?연당전?과 ?순금전? 비교 연구 : 여성 형상을 중심으로

김정윤 동국대학교 일반대학원 2022 국내석사

So far, we have compared and analyzed the stepmother-type Korean novel 「Yeondangjeon」 and 「Soongeumjeon」. Although the two works are derived from <Bride Without Hands> and share the main narrative, the differences in the characteristics and narratives seen through the novelization process of the tales, especially the appearance and shape of the female protagonist, were striking. This is a noteworthy issue in understanding the response patterns of female characters and their flow in the stepmother-type novels of the late Joseon Dynasty. Following this discussion, the important points are summarized as follows. First, the overall outline and central narrative structure of <Bride Without Hands> were identified. Among the domestic tales that are considered to be the types of <Bride Without Hands>, each part showing the overall narrative structure was selected and the narrative paragraphs were examined. The main narrative structure examined was also implemented in common in the two works to be analyzed. In the meantime, there has been no lack of interest in works derived from the tale of <Bride Without Hands>. The derived novels are broadly classified into the series 「Yeondangjeon」 and 「Soongeumjeon」. The former has almost the same form as the narrative structure of <Bride Without Hands>. On the other hand, in the latter case, ‘death of mother and recruitment of stepmother’, ‘manipulation of abortion’, ‘hand amputation and expulsion’, ‘marriage’, ‘husband's past’, ‘hand regeneration’, ‘stepmother discipline and happy ending’ are the same. Circumstances where other factors were involved were confirmed. In other words, it was confirmed that the process of ‘hand regeneration’ was modified, ‘the birth of the main character’ and ‘stepmother's letter manipulation and re-expulsion’ disappeared, and other narratives were added. The two series were also discussed as an extension of the stepmother-type novel. Therefore, I tried to grasp the characteristics of the stepmother-type novels, 「Yeondangjeon」 and 「Soongeumjeon」, by classifying them into an early type and a late type. As a result, it can be noted that the two works generally show the characteristics of the late stepmother type novel. As such, it was confirmed that the focus was on national or family problems rather than individual problems, and that the mythical and strange character in the heavenly world was greatly reduced and the mythical and strange character in the earth world was secured. In addition, it could be seen that the emphasis was placed on strengthening the Confucian ideology by showing that the subject who successfully implemented the virtues of Confucianism was victorious. In particular, the late-type protagonists came from the Yangban class and they overcame hardships by relying on their outstanding patience and ability. This is made clear in the scene where Soongeum raises a family even after going through hardships and forces her husband to go through the manor. Also, in the case of 「Yeondangjeon」, the hand regeneration was interpreted as the restoration of maternal love and viewed as evidence that it was close to the late stepmother type novel in terms of the restoration of the family. Next, in the narrative, one of the most noteworthy points in this study, the similarities and differences between the setting of hardship and its overcoming were analyzed. Although the two works contain the main narrative of <Bride Without Hands>, ​​the difference in the novelization process has become clear. In particular, 「Soongeumjeon」 is characterized by its novelization, which is different from 「Yeondangjeon」, such as the appearance of various extras and narrative development through the use of narrative and dream material. In other words, by examining the use of the plot of the extras, the organic structure of the narrative structure was established, and a kind of ‘fictional truth’ was realized through the material of dreams. The author took the method of presenting the plot of the narrative in advance by showing the reader the method of the play called a dream, using it as a double track for the future narrative development and obtaining the confession of the stepmother. In Chapter III, the female image and social image were grasped by examining the aspects of the female figure shown by the two main characters of 「Yeondangjeon」 and 「Soongeumjeon」. As a result, the female image of Yeondang can be viewed as maternity and social conformity. The two parts embody the image of a social woman, not by spontaneous desire, but by Yeondang acquiring the desire of the ‘mediator’ father, who is the social mirror. Based on this, it was found that the maternity of Yeondang was strengthened through the event of hand regeneration after being expelled. On the other hand, Soongeum showed the Confucian norms of life after marriage, ability to management of property, and govern a family, a capable wife, as suggested in the Book of 󰡔Yeo-Hoon-Seo󰡕. However, in the process, pure gold was given a role as a traditional woman by emphasizing the function of a female servant. However, pure gold has been reborn as the owner of an independent female consciousness in the direction of enhancing one's ability to meet such social demands. It was also possible because she was a woman who was well-educated, that is, able to write. In short, if Yeondang had a limited role in the direction of conformity to the patriarchal order, Soongeum could redefine its position in the family order through study even in a harsher environment. As such, as a result of comparison between 「Yeondangjeon」 and 「Soongeumjeon」, it was confirmed that the female figure of the main character was shaped differently due to the difference in environment and background. The images of women shown by ‘Yeondang’ and ‘Soongeum’ are found to overlap and converge or to split into different images of women. In summary, Yeondang is a figure that shows the adaptability and maternity of women well, and Soongeum is a subjective and active figure. Both works are based on the tale of <Bride Without Hands>, ​​and although they are stepmother-type novels, their aspects differed according to the female figure. Nevertheless, in that the central narrative of the two works has not changed, the messages and themes of the works are basically on the same line. It was also at the heart of producing social discourses about women in the late Joseon Dynasty. Also, the difference in the female figure was so great that it could be said that it was almost the opposite. It seems impossible to conclude that this method of dichotomy is a cross section that shows the changed perception of women in the contemporary society. However, through the different aspects of the two women, it is possible to estimate to some extent the reality and level of the desires of women at the time. It's not that there's no problem left. In this study, the personality of the two series was limited to distinguishing them broadly by focusing only on the shape of female figures and their differences. However, there are currently several versions of the two series, and it is highly likely that more versions will be discovered in the future. In some of these versions, the female protagonist's speech and psychological description are more complex. In the future, if the two series are approached with these differences in mind in mind, it is judged that research that goes beyond the simple structure like the present one is possible. We will leave this as a future task.

