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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 : 9권 0호 (1999)

웅녀·유화 신화의 행방과 사회적 차별의 체계

조현설 ( Cho Hyun-soul )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 1-20 ( 총 20 pages)
6,000
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The birth myth of state portrays the divine origin of an ancient state. Considering that the ancient state was organized and achieved by male, the birth myth is a narrative publicly discoursing the social institutionalization and formalization of masculine power. The formalization of masculine power, in other words, is the the institutionalization and formalization of sexual and social discrimination. Upon the territory of this symbolic hex, corporeal hexis is formed; individuals, whether male or female, experience and adopt the social sense through the hexis. The flee of god, is a peculiar event displayed in birth myth of state in course of developing corporeal hexis. The feature of HAEMOSU or YOURI in birth myth of KOGURYO depicts that the beginning of institutionalization of male domination is their escape from the mother, female. Another doctrine of birth myth of state is that male domination and male authority could only be acquired when the male escapes from the female and enters the male territory. Thus, the escape is a kind of sexual politics. A biological corporeality which is socially created is a political corporeality and corporeal politics. The series of escape of the hunter(progenitor myth of EWENKE), WHANWOONG(birth myth of KOCHOSUN) and the woodcutter(legend of KOMNARU) is the flow of sexual politics;the representation of the customized mode of act that is engraved in the male body through the repeated and inherited rite of passage of rulers. Loss of WOONGNYO and YOUWHA's myth is an ancient event occurred on the territory of sexual politics and system of social discrimination through materialized consciousness, which makes people accept the discrimination on the level of a collective belief or, more like a collective misconception. Hence, WOONGNYO and YOUWHA's 'becoming-the-mother-of-progenitor' is a sacred status compensated with the loss of their own myth; it is sacred, yet it is somewhat tragic that the status eludes the true face of otherized goddess. The legend of KOMNYO, another face of WOONGNYO, shows the extreme point of flow, the continuous flow of this event. Masculine domination takes effect on the corporeality of otherized goddess; WOONGNYO and YOUWHA's loss of their myth exhibits the effect.

불교 관음설화의 여성성과 중세적 성격 연구 ― 『삼국유사』 소재 자료를 중심으로 ―

김헌선 ( Kim Heon-seon )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 21-50 ( 총 30 pages)
7,000
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This article place the focus on the explication of the Avalokiesvara Buddistical tales' womanhood. Most of these tales, the Buddhist's mercy appeared the woman. Because of the man and woman is great unified Oneness. The man is monks and another characters of these tales. In these tales, monks and Buddhist mercy symbolized the harmonization between the man and the woman. Also this unification symbolized the harmonization between the upper classes and the lower classes. So these tales characterized the significance of mediaeval tales. In the mediaeval ages, the woman is low in position is contrast with the man. Nevertheless these tales signify corporation between the man and the woman without distintion.

「원님과 이방 부인의 내기담」에 나타난 부인의 문제해결적 말하기 전략을 통해서 본 여성

최경숙 ( Choi Gyeong-suk )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 51-68 ( 총 18 pages)
5,800
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In this story, the governor bets his property and the official his wife on the governor's riddles. The official's wife faces the problem that she is the object of the bet. In this kind of stories, usually the wife's child confronts the governor about the bet. But in this story, the wife herself faces the governor. The wife is inferior to the governor in some respects such as sexes and social classes. The governor's riddles has two types of characteristics. The first is that he asks the questions no one, including the governor himself, can answer. The second is that his questions cause sexual discourse by mentioning sexual organs. The wife solves the first type of riddles by telling things based on her actual experiences. Then answers the second type by substituting men's sexual organs for the animals'. By doing so, she eliminates the sexual significance and neutralizes the implication. However, this story is usually told by men. Thus the images of women in this story can reflect the women's images that men have. To begin with, this story is written in masculine view in that they bet on a woman. But the woman in this story solves her problem for herself. Also, the wife's speaking strategy has two aspects of women. So it shows dualism. It reveals men's attitude toward women that she solves riddles through experiences. Men think women lack reasoning skills so only through experiences can women make their standpoint clear. But contrary to men's thought, this indicates women's experiences can be a resistance discourse. Substituting men's sexual organs for the animals' also shows men's view that sex is a taboo subject for women. But her using animals' organs means women can regard men's organs as things. So it can be a resistance discourse that warns men not to think of women's sex as things. In this respect, the woman in 『The Bet Story between a Local Governor and an Official's Wife』 has not only the negative aspect but the affirmative aspect of women.

