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논문검색은 역시 페이퍼서치

구비문학연구검색

Journal of Korean Oral Literature


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-019X
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 10권 0호 (2000)

한국(韓國) 민담(民談)의 샤머니즘적인 모티프에 대한 연구(硏究)

곽진석 ( Kwak Jin-suk )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 1-22 ( 총 22 pages)
6,200
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As we consider the foundation of the pre-historic Korean culture, there is a inclusive correlation between many motives of Korean folktales and the shamanistic belief. From this point of view, there are many shamanistic motives reflected in the Korean folktales. These are otherworld-journey motif, hole·cave motif, helping animal motif, and cosmic tree·world tree motif, etc. I think that these motives have a close correlations with the shamanistic belief. The hero tale which has a literary mode having a long tradition is equal to shamanism in the type and the motif. So I think that shamanism includes such archetype of narrative as hero tale.

판소리 명창 박록주의 예술세계

김석배 ( Kim Seok-bae )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 23-52 ( 총 30 pages)
7,000
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Park, Rok-Ju(1905~1979) was the celebrated singer of pansori which has left a clear trace centering around the history of modern pansori. This paper tried to make a contribution in building up her great position as arranging her artistic life and the world of art that has exerted a beneficial influence upon the history of modern pansori. She was a central figure of continuous pansori system from the 1930's to the 1970's. Even if she has gotten into action as a leading actress of Changguk[Korean Folk Operatic Song] from the 1930's to the 1970's, it was the legitimate pansori that she has persisted in to the last. As she has left a large amount of sound recording in the SP disk under the rule of Japanese imperialism and the LP one after liberation, we can figure out her art world. Her art world as a rare ballad singer of Tongpyonje[the Eastern School of pansori] in the middle of female master singers is as follows; First, she stores away the tradition of Tongpyonje pansori just as it is. Second, her sound is ancient and simple-hearted, but has a deep taste. Third, she tried to create the pansori toward matching her vocal sound and art view. Fourth, Hungbo-ga[Song of Hungbo] is his favorite performance, and Chebi Nojeonggi[Song of the Swallow's Journey], Pak-taryeong[Song of the Gourd], Pitan-taryeong[Song of the Silk], and Paekpal-ga[Song of the White Hair] which is called tan-ga[short song] among them are tonum[her singing style].

아기장수이야기의 신화적 주제 탐색

김영희 ( Kim Young-hui )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 53-86 ( 총 34 pages)
7,400
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The folktale of 'AGICHANGSU(아기장수 : Baby Warrior)' is the story that a extraordinary baby is killed by his parents, relatives, or neighbors. The folktale has been handed down at many regions in Korea for a long time. It is very typical story and power sustaining its tradition is also strong. In this story, Baby's death is caused by his mother. Considering universal sense that the relation between mother and son is the root of all the human relation and the mutual affection is the most original human emotion, the theme of this folktale is contrary to general human feeling.-'infanticide by kin' is one of the mythological motifs. In addition the family relation is attached great importance to in traditional agricultural society. It is important that nonetheless many people have sustained oral tradition of the story and have reserved the moral judgement of his death. Though traditional storytellers have thought his death an injustice, they have kept telling the folktale without varying the story. The essential meaning is induced from the conscious tension between considering his death as an inevitability and opposing killing him. And the meaning offers some senses about problems brought in any time concerning essential conditions of human-being. These senses are concerned with mythological theme. There are three mythological motifs in the folktale of 'AGICHANGSU'. They are ' demigod', 'initiation', and 'sacrifice-mechanism'. 'AGICHANGSU(아기장수 : Baby Warrior)' has both attributes of God and attributes of Human, so he is a 'demigod'. 'Demigod' in mythic narrative symbolizes the contradiction and the limitation of human being that has been independent of God recognizing himself as human being though he has kept longing the complete and entire world of God. It represents the ontological conflict and the conversion of the ontological thinking. His death represents 'initiation'. The motif of 'infanticide by mother' symbolizes the initiating process that a child becomes independent of his mother and is born again as social-being mentally. And the oral narration is supposed to be a kind of initiation itself. Most oral narrators of this folktale listen to the story in childhood. And his death presents 'sacrifice-mechanism', considering that he is regarded as the cause to drive the group into a crisis and is killed by a social group. In social context this motif is interpreted as the violence of the minority by the majority and as constraint of the social identification. He is killed by members of his own society because he is different from other members except himself, so it presents the mental conflict between group consciousness and individual consciousness.