제임스 게일의 「雲英傳」 번역 양상 연구 : the sorrows of Oon-yung을 대상으로

정민진 동국대학교 2019 국내석사

James Scarth Gale(1863-1937) was a 19th-century missionary from Canada who had stayed in Korea for almost three decades and left enormous achievements not only in the mission field but also in the field of literature. He had left the English translated version of classical Korean novel Unyŏng-jŏn, which was only recently been academically noticed. Although the necessity of studying Gale’s writings and translations had long been emphasized, there are still areas in which research is still only emerging. “The Sorrows of Oon-yung”, Gale’s English translated version of Unyŏng-jŏn is one of which. Unyŏng-jŏn is one of the most noted 17th-century novel in the history of Korean Literature for its exceptional theme and expressional mode. The translation of this novel is included in a script titled ‘Old Corea’ which contains more than a dozen Korean scholars’ various writings including short notes and poems followed by Gale’s comments. Unyŏng-jŏn is positioned under the title of ‘Corea’s Typical Story’ which is the last chapter of the script. This chapter is composed simply by the sole novel, with no introduction or commentary note. However, it can be presumed that he had intentions on rewriting the History of Korean Literature that was debased by others who had introduced Korean Literature as a set of plain and uninteresting stories by the fact that he had chosen and thoroughly translated Unyŏng-jŏn, an exceptional story in the History of Korean Literature. Although the novel would be considered rather unique and exceptional than ‘typical’, Gale had intentionally placed the piece under the title of ‘Corea’s Typical Story’ in the last chapter of a book which writes of overall Korean Literature, customs and culture to create a positive or at least progressive idea of Korean novels. In chapters III and IV, the background of his translation is analyzed the work was examined in depth by comparing with the original Hanmun version of the novel. First, it is concluded that the actual Hanmun script which Gale had translated from is not existing anymore or at least undiscovered yet. Although the content of Gale’s translation is quite similar to one of the scripts preserved in the National Library of Korea, there are some lines and words indicating evident differences. And there are particular points in Gale’s translation which show precise correspondence to some other scripts than the one of the NLK. There are more than thirty manuscripts discovered and yet not one could be considered as the exact piece Gale had acquired. Unyŏng-jŏn is a framed story where a 17th-century scholar Yu Yŏng meets some people from the 15th century in his dream and the people, and Kim Chinsa, tell their stories to Yu Yŏng and the reader of the book. In the original version of the novel, the story of Yu Yŏng is written in third-person perspective whereas the story of Unyŏng and Kim Chinsa is written in first-person perspective. The narrative structure is credited to be unique and sensational for the time being. However, Gale had altered the structure and made Yu Yŏng to speak as a first-person narrator. This had resulted in eliminating the unique structural characteristics of the novel. Likewise, there are some mistranslation leaded by his intention or sometimes by simple mistakes. In part three of chapter III, I have divided the cases of translation into three themes to further examine the details. Firstly, Gale showed strong preference for a meaning-for-meaning translation over a word-for-word translation. If a role of word in the novel is merely practical, he would replace it by English words even when it is native Korean noun. On the other hand, he would delicately translate the words which are rhetorically functioning. Secondly, it was found that the translation showed a reflection of Gale’s religious beliefs. Not only he had mistranslated ‘sky[天]’ or ‘parents[父母]’ into ‘God’ or ‘heaven’ but he would also not distinguish the difference between the words such as ‘Taoist god[玉皇]’, ‘god[神]’ or ‘spirit[鬼].’ He would translate these different words into ‘God’ which had resulted eliminating Korea’s cultural/religious thoughts. At some points, words or phrases with religious meanings are thoroughly translated especially when it is related to Buddhist beliefs. Lastly, the translation of poems in the novel showed a exquisite skills. Some parts were found mistranslated but the overall poem translation showed great details and thoughtful consideration of choosing words. In chapter IV, Gale’s intentions and aim of translation is examined. The translator is the first reader of the novel and his understanding would interfere the way of translation. Translators would basically aim on influencing the readers and because of that, the translated novel would be given a new color. First of all, Gale had emphasize the speech of Unyŏng. He would make her speak more directly and concretely than the original novel. It had resulted her to become a different character and play a different role. Gale also understood Prince’s aim and his relationship with other characters so that he would explain these in more details in the translation. He would also emphasize the love triangle of Unyŏng, Kim and the Prince by adding a word complimenting the Prince’s appearance and using direct word such as ‘love.’ This study has investigated Gale’s English translated version of classical Korean novel Unyŏng-jŏn. His translation style was discussed and the details of each cases were examined. This study has also paid special attention to the translator’s aim in re-writing the story. Although the novel would be considered rather unique and exceptional story in Korea, Gale had intentions on making it to be seen as a ‘typical’ story. He would also emphasize particular theme and motifs in the novel as well by using more direct and concrete word and eliminating some words in the translation.

