynasty.

State gisaeng's literary space can be distinguish into public and private spaces. Among above sharp bifurcation of literary space, Banquets and banquets on travel are public space, weather gatherings and small gatherings are private space. However in the both banquets and gatherings the tenets of people to people contact or the idea of get together can be derived. They are entirely different from the idea of spaces. The former is public space while the latter is private space. Uncho had entirely different attitude when she composes poem for enjoyment in group after she became a concubine from when she compose poem as a state gisaeng in order to execute her official job. Gisaeng's were only permitted to freely associate with men and participate in social activities in the Chosun society. The status of gisaeng's was respectful in many way and no other women were able or allowed to enjoy such freedom which they prevailed. It;s same depiction even in the literary sources. During the early 19th century Uncho, Seomsan, Keomwon, Seomchun, and Jukseo made a literary circle called Samoho villa sisa. However, their literary activities were mostly played at Ogang villa and Ilbyeok villa rather than Samho villa from which their circle name originated. Ogangru is Uncho's resort villa and they can be called Uncho group. Remarkbly, Ogang villa, Ilbyeok villa, and Samho villa had organized Uncho, Seomsan, Keomwon, Seomchun, and Jukseo's poetry gatherings as well as the poetry gathering by their husbands, close relatives and friends. Uncho's group has continued their association with men from diverse social classes, such as powerful aristocrats, intellectuals estranged from the political power, and middle class. Thus this group has incorporated all people through the conducting poetry gatherings. Their social association was possible on behalf of their husbands. Nevertheless, it is very meaningful that their social association had strong effects on their poetry group and poetry, that can provide such new aspects for more scholarly debate. As we can highlight that the concept of social association with men and men's poetry group played an important role in the formation of women literary community during the Chouson dynasty.

, , , , , , ,

Uncho Circle, yeon, sihoe, samhojeong, ogangru,