서해안지역 설화의 특성 연구 ― 인천광역시의 구비전설을 중심으로 ―

소인호
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 87-115 ( 총 29 pages)
6,900
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The purpose of this study is to classify the comparative trait of the oral literature around the area of Incheon. Firstly, as wide-spread legends, I examined those of Agijangsu(아기 장수), Jangjamot(장자못), Sanidong(산이동), Dallae(달래). Among them, Agijangsu and Jangjamot have high degree of distribution and many variegated forms. Another types of wide-spread legends have low degree of distribution, as well as being separated from basic forms. Nextly, as regional legends, I examined those of natural things, artifacts, persons and geographical designations, customs and beliefs. In case of natural things, there are many types of tales about rocks, mountains, ponds and springs. Some of them show the traces of regional myths. And the tales about temples, fortifications, and shrines of tutelary deity were inspected as representatives of artifacts. Tales about persons and geographical designations bear a unique regional personality, because they are closely connected with the history and geography of that region. In case of customs and beliefs, the tales about Imkyungup(임경업) and Sondol(손돌) are inspected as representatives, which are entangled in the fishing custom of yellow corvina and the origin of cold weather. The Imkyungup tales has been fixed as regional legends, being added with his prominent wisdom and ability upon his real historical deeds, and being naturally connected with the fishing custom of yellow corvina around the Yeonpyung(연평) island. The Sondol tales express the antipathy of lower classes which is symbolized as a disaster of nature. Finally, I inquired the oral modificational aspects of documentary literature and classical novels such as < Sageumgap(사금갑) >, < Simchungjun(심청전) >, < Chunhyangjun(춘향전) >, etc. In those ones, very interesting modificational aspects were found, which are variously modified by the principle of oral transmission and the regional peculiarity.

민간연희의 존재방식과 그 생명력 ― 동해안 별신굿의 거리굿을 중심으로 ―

신동흔 ( Shin Dong-hun )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 117-157 ( 총 41 pages)
11,600
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This study aims at analyzing how Korean traditional folk drama has survived and what the aesthetic characteristics are through “Keo-ri gut(거리굿)”, which is shaman drama performed in “Pyul-shin gut(별신 굿; village exorcism)” at east coast, Korea. The “Keo-ri gut” has been spontaneously transmitted to the current society with a great deal of support of ordinary people. This study tries to figure out what the resource is to make the gut still alive. From this study, I find that the “Keo-ri gut” has the very inner quality to survive until the current time period. The “Keo-ri gut” has realized the fun as well as significance as a ‘play/ritual’ which resolves pain and suffering of ordinary people who take part in the gut through wit and joy. The “Keo-ri gut” has got the dramatic effect by setting the place of performance as the place of the drama. In the “Keo-ri gut” everybody including the performer(shaman), spectators, and various spirits communicates very freely and comes to being together, which realizes the joy as a play and the significance as a ritual. Self-devaluation by the performer, mocking of spectators, and the aesthetics of the inversion where the current social order is reversed function as achieving the unity beyond the barriers between people, and between the spirit and people. For this purpose, the narrative method in the performance is adopted, which results in heightening the joy of the play. This aesthetics of the play has caused young students who just want to watch the “gut(굿, exorcism)” to participate in the play, which also results in making the “gut” not makeshift but natural. This is a clear example to show how the Korean traditional folk drama can survive beyond the limit of time and space. In conclusion, this researcher can say that the aesthetics of the Korean traditional fork drama which the “Keo-ri gut” clearly shows can be fully applied to that of the present and the future.