조선후기 한문 단편서사의 遊俠 연구 : 『우초신지』와 비교를 통해

오경양 동국대학교 2014 국내석사

This study is about Chinese language short stories of latter period of Joseon Dynasty, by contrasting with the Chinese story collection “Yu Chu xin zhi” of early Qing Dynasty, analysising of similarities and differences between China and Korea and revealing “chivalrous people” works literary significance of latter period of Joseon Dynasty. Chivalrous people as a special group of civil society, with extraordinary charisma. They were highly skilled in martial arts, but never show off their talents; they are indifferent to fame and fortune, the pursuit of a free life. The identity of the mysterious chivalrous people, no one knows their names; their action is strange, no one can master their whereabouts. Chivalrous people credible and hate evil as one did their enemy and maintain the folk hero of justice. Chivalrous people literary works of latter period of Joseon Dynasty compared with China's “Yu Chu xin zhi”, between the two there are many common features, such as justice, vengeful, etc. Also, because of cultural differences creative background, China and South Korea chivalrous people crafting. Late Joseon Korea chivalrous people, although with extraordinary talent, but he has not been appreciated and forced to bury the folk, showing the Maxima epic proportions horses regret. Chivalrous people in “Yu Chu Xin Zhi” are in a turbulent period in the seventeenth century, showing the subjugation of the Ming resentment. It is a prosperous period for classical novels of latter period of Joseon Dynasty. The late Joseon Korean chivalrous people works stimulates readers’ interest, liked by readers of all ages. It advocates Lutheran and appeals to discover talents and conforms to the development of the times, but also enriches the content of Korean classical novels in the history of Korean literature and paints a brilliant stroke.

<周生傳>의 비극성 연구

정성인 동국대학교 2014 국내석사

본고는 16,17세기 서사환경의 변화와 작가 권필의 심리적 상황을 살펴 <주생전>의 비극성을 분석하는 논문이다. 작가 권필의 생애에서 결핍감과 유랑하는 삶속에서 느껴지던 정착에 대한 욕구는 주생에게 투영되어 있다. 이에 주생은 배도와 선화와의 결연 등 서사 전개 과정에서 결핍감과 유리하는 삶을 보여주고 있다. 이 두 가지 심리는 서사 진행에 따라 조응하게 되면서 비극성을 강조하는 양상을 보이고, 주생의 고뇌는 열린결말구조로 인하여 고취되어 비극적인 정조의 여운을 남기게 된다. The purpose of this study was to find the source that creates tragedy by paying attention to the tragedy that is perceived in 「Jusaengjeon(周生傳)」. The preceding studies understood that mainly the aspect of love biography's tradition and the influence of war create the tragedy of 「Jusaengjeon」. However, this study considered that other viewpoints are required to completely comprehend the tragedy that governs 「Jusaengjeon」. In this connection, it examined the narrative environment until the 17th century and accordingly, the recognition change process of the literatus. Moreover, it closely analyzed the narrative structure of 「Jusaengjeon」 that emerges in accordance with the life of the author, Kwon Pil. Since the wave of 「Seolgongchanjeon(薛公瓚傳)」, novels were used for the purpose of enlightenment. But novels that dealt with the issue of desire rather than social ideas were created. Among them, particularly the emergence of 「Suseongji(愁城誌)」 notified beforehand the opening of the age that an internal motive was emphasized in the creation of novels. This revelation of the internal creation motive was in concert with the situation of war that occurred in the 17th century and became a chance to produce works of various layers. The creation of 「Jusaengjeon」 was related to the life of the author. The meaning of a family to Kown Pil was an incomplete component. This was because separate from the real existence of a father, Kwon Pil felt fatherhood' absence. In addition, it is found that while wandering in war, he underlaid the desire to settle down at an emotional level instead of the settlement at a surviving level. This lifetime environment hints to us that psychology of absence and desire for settlement to Kown Pil were being formed in his subconsciousness. The author's emotion and situation were reflected in the behavior and psychology of Jusaeng of his work. The characters in 「Jusaengjeon」 are laid respectively in the situation of absence. However, even though Jusaeng confronted the situation of absence, he did not feel lack. But as he arrived at Jeondang and met Bedo and Seonhwa, Jusaeng started recognizing his situation. Therefore, recognition of lack followed by absence and desire for settlement in life that could not help being wandering to an unavoidable situation were revealed. Furthermore, as the two psychological situations corresponded to each other, it was found that the phase of tragedy gradually rose. War in the works of the similar period, 「Choicheokjeon(崔陟傳)」 and 「Unyeongjeon(雲英傳)」 was presented as an object that can be overcome. The war appearance of 「Choicheokjeon」 describes not only male and female main characters but also misery suffered by the community. Even though a direct war phase is not shown in 「Unyeongjeon」, war atmosphere governs the whole work from the establishment of the ruined palace. Like this, each trace of war is shown differently but at last, recovery of the community and relationship establishment of man and woman led to overcome it. However, the war in 「Jusaengjeon」 is not the object to overcome. The war in 「Jusaengjeon」 plays a role in more amplifying psychology that was felt in the situation in which Jusaeng could not help wandering from absence. Therefore, Jusaeng more absorbed in his problematic situation in war and could not expect hope for the future. Like this, the tragedy in 「Jusaengjeon」 could not be concluded but could not help continue endlessly.