아라리의 여성관련사설의 주제양상과 소비지향 분석

강등학 ( Kang Deung-hak )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 69-96 ( 총 28 pages)
6,800
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Arari is a folksong for all of men and women but it's more common listen from women. Arari is overcome with emotions for women because women sing this song more common. In addition, it's words contained women's emotions, too. We can see, the topic of the women is 46.6% in the text of Arari as this writing. It means, the women's problem is very important topic of the Arari as we know. Arari is very popular to women and we can find lots of text about women's lives. But there are a few text to care for women's problems seriously. The women's mother-in-law give high-tension living to married women in Korea. The mother-in-law interfere or hold under control to women's life as convention in Korea, but it is very difficult to find women make a complaint to their mother-in-law merely we can see, they complain to their husbands. It contained sexual discontent, incompetency of husband, his indifference for his wife and so on, but to sing these kinds of lyric lines are more common for men because, the discontent for husband is written by men as a practical joke, instead of women writing. So many of women sing Arari but there is a little of view of womanhood. there are many reasons for that, basically the truth is almost all of women singers had conventional sence of value. That means women who sing this song went with the tide instead they fix the problem. As this text, we can see, the character of genre in formed by consciousness of people who sing a song.
7,400
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Seosaminyo is thought to be a genre which strongly reveals women's criticism of conventions, compared with other folk songs. In Seosaminyo women could openly speak out their mind because it is a fiction. On the premise that it is a story, women questioned the conventional problems and conflicts that they had experienced in their life in Seosaminyo, which grew to be a medium expressing their opinion and relieving their oppressed feelings. The ways to solve problems which women showed in Seosaminyo are sometimes extreme and impulsive. These tendencies are often found in songs of Sijipsalee(시집살이노래), songs of conflicts between a woman and her husband's family and songs of love-conflicts between wife and husband, which experiences are universal in the married women. This article intends to study these aspects, relating them to the consciousness of women in the low class who mainly sang and enjoyed Seosaminyo. Women's behaviours in Seosaminyo are very different from those of real women in life. They show impulsive outrage and negative consciousness of reality which rise in one's mind when one is forced to accept the situation which one cannot accept. For women who suffered tension in the strict ethical norm, Seosaminyo might function as a sort of catalyst relieving their outrage and oppression submerged in their mind. In songs women singers and audience might experience the psychic relief, identifying their lives with those of women characters. The tendencies to express extreme behaviour in songs are closely related to the reality in which women could not gain their own voices culturally and socially. The experiences of women who were alienated in culture and society were excluded in the discourse of men which formed the ruling ideology. As a reaction to the oppression, women might express the overflowing of their rebellious feelings. Women singers and audience might experience the sympathy in the criticism of injustice of society, the relief of their pressed mind, and the power to overcome the tedious days of labour. Therefore women characters in Seosaminyo were found to represent women's lives and women's consciousness to reality which could be sympathized by real women suffering oppression in the patriarchal society. Seosaminyo, a genre closely related to the reality of women in the traditional society is thought to be a genunie woman's literature. Understanding the way of speaking in Seosaminyo explains not only the characteristics of oral literature but also the creative minds of women singers who also enjoyed Seosaminyo. Seosaminyo with the tendency of daily lives is assumed to be a turning point where women sang a song in a daily language and it may serve as a standard to judge creativity of its singers and audience. Inspite of limits of the period and class, discussions of the style of Seosaminyo which is a representative woman's literature will help us to understand women's lives, women's consciousness, and women's creativity.

서사무가에 나타난 여성의 형상

최원오 ( Choi Won-oh )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 131-150 ( 총 20 pages)
6,000
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The feature of a woman grasped from Seosamooga is ideal and real. If say a feature represented as a symbol of productivity or almighty is ideal, the feature represented with chastity, labor not only in household but also on field, and duty to give birth of male child is a form of real. An ideal feature of a woman is relevant to the origin of Seosamooga. Since Seosamooga had originally sung in a festival, it can be said that the symbol of productivity or almighty was the fundamental of a goddess. Later, the symbol has been gradually changed to the fundamental of a woman in livelihood. That is a feature of a real woman. We have to think of the dynamical relations between a woman and Seosamooga in the changing process from ideal toreal features of a woman. Because, it is deemed that the song originally sung in festivals has gradually held the features of women detained in real lives and latently contained the desire to escape from the binding through ceremonies of festivals.

