CAJ | 학술논문

哭嫁歌属于“表现型”的歌谣，是下层妇女表现自身、寻求身份的一种“群体叙事”，带有浓烈的自传性和表演性。其不仅是悲情的、感恩的、泄愤的，其也是喜庆的、彰显的、“热闹”的，暗含着女性自我肯定的“喜悦”。下层妇女通过哭嫁歌这一特殊的口传文学形式，痛快淋漓地申张了自己的主体地位，让妇女长期被男权传统及书面文字所忽视的形象得以展现在世人面前。
곡가가속우“표현형”적가요，시하층부녀표현자신、심구신빈적일충“군체서사”，대유농렬적자전성화표연성。기불부시비정적、감은적、설분적，기야시희경적、창현적、“열료”적，암함착녀성자아긍정적“희열”。하층부녀통과곡가가저일특수적구전문학형식，통쾌림리지신장료자기적주체지위，양부녀장기피남권전통급서면문자소홀시적형상득이전현재세인면전。
Wedding lament is a kind of ＂expressive＂ ballad and a kind of ＂collective narrative＂ that is used by women from lower classes to represent their selves in their search for identity. Normally the laments are highly autobiographic and performative. They are not limited to being sad, grateful, or resentful; they can also be festive, assertive, or ＂flamboy- ant,＂ implying women＇s ＂joy＂ of self-assertion. Through wedding lament, a special form of oral literature, women from the lower classes assert to the fullest their subjectivity, showing to the public their images that have long been overlooked by patriarchal tradition and its writing.