『청구야담』의 轉載과정과 編制양상 연구

남궁윤 동국대학교 2020 국내박사

본 연구에서는 『청구야담』의 작품 전체를 대상으로 전대 이야기와의 전재관계와 양상을 고찰하여, 작품집의 구축과정과 체제를 살폈다. 19세기 야담은 크게 19세기 초·중반의 야담과 후반의 야담으로 나뉜다. 전자는 전대 야담의 창작적 흐름을 이어 받았지만, 후자는 이미 저술된 이야기를 다시 모아 집대성한 경향이 있다. 이에 본 연구에서는 먼저 『청구야담』의 찬술시기를 재검토하여 1830∼1834년으로 잠정하였다. 그런데 『청구야담』은 19세기 전반과 후반 사이에 자리하면서도, 이 시기 야담집과 다른 독자적 성격을 지닌다. 『청구야담』의 다음과 같은 성격이 이러한 사실을 증명한다. 첫째, 『청구야담』은 이미 저술된 전대 이야기를 모아 찬술한 야담집이다. 이것은 『청구야담』과 전대 13종의 야담집, 16종의 문집 및 잡록류, 그리고 구연 전통을 잇는 이야기와의 전승관계를 살핀 결과이다. 『청구야담』과 전승관계를 확인한 이야기는 총 191화 가량으로, 전대 야담집과 전승·전재관계가 있는 작품은 172화, 문집과 잡록류와 전승·전재관계가 있는 것이 29화 가량이다. 그리고 구연적 경향이 있는 민담류 유형과 당대 경험을 수록한 작품은 십 여편 이상인 것으로 파악하였다. 결과적으로 『청구야담』은 총 290화의 작품 중 2/3이상을 이미 있는 이야기를 전재한 것이라는 점에서 그 성격 또한 전대 이야기를 모은 찬집으로 일변된다. 한편, 『청구야담』의 찬자가 전대 이야기를 모으더라도, 시대별, 야담집별로 일정한 작품 유형과 패턴이 있다는 점도 논의를 통해 주지하였다. 둘째, 『청구야담』은 적층된 이야기를 전재의 방식으로 구축한 야담 총집이다. 『청구야담』의 작품은 오랜 시간 구전과 기록이 반복되다 서사물로 정착된 경향이 있다. 그러나 이 또한 『청구야담』에 전재되기 이전의 문헌들에 이미 서사화된 형태로 존재했던 것이다. 이는 동일 화소의 이야기라고 해도 각 문헌에 정착되었을 때, 전체 작품집의 속성 안에서 혹은 개별 작품의 또 다른 형태로서 의미를 갖는다는 뜻이다. 이런 점에서 『청구야담』의 전재양상은 중요한 의미를 갖는다. 『청구야담』은 전대 이야기의 전재로 이루어진 작품이더라도, 전재된 면모와 양상이 작품마다 제각각이기 때문이다. 실제로 그 작품 선택의 경로와 전재양상에 따라 해당 작품은 전대 이야기와 변별되었다. 『청구야담』의 전재양상은 크게, 전대야담집 소재 작품의 전재, 복수의 문헌에 실린 작품의 전재, 구연되던 이야기의 전재로, 각각의 양상이 다른 형태와 특징을 지녔음을 확인할 수 있었다. 이는 그대로 수록하거나, 일부 변개를 가하거나, 오랜 구연과 기록의 반복적 과정을 거친 이야기를 수록하거나, 구연전승 되는 이야기를 수록하거나 하는 방식이었다. 셋째, 『청구야담』은 전재할 이야기를 서사성이 고양되는 방향으로 조직하고 배치하였다. 『청구야담』은 성격이 다른 문헌, 다른 시대, 다른 인물 이야기간의 조합이라도 개별작품을 일관성있게 다듬어 수용했다. 때문에 단일 작품집으로 통합적 체제를 유지할 수 있었다. 이는 전재와 구성에서의 일관성으로 이야기의 사실 증명을 중요하게 여기지 않았고, 흥미성이 담보된 이야기는 그대로 가져 왔으며, 서사의 초점이 불분명한 이야기는 추가, 탈락 등의 방식으로 전대 작품을 조직하고 배치하였기에 가능했다. 요컨대, 『청구야담』은 전대 작품을 전재하며 정연하게 편제한 야담의 통합적 결과물로 구축된 작품집이었다. 그런데 『청구야담』에는 이러한 전재와 편제방식이 적용되지 않는 이야기가 있다. 바로 효, 충, 열을 다룬 작품이다. 이를 주제로 한 『청구야담』의 작품은 상당히 긴 분량의 평을 전혀 탈락시키지 않고 그대로 전재한 경향이 있었다. 『청구야담』은 비록 서사성을 제고한 형식의 편제를 취했지만, 당대 이념의 중요한 국면을 담은 이야기는 그대로 수용하고자 했던 것이다. 이처럼 『청구야담』의 전재방식과 구성체제는 어떤 종류의 작품집을 가져오더라도 일관되게 이루어졌다는 점에서 『청구야담』의 문학적 성취를 가늠할 수 있는 중요한 준거가 된다. 이상의 본 연구는 『청구야담』의 그간 연구적 평가를 재고하고, 전재된 작품의 내적 의미 부여에 새로운 방향을 제시해 줄 것으로 여긴다.