한국 가면극의 형성과 송대잡극

안상복 ( An Sang-bok )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 159-188 ( 총 30 pages)
7,000
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This paper is aimed to make an inference to when the mask drama appeared in Korea. In order to reach this aim, I used a comparative study and took a three step discussion method. In the first step, I suggest a possible relationship between the Choson dynasty's 'sohakjihee(笑謔之戱)' and the contemporary mask drama. And I have found evidence to support this point. In the second step, I carried out a comparative study on relationship between the korean mask drama and tradition of 'songjaju(宋雜劇)'. And the results of this study confirmed my suggestion. The possible relationship was proved by several aspects. For example, both the korean mask drama and 'songjaju(宋雜劇)' consists of kwajang(科場) or duan(段), a dramatic form of mask drama and characters etc. In the third step, I tried to investigate the date of origin of the mask drama. Cnsidering several reasons, I concluded that the korean mask drama appeared during the Koryo dynasty at latest.

<부정한 제사음식> 설화의 변이와 그 의미 ― ‘신벌형(神罰型)’을 중심으로 ―

정재민 ( Jung Jae-min )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 189-217 ( 총 29 pages)
6,900
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The Korean Folktale Boojeonghan-Chesayumsik is a type about of unclean event of ancestor worship. The Import of this story is composed of five synthetic paragraphs a) An salt sailer sleep in the side an cemetery and then he overhear ancestor's talk about unclean event of rite for them and a burn as divine punishment. b) The salt sailer seeks for descendants and inform the ancestor' talk. c) After getting the truth on the ancestor's talk, the descendant faces each other so as re-performing sacrificial rite or preparing medical treatment for the burn. d) Finally descendants cure the burn completely and since then they hold cleanness of memorial service for their ancestors. In accordance with ancestor's talk and descendant's attitude, Boojeonghan-Chesayumsik tales divide three low type Ⅰ, Ⅱ and Ⅲ. There are wide differences between them. Firstly the low type Ⅰ transmits on the ancestor oriented cognition and shamanic or folkloric ancestor worship belief. Secondly the low type Ⅱ is based on the ancestor-descendant oriented cognition and folkloric or confucian ancestor worship belief. Thirdly the low type Ⅲ shows the descendant oriented cognition and confucian ancestor worship belief.

<춘향가(春香歌)> 결연(結緣)대목 서술방식(敍述方式)의 연원(淵源)과 변모(變貌)

정충권 ( Jeong Choong-kwon )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 219-246 ( 총 28 pages)
6,800
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The patterns of describing the scene that Mong-Ryong and Choon-Hyang establish ralations in Choon-Hyang-Ga, were originated from those of seosamuga(서사무가), especially Je-Seog-Bonpuri(제석본풀 이). The patterns of describing the scene that man and woman establish relations in Choon-Hyang-Ga are similar to those of Je-Seog-Bonpuri, as both receive usefully unit-words from Seong-Jo-Ga(성조가). And, pansori and seosamuga are subordinate to oral narrative poetry. So, in the evolutionary piont of view, I think that those of Choon-Hyang-Ga were originated from those of Je-Seog-Bonpuri. In the early stage, oral poets described cheerfully the scene that man and woman establish relations in Choon-Hyang-Ga, using unit-words from Seong-Jo-Ga. But gradually, oral poets try to describe the scene sorrowfully and try to stress on person`s mental state. In the long run, the affair that man and woman establish relations in Choon-Hyang-Ga inclines to the truly human affair. This is a sign of modern-inclination.