제주도 본풀이에 나타난 여성서사시의 양상과 의미

이경하 ( Lee Kyung-ha )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 151-180 ( 총 30 pages)
7,000
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This study aims at looking around the whole aspect of women's epic in Che-ju island. Generally, Dang-bonpuris(당본풀이) have not a whole-life-style, but a lot of Dang-bonpuris that accept 'heroic-whole-lifetime' structure, show narrative enlargement. Ilban-bonpuris(일반본풀이) that sing the origin of goddess, generally has a whole-lifetime-style, but the heroine characters are not singular. On the whole, there are two groups, that is the type of accentuating goddess authority and the type of accentuating woman's bitter. From these facts, we can infer that formation and change of women's epic get accomplished by literary-internal cause and literary-external cause. The former is the fact that it goes with an epic genre. The point is the acceptance of 'heroic-whole-lifetime' structure. The latter is the fact that ideas of women have changed with the changes of the times. These changes of ideas would have an influence on the women's epic through three steps. First step is revealed through a godmother‘s character of the primitive goddess, next step shows a character that has a motherhood of ancient goddess and heroine, and the last step is revealed through a dependent character of medieval heroine. We can think that these changes of ideas would make women's epic abundant.
6,500
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In the literature of Pansori(판소리), lots of women can be seen but most of them are lower classes. Especially in contrast with the dishonest males, females are portrayed constantly honest. But Ongnyu(옹녀), the heroine of Pyunkangsoi-ka(변강쇠가) is a very interesting character distinguishing from other affirmative portrayed females. Because it's not depicted only for positive point of view. Rather than a negative point of view is prevailing. One way she is portrayed as a licentious woman craving for passion, the other way she is as a powerless womanfolk. It's not for sure why it is portrayed twofold. While, in the late 19 century, Shin, jae-hyo(신재효) remade Pyunkangsoi-ka, he seemed to raise it as a licentiousness. We cannot confirm its above reason. Because now Pyunkangsoi-ka remade by Shin, jae-hyo is left over only, not an original one. However there are lots of plausible proofs for why it's been true that Shin, jae-hyo‘s remakes makes it. First, Shin, jae-hyo is a man who has corrected many things of them while remaking Pansori six works. Second, the appreciation review about Pyunkangsoi-ka before remaking is different from the remade Pyunkangsoi-ka by Shin, jae-hyo. And then why Shin, jae-hyo bring Ongnyu into relief as a licentious woman? It is as follows. First, Ongnyu is a kind of woman newly born in a urban atmosphere. Second, the negative point of view about those women deserves Ongnyu special emphasis as a licentiousness. Finally, the negative aspect of Ongnyu is a collaboration of a newly urban atmosphere and the class of Pansori who regard them as a threat to an existing govern system. We, however, can read a man-centered medieval govern system is seemed to be decayed from a condemnation about the negative configuration for Ongnyu.

할미마당의 갈등구조와 할미의 인간상

전신재 ( Jeon Shin-jae )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 207-229 ( 총 23 pages)
6,300
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Mask plays which are transmitted in around the Korea have included the hag section. An old wife(hag), an old husband(the hag's husband) and a concubine are shown in the hag section. The conflict among them are expressed differently according to regions. Kasan Ogwangdae(Five Actors) : Where the hag and son dominated home discipline are presided, the old husband and the young concubine are against them. Their hostality against the hag and son dominated home discipline has resulted the death of the old husband by the ancestor god. Tongyoung Ogwangdae,Kosung Ogwangdae : The hag drops in to see the old husband who is settled down with the concubine. Trying to take the concubine's son as her child, she is killed by the concubine. Suyong Dulnorum, Dongrae Dulnorum(Field Play) : While the hag leaves the house wondering around and the old husband is settled down with the concubine, the hag is killed by the old husband. Bongsan Talchum(Mask Dance) : While the hag wonders around alone and the old husband wonders around with the concubine, the hag is killed by the old husband. Yangju Sandaenori, Songpa Sandaenori(Play) : By the hag's death, the scattered families have got together and the spirit of the dead hag prays for the families'well-being. As the above, the family is continuously collapsing and the hag is trying to keep the home discipline.

‘해산거리’의 여성 축제적 성격

허용호 ( Heo Yong-ho )
한국구비문학회|구비문학연구  9권 0호, 1999 pp. 231-257 ( 총 27 pages)
6,700
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Most of korean folk dramas embody carnival world. Liberation of all sorts of the hardened order, institution, oppression is possible in the carnival world of korean folk dramas. However most of korean folk dramas are androcentrism. Female characters which are chracterize in the korean folk dramas are insignificant person or live a oppressive life. Although sometimes active and resistant female character may appears, the female character's fate is end in a tragedy. But Haesan Geori(해산거리) which is one Geori of the Donghaean Bealsin Gut(동해안 별신굿) Geori Gut(거리굿) has different feature. this paper is study on the Haesan Geori. The main content of Haesan Geori is childbirth which is female's own experience. The full course of childbirth is straightforwardly peformed in the Haesan Geori performance. Though it is performed by male performer, the world of female carnival which enjoy female's own experience is created by public exposing of childbirth, and positive participation, response of female spectator. The female character's image demonstrate female carnival feature of Haesan Geori, too. Free and easy action of Haesan Mo(해산모: a woman delivered of a child) who is female character of Haesan Geori is good example. She not only reveals full course of childbirth, but also defies taboo of childbirth. Also she is superior to male, is not scapegoat of child death. These image of Haesan Mo can not find in other folk drama. The case that carnivalisque female character positively stands in the center of carnival is rare. Like this, Haesan Geori creates the world of female carnival. The reason that the world of female carnival can be create is ritual safeguard which is called Bealsin Gut(별신굿). Because of the ritual safeguard, Bealsin Gut, the world of female carnival which is quiet different from androcentric world is possible. But this carnival world is not complete. Because of an inclination of preferring a son to a daughter exist in Haesan Geori. In the world of female carnival, an inclination of preferring a son is inconsistent. The fact that this inconsistency is possible is because the world of female carnival which Haesan Geori creates does not subvert order of androcentric society. Though there is an inclination of preferring a son, significance of Haesan Geori is not disappear. Female carnival features of Haesan Geori, that is, expressing and enjoyment of female's own experience, carnivalisque female character Haesan Mo etc., among the korean folk dramas which most of them have male carnival feature, have unique value.
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