『青丘野談』과 『虞初新志』 소재 신선담 비교연구

왕정선 동국대학교 2017 국내석사

在東亞文化圈中,神仙是一個具有悠久歷史並被廣泛認知的概念。神仙的長生不死以及神通廣大等特征對於想要突破現實界限的人們具有很大的吸引力,因此無論在中國還是在韓國,人們對神仙的關注從未間斷過。特別是在文學領域,兩國都產生了許多關於神仙的敘事文學作品,即神仙談。神仙談的敘事特征並非一成不變的,而使隨著時代背景的變化而變化。總體而言,作品中神仙的形象是從玄妙莫測往人性化,世俗化方面轉變的,其作品內容亦是從虛無縹緲的神仙世界逐漸轉移到紅塵紛擾的現實世界。簡單的說,與現實社會相結合反應現實問題是中韓兩國神仙談的總體發展特征。作為本文研究資料的韓國最高水準的野談集《青丘野談》和明末清初的文人張潮所編撰的《虞初新志》中所載的神仙談便具有濃厚的現實色彩。雖然兩國學者各自對兩部文學作品進行了不少研究,但是以神仙談作為對象進行的比較研究尚未實現。本文中筆者將借鑒兩國學者的先行研究成果,對《青丘野談》和《虞初新志》中所載神仙談進行比較研究,從而更好的把握神仙談的實質內涵,更好的了解兩國文化。 本文的第一部分,首先具體分析了兩部作品集中神仙的形象,并進行了分類。《青丘野談》中神仙的形象主要分為渡世救人的施惠型,驚世駭俗的玄妙形,以及仙女與凡人結緣的情墜凡塵型。《虞初新志》中神仙的形象主要分為脫出紅塵的出世型,以異術遊戲人間的入世,以及著重描寫仙女才能,與男主人公心靈相通的真才實情型。承接第一部分所分析的內容,第二部分主要分析了神仙談中所包含,反應的現實問題。《青丘野談》所反應的朝鮮王朝後期,隨著商品經濟的發達,社會面貌發生了一系列的變化,人們對財富,身份等方面的慾望空前強烈,其中未能跟上時代變化潮流的沒落兩班階層和廣大的平民階層。他們靠自己的力量很難改變艱難的生活現狀,因此通過神仙談菜獲得暫時的,精神方面的滿足。還有,經歷了壬辰倭亂和丙子胡亂的朝鮮民眾對戰時的民不聊生,生靈塗炭有著深刻的印象。因此,及時戰爭結束了很久,人們對戰爭的反省和感悟也從未間斷,這種反省和感悟演化成時刻了對國家和個人命運所持有憂患意識,通過神仙談表達了民眾反對外侵,守衛國家的意志和對安定生活的渴望。《虞初新志》的編撰者張潮作為明末清初的文人,經歷了明朝的滅亡和清朝的建立,他所收錄的作品大部分亦是明末清初時期的士人所著。因此,《虞初新志》所載神仙談主要反映了當時漢族士人的思想和意志。當時的漢族士人並不認同清朝的統治卻又對此無可奈何,只好通過神仙談來吐露他們對現實的不滿和對故國的追思。在文學創作方面,繼承了晚明文學思潮的漢族士人以表達人的真實純粹的感情為出發點進行了神仙談的創作。本文的第三部分,首先對前面的內容作了簡要的概括,然後分析了神仙談的性格特征和意義。將神仙這一非現實要素嵌入作品中,不僅能夠提高作品的趣味性,得到讀者的喜愛,而且有些作品能夠使讀者在享受作品內容的同時不知不覺地受道教化,從而實現神仙談的教化作用。 《青丘野談》和《虞初新志》在兩國各自的文學史上都有重要的地位,通過比較研究兩部作品集所載的神仙談,能夠更好地把握兩國神仙談的內在蘊意,也希望能夠對兩部作品集以及兩國文化的理解方面有所幫助。