<서산 박첨지 놀이> 연구

허용호 ( Heo Yong-ho )
한국구비문학회|구비문학연구  10권 0호, 2000 pp. 247-293 ( 총 47 pages)
12,200
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The purpose of this study is mainly related to two subjects. One is concretly to investigate Seosan Parkchumji Nori(서산 박첨지 놀이). The other is to investigate puppetry feature of Seosan Parkchumji Nori, through comparative of Kukdoogaksi Noleum(꼭두각시놀음). For the this purpose, this study is to investigate transmission origin and change of performing context, performing method, performing contents. The result of this investigation, we confirm that Seosan Parkchumji Nori is lively to transmit and still to perform under natural situation. And we confirm concrete performing features that differ from Kukdoogaksi Noleum in many way. Let's rearrange the above argument briefly. From the latter half of 1920's Seosan Parkchumji Nori have transmitted by village people who live in Tapgugri 4gu, Eumammen, Seosansi, Chungchungnamdo(충청남도 서산시 음암면 탑곡리 4구). Through village people's active and voluntary transmit effort, the performance is lively maintain up to now. At first, Seosan Parkchumji Nori performance is to offer a field of festival. After this, the performance is gradually to change as the pride of village or a representative symbol of village. Through investigation of transmit origin, we acknowledge that Seosan Parkchumji Nori is introduced from the outside. But Seosan Parkchumji Nori does not follow the outside performance. Rather Seosan Parkchumji Nori performers have developed unique performing method and contents. ‘Voice play of one man one role’, ‘employment of Seosan dialect', ‘as a index of situation change, use of song Teru Terua Teruya(떼루 떼루 떼루 야)’, ‘unique puppetry of opening blind man's eyes’, and ‘characteristic movement of speaking puppet’ are characteristic performing methods of Seosan Parkchumji Nori's own. Performing contents also have unique features. The subject of male's rudeness critique is further intensified. The subjects of critique are other characters who constitute family as well as first wife. Not to mention Parkchumji's first wife(박첨지 큰마누라), Parkchumji' younger brother(박 첨지 동생), wife's brother Myngno(박첨지 처남 명노) are altogrther to criticize Parkchumji(박첨지). The critique of the powerful classes in society is futher exact. Pyngyang Gamsa(평양감사) who bothers the people is exactly satirized. The critique of ideal falsehood which is expressed through conflict between a religious man/woman and secular man/woman is very uniquely unfolded. First, Buddhist priest's distinction of sex is female. It is peculiar property of Serosa Parkchumji Nori. And the development of contents is aim at affirmative thought of Buddhism or Buddhistic miracle. The contents development that blind man whose sight is to lose because of Pyngyang Gamsa is to open eyes through Buddhist mass express Buddhistic wish-fulfil of the suffering people. Through above argument, we confirm concrete entity of Serosan Parkchumji Nori. Which is differ from performer, performing method and contents of Kukdoogaksi Noleum. Therefore Serosan Parkchumji Nori takes up a unique position of the folk puppet play.
7,400
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This study compares Pyolsin Kut in the East coast of Korea and Redaisai in the East-North area of Japan. The purpose of the study is to investigate the substance of Japanese shamanistic culture, 우 the assumption that both Korean kut and Japanese Redaisai traditions are similar as community rituals. Comparison was made in the order of regions, rituals, shamans and communities, and contents of the rituals. The Japanese shamans are differentiated from the Korean counterpart in the aspect that they do not form a kinship society, and lead rituals independently. However, the role of Howooin [the community leader] in Japan, and that of Dangjoo in Korea appear similar. The function and role of Miko [shaman] in Japan is also alike to that of Mudang in Korea. Especially the social role of Miko and the content of rituals, which the Miko organizes, are almost the same as Mudang's. The artistic group in the Japanese ritual such as Kakurashu has a unique character, which cannot be found in the Korean ritual: nevertheless, the role of Kakurashu played in the Redaisai is comparable to the Korean counterpart. In both Japan and Korea, Participants in the rituals are composed of the natives of the community. However, the Japanese case has more religious characters. The contents of rituals are compared by function. It is inferred that the order of rituals in Japan and Korea are different, but in a similar structure. Maeul Jesa [The community sacrificial rite] in Korea is equivalent to Sikiten in Japan. Kolmaeghi Seonang Kut in Korea is comparable to Kongensama in Japan; Bujung Chunjwa Kut [a ritual for purification] to Yudate; Ekmaki [kick out evil spirit] to Magatabe; Kongsoo[prophesy] to takusen. However, Kakura led by mask dancing is a unique Japanese rituals, which cannot find a counterpart in Korea. However, it can be suggested that the male shaman's play in the Korean Kut has some function similar to that of Kakura in Japan.
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