The Theory of FengYa-ZhengBian indicates the theory that resorts the Book of Songs into upright poems(Zhengshi) and denatured poems(Bianshi) according to time background, contents or playing methods of poems. This theory has received negative evaluation through the history of study of Confucian classics, because it was just aroused not till Han Dynasty, and it reflects interpreters’ subject opinions. However, we believe that it still has its own values in understanding the interpreters’ recognition process and social background that bore the awareness of time. The research about main discourse of the theory in China has already done in my advanced research, so this essay focuses on its discourse in Joseon Dynasty. The essay is mainly divided into two parts: the discourse applying the theory of FengYa-ZhengBianin in Shihjing interpretation and the other one detaching it in Shihjing interpretation. In the first part, we look into the view points of emphasizing time order of poems’ creation, of expanding to the theory, and of focusing on literary characteristics of the theory. In the second part, we examine the scholars who indicate the limitations and contradictions which the theory has, the attempt of separating the theory from the Shihjing itself, and the viewpoint of denying the theory. This result shows that the process Korean scholars went through was never simple or uniform, while they accept the typical statements of Shihjing Hermeneutics during Joseon Dynasty. The existing researches have rarely attempted the diachronic study about typical statements of Shihjing Hermeneutics in Joseon Dynasty. This essay attempts to read out diverse viewpoints reflected in understanding the theory of FengYa-ZhengBian through Joseon Dynasty. we hope this attempt could contribute to revealing the diverse understandings of Korean scholars about the more typical statements of Shihjing Hermeneutics.
2. 風․雅正變論을 『시경』 해석 전반에 개입시킨 논의
3. 風․雅正變論을 『시경』 해석 체제와 분리시킨 논의