「花史」의 역사 재현 양상과 그 의미 연구

조새남 동국대학교 2019 국내석사

在韓國文學史上,文人林悌的作品被大家熟知.其中代表的作品有「愁城志」,「元生夢遊錄」,以及本文的研究對象「花史」.一直以來,對「花史」的研究都存在一定的侷限性,即集中特定的部分來表現其面貌,對他的性格並沒有完全表明.因此,本文將結合以前的研究,通過對作品進行具體的分析來把握它的整體面貌. 在本文的第二章部分,對擬人作品起源到「花史」創作時的發展過程進行了考察.「花史」記錄了將植物以及自然等相關的動物擬人化而形成四個朝代的歷史,在創作時明顯的沿襲了擬人這一寫作手法.然而和其他將花草擬人的作品相比,不難發現「花史」採用模仿春秋筆法的寫作方式區別於其他擬人作品.因爲'史'這一文體所具有的特殊性,即像記錄史事一樣具有真實性同時又具有文學性,所以作者最大限度地利用了史這種文體的這一特征.可以說這是作者想象力作用的結果,努力的展現了不同尋常的以花爲主題的其他形式的作品. 第三章部分主要從「花史」的歷史再現方式層面,分成兩個部分對其進行了具體的分析.首先對作品中出現的素材及其特徵進行了整理.「花史」與其他以花素材爲中心形成的花國不同更加注重細節,作品中登場的人物是以花期來決定的.而其他作品在描寫時主要以春天爲背景,「花史」是則以一年爲週期而展開的.並且根據創作方式的不同,作品中登場的人物可以分爲兩種類型.一種是依據於曆史素材創作的,另外一種是依據植物或其周邊自然物本身屬性創作的.在多種素材構成的案件中,將詩句活用成註釋也是其他傳記作品中看不到的事例. 其次,第三章第二部分主要論述了「花史」再現的歷史面貌,這也是本文最重要的部分.歸根結底,花史是以古代歷史爲背景的創作的.「花史」講述的歷史“治亂”的面貌中,陶國可以說是以西周的形象爲背景而設定的理想社會,除此以外的其他國家可以說是混亂的政治社會的代表並且是以中國唐代爲背景設定的.這是根據導致唐代混亂的奸臣,黨爭,異教問題等來推斷的.雖然這種歷史談論並不完全符合朝鮮政治現實,但恰巧“歷史循環”這一真理在林悌生活的時代開始成爲現實,在他死後更具體地進入了朝鮮社會.「花史」表面上以真實歷史爲背景重新組裝素材,但實際上卻指出了朝鮮內部的問題.以此爲依據在第四章中對花史的主題意識及其意義進行了具體的分析.林悌死後朝鮮經歷了幾乎可以與亡國相媲美的戰亂和恥辱,從這一點來看,花史的歷史意識在一定程度上成爲了預告今後朝鮮社會的結果. In the History of literature in South Korea, works of a famous literati Lim Jae are greatly well-known, among which, Su Seng Ji and Wonsang Mongyurok, together with <Hwasa>, are his representatives. In the meantime, researches of <Hwasa> had certain limitations in revealing its aspect by focusing only on specific parts. Therefore, this paper sought to sketch the overall aspect of <Hwasa> in terms of "historical recreation aspect". The following is a summary of the discussions for each chapter. In Chapter II, the process of development from the origin of the works of personification was summarized to confirm the appearance of <Hwasa> as a personified prose. The author accepted the method of copying the calligraphy of the Chun-Qiu but at the same time, he used his imagination to establish the new history of the flowers. It was a case of making the most of the special characteristics of the style, written as reality, which still requires literary qualities. In Chapter III, <Hwasa> was analyzed in earnest. The study of <Hwasa> was conducted mainly in terms of historical reproducibility. First, the materials and features of the documentary were summarized. The first characteristic is that <Hwasa> unfolds its story by annual cycle while the other writings of flower material depicts spring season only. The second characteristic, depending on the way the materials were formed, could be divided into two modes: one formed by the nature of plants or their surroundings and one made by history. The final feature was the use of annotation in an event organized by various materials. This is an example that is not seen in other biographical writings. Next, the reproduction of history was the most important part of the main building. In conclusion, the <Hwasa> was set in ancient history. The author talked about the history of "a reign and turbulent age", setting ‘Doguk’ as image of "Seoju" which is an ideal society, and Tang Dynasty as a politically confused society. Based on this, we analyzed the main subject and meaning of <Hwasa> in Chapter IV. Although <Hwasa> apparently reorganizes the materials against the history of existence, it points to the problems inside the Joseon Dynasty. This was summarized as the problem of party strife, paganism, which caused the confusion in Tang Dynasty. Such historical discussions did not directly correspond to the political reality of the Joseon Dynasty, but unfortunately, kind of a fact that 'history revolves around' had become actualized since the time of Lim Jae and it became more impact specifically after his death. Soon after the death of Lim Jae, Joseon experienced war and humiliation that was almost equal to the level of its ruin. In this regard, the perception of the history of the <Hwasa> was the result of foretelling the future of Joseon society.

18세기 야담의 評述 연구 : 『天倪錄』과 『雜記古談』의 경우

김미진 동국대학교 2014 국내석사

This thesis is an analysis of the authors’ viewpoints revealed in the commentaries on unofficial historical tales of the 18th century, centering on 『Cheonyerok』 and 『Chapgigodam』. The foregoing researches have considered the commentaries as hindering their narrative trait, but I hardly agree that it reduces their narrativity. The two Yadam collections, though belonging to the early ones, show distinctive difference compared with other ones with note-taking attributes at that time, that besides their clear individualistic narrative traits, they have substantial commentaries attached to each work, indicating the two have their intention being sought after beyond securing narrativity. 『Cheonyerok』 intentionally carry mythical tales, interested in unrealistic stories. These stories, however, were actually the real world clothed in unreality. Accordingly the critic also tried to interpret these at the realistic level by not having the mere negative or positive point of view, though keenly cautious of the unreal beings and happenings, trying to bring the tales down to a level reason is sought after or understanding is possible. At the same time, the critic saw the tales at realistic level or ancestral gods based upon thorough Confucian ethics. 『Chapgigodam』 carried on it many of tales containing rapidly changing situations of the then society, and its critic interpreted them based on Confucian ethics, trying to include in the ethics, beings staying out of the Confucian frame, in the middle of which didacticness was much empathized. In case of unrealistic tales, he filled the gap between the unreal and the real with didactic contents, working out shifts in thinking. What was characteristic was that he accepted the issue of females’ sexual desire. Since it was hardly acceptable at that time, the critic converged feminine sexual desire in the realm of joking or precaution. The commentaries are primarily a gadget to save one’s face. However, in the face-saving process, they spontaneously inquired if the tale was true or not, bringing their tenacity on what made them wonder all the way to the end. In the commentaries is clearly revealed how they sought to grasp reasons or meanings, which provided readers with chances to tell the true from the untrue on one hand, and with varied means by which to understand the story on the other. By creating various possibilities like this, interest was raised, while didactic aspects were often empathized to keep the readers from flowing into interest-centeredness. Thus, inside of the commentaries, interest and didacticness rivaled. The commentaries on Yadam of the 18th century were a phase shown on its way to the full-blown stage.

19세기 애정세태소설에 나타난 풍속 연구 : 「折花奇談」과「布衣交集」을 중심으로

백성기 동국대학교 2010 국내석사

「Jeol Hwa Gi Dam(折花奇談)」 and 「Po Eui Gyo Jip(布衣交集)」 are Korean classic-Chinese novels with Seoul in the 19thcentury as their background. The main characters of both of the two works are men from the Joseon nobility and housewives from the lowest class. The narratives of love performed by these characters are so realistic and unconventional that they can be said to represent the love of Seoul in the 19thcentury. Whereas most of the classic novels so far have taken talented men and beautiful women as their main characters, and stories of these characters’ fateful love as their theme, the two novels employ common men and women as their main characters, and adulterous affairs that cannot ever said to be beautiful as their main theme. 「Jeol Hwa Gi Dam」, with Mo-dong (帽洞 now the area of Jongno 3-ga) from 1792 to 1794 as its setting, is a story that mainly contains a romance in which the hero Lee Saeng (a talented man of the time, who is handsome, elegant, stately, and pretty good at literary writing) and the heroine Sun-mae (a very beautiful 17 year old girl, who once was a maid of Mr. Bang’s and has been married several years) push and pull each other. 「Po Eui Gyo Jip」, with Seoul from June 1864 to June 1866 as its main stage, also is a love story between another Lee Saeng from a noble family in Chungcheong-do (a man of a common talent in writing, who is not brilliant, and cannot afford a good family even at the age of 40) and Cho-ok (a very beautiful 17 year old female, who originally was a lady-attendant of Nam Yeong Wi Gung, but was made a daughter-in-law by Mr. Yang, her present father-in-law, and who has reached a considerable cultural level as she was educated in Nam Yeong Wi Gung). It addresses a love narrative between a man and a woman even more intense than that in 「Jeol Hwa Wi Dam」. Both the two novels show narratives complying with the nature of the novel, ‘a story that is plausible in the real world,’ as they delicately describe the customs and manners of Seoul in the 19thcentury based on experiences or memoirs. On the ground of this reason, the thesis reconsiders the two works in the category of the novel of love and social conditions though they have been discussed mainly in the line of the novel of love and weirdness. Though their main contents are narrative of love, the two works show considerable aspects different from those of previous works. Thus, this thesis tries to analyze them in tandem with the 19thcentury’s customs for a clearer genre establishment. Through such an analysis, this thesis explicates the fact that the two novels are different from previous ones in that they are not non-realistic and fateful but realistic stories. Especially, this thesis proves that 「Jeol Hwa Gi Dam」 and 「Po Eui Gyo Jip」, closely illustrating the everyday life in Seoul in the late Joseon period, well show the significance that only novels of social conditions can have as they provide some facts that help us to understand the 19th century.

『天倪錄』과 『東稗洛誦』의 비교 연구 : 초기 야담의 서사화 방식에 주목하여

남궁윤 동국대학교 2009 국내석사

This study sets &#985172;Cheonyerok(天倪錄)&#985173; and &#985172;Dongpaeraksong(東稗洛誦)&#985173; as early unofficial historic stories and reviews them with an emphasis on their narrative methods. &#985172;Cheonyerok&#985173; and &#985172;Dongpaeraksong&#985173; fall in the category of a collection that constitutes the root of unofficial historic stories. &#985172;Cheonyerok&#985173; in many ways preempted the typical features of the formation process of unofficial historic stories and became an undisputed key work in the discussion of unofficial historic stories. In the case of &#985172;Dongpaeraksong&#985173;, which appeared soon after the emergence of &#985172;Cheonyerok&#985173; it takes a typical narration format in short stories in Chinese literature. To date, while individual studies of &#985172;Cheonyerok&#985173; and &#985172;Dongpaeraksong&#985173; have made some progress, they were discussed in separate directions. It is also true that such an approach has made it difficult to carry out studies on early unofficial historic stories. There is no doubt that &#985172;Cheonyerok&#985173; and &#985172;Dongpaeraksong&#985173; are critical collections in discussing early unofficial historic stories. Thus, I looked at both of them together in terms of narrative methods and investigated problemsby analyzing actual works. This allowed me to see that the study of narrative method of the two collections led the later unofficial historic stories. Furthermore it enabled me to find important clues for the narrative method of unofficial historic stories. Using this approach to the problem, I focused on the narrative method of the two collections of unofficial historic stories to recognize the formation of narration of &#985172;Cheonyerok&#985173; and &#985172;Dongpaeraksong&#985173; from two points: first, while they shared the same formative background, or oral narration, they had clear differences in the way to develop narration. And it elucidated the presence and characteristics of &#985172;Cheonyerok&#985173; and &#985172;Dongpaeraksong&#985173; ; second, the narrative method of &#985172;Cheonyerok&#985173; and &#985172;Dongpaeraksong&#985173; were closely related in the ways they are expressed in factual and fictional stories. Common subjects used in the two collections either proved the surreal elements of thestories or connected the reality and imaginary. In addition, figures in the two collections tended to take shape in a direction to promote surreal factors or strengthen reality. Thus, figures in &#985172;Cheonyerok&#985173; took the form of the former's narration method while figures in &#985172;Dongpaeraksong&#985173; were formed in the latter method. In other words, narrative tools extracted from &#985172;Cheonyerok&#985173; and &#985172;Dongpaeraksong&#985173; and the features of figures within the two delineated the narrative method of early unofficial historic stories The narrative method of early unofficial historic stories is universal and at the same time differentiated. In this contradiction, they served as a driving factor for unofficial historic stories in later periods. I did not draw a clear distinction in analyzing the two collections. Because I gathered that as there is no absolute standard and view to see unofficial historic story literature. Though it is not to say that this study was carried out in the exact direction I originally pursued, I tried to materialize key discussions on narrative methods of early unofficial historic stories through this thesis. Thus, I expect that this study of early unofficial historic stories will contribute to suggesting a new research method of individual unofficial stories and to establishing a juncture between the early unofficial historic stories and later counterparts.