정채봉 초기 동화의 서사구조 연구

심상교(Sim, Sang-gyo) 한국어문교육학회 2009 어문학교육 Vol.39 No.-

The thesis researched about narrative structure of the fairy tale of Jeong-ChaeBong. One plot becomes cause of the event which happens next from causal form. The situation which is reversed the events are joined together without sequentially. Coexistence form took two axes stand side-by-side and they developed a contents. The contrastive structure with meeting, separating, is embossed from repetitive inside. The contrastive structure applied in compression and causality grant. Symbolic of contrastive structural inside being and with meeting separating, various anger does is used the width of sentiment. The unreal structure was structurized in the events which happen from unreal space. Like this intention of fairy tale affirms a direction of a ceremony ultimately and protects is because of thought. The figurative structure is combined and metaphorical situation and metonymy situation was a structure which becomes the theme song which is completed. The travel structure was the hero travel or search for process which call a case in subject.

한국무속의 신격연구 -제주도 일반신본풀이의 신격 연구-

심상교 ( Sim Sang-gyo ) 우리어문학회 2019 우리어문연구 Vol.64 No.-

In this paper, I studied about the Godhead which appeared in the general Shinbon Puri-muga in the Western affairs of Jejudo Gut. There are many ways to study the Deity of Korean Shaman. In this article, we looked at the genealogy and character of the Deity of Korean Shaman based on the narrative function of the Deity of Korean Shaman. The s ecretary of Jejudo is divided into three categories: General SinbonPuri. In the case of general General SinbonPuri, which is a subject of consideration, there are many dictates of various atavists and efforts of various researchers. In this paper, Jeju island muga is analyzed text. The main subject of the study is 1-Chun Ji Wang BonPuri, 2-Samseung Halmang BonPuri, 3-Manura BonPuri, 4-Chogong BonPuri, 5-YiGong BonPuri, 6-Samgong BonPuri, 7-Chasa BonPuri, 8-Shamani BonPuri, 9 - Jijang BonPuri, 10 - Sekyong BonPuri, 11 - Moonjeon BonPuri, 12 - ChilSung BonPuri. The contents of this book include the birth history of the gods who preside over various aspects related to the practical aspects of human life from the creation of the world of heaven and earth to the various life of human beings.

기아회생모티프와 가사회생모티프 연구

심상교 ( Sim Sang-gyo ) 우리어문학회 2018 우리어문연구 Vol.62 No.-

The Studies on the Motif of the abandoned child being saved and the Motif of the dead person resurrection This study investigated the meaning and significance of the motif of the abandoned child being saved and the motif of the dead person. The motif of the abandoned child being saved means the basis of a story of being abandoned in a short time after birth or being abandoned with her mother in a pregnant state and being put to death, but surviving with the help of a savior and living afterwards. The motif of the dead person resurrection means the basis of the content that has been recognized as being dead in the crisis of affliction at the elderly age or in a situation where it is not different from the dead state. In this paper, we examined the narratives which were related to Gangneung area and formed or created before the modern period. The motif of the abandoned child being saved has two functions. It serves as the basis for the birth of an extraordinary person in the divinity and as evidence for the extraordinary nature of the deity. This character makes us realize that the motif of the abandoned child being saved is a representative popular motif and a mythological motif essential to myth. It functions in event development and conflict deepening. It acts as a mediator of satire and in the conversion of love affairs. The motif of the dead person resurrection is mediated by the process of love being fulfilled when a love affair is faced with difficulties and a new biography is received. It is also involved in the development of events and in deepening conflicts, which are mediations of satire, and are directed at humorous and bony situations.

서사방식에 대한 일연구 -비극과 희극을 해석하는 새로운 관점-

심상교 ( Sang Gyo Sim ) 우리어문학회 2013 우리어문연구 Vol.47 No.-

his thesis was studied about Epic style works. Epic style works are classified as a tragedy and comedy with a few reviews that look at the epic-style features. In this study, I studied tragedy and comedy through probability, verisimilitude, intended accidents, unintended accidents, free motif, main motif, foreshadow, characters etc. Tragedy is ploted many intended accidents because main character act revenge precisely. Te premise seemed to be shaping-directed intervention. But comedy is a meticulous case deployment process. Comedy does not necessarily need more intervention. The concept of non-directed setting is not related to research. And the main characters of the tragedy brings to ruin the process needed to develop an objective of the work is necessary. However, in the case of a comedy to induce laughter through verisimilitude. Because comedy is related to the internal part of verisimilitude.

서사구조에서의 춘향이즘과 학도이즘

심상교 ( Sang Gao Sim ) 우리어문학회 2013 우리어문연구 Vol.45 No.-

This thesis studied about public preference real point in epic structure. Two minds in humans are very ordinary things. These are very dependent tendencies in narrative structure. Two minds are summarized by Chunhyangism and Hagdoism. Chunhyangism and Hagdoism works, at the same time, are inherent structure in the narrative structure. Chunhyangism and Satoism similar to masochism and sadism. Chunhyangism is a passive, introverted personality which related to the person or situation. If the person`s own actions show strong attachment to almost do not change their decision. Chunhyangism is corresponding to the dependent person or situation through reason for existence in pleasure or self-satisfied look. Hagdoism is an outgoing, aggressive personality which related to the person or situation. For people with high political stature figures often use their current status is overbearing. Person or situation pokapjeok`re strong on this side there is no moral contrition and ethical reflection. Characters of Chunhyangism are Romeo and Juliet, Don Quixote also established himself in terms that are dependent on particular beliefs can be called Chunhyangism figures. Boknyeo, Lee Hyung Sik, too. Characters of Hagdoism are Byeonhaghagdo, Park Tae Jun in ``Love and Ambition`` Kim Ju Won in TV drama Secret Garden also featured.

이강백 희곡의 멜로드라마적 특성 연구

심상교 ( Sang Gyo Sim ),강미란 ( Mi Ran Kang ) 우리어문학회 2008 우리어문연구 Vol.30 No.-

After hundred huy against the melodrama quality which appears in music it investigated. After hundred writes a melodrama and it sleeps and it will intend and dramatically this time it is important with the fact that, it flows it reflects the melodrama quality with the fact that. Viewpoint of analysis 1. Opposition structure, 2. Good and evil confrontation, 3. Sentimental culmination, 4. Emerge character, 5. The contingent excess and the analysis object are his initially work. Quality and after hundred of melodrama huy the point which agrees with the quality of music with each other is many. The point which is masses, it uses an opposition structure, to inside that structure the good and evil is listening to, process accident are buried the systems which culminate a sentiment to point and like this expression process enter in the result which is a good intention victory and it is a point back which wears out. After hundred melodrama applies like this opposition structure and hundred million pressures with the person whom it does hundred million pressures it replaces by the volition opposition which it receives and also the criticism against a political situation to do and in order for hundred million pressures which exist simultaneously in the human society the influences which it does and hundred million pressures also the opposition of the influence which it receives is accurate and to recognize. There is a possibility of saying that it applies the opposition structure which is a key feature of melodrama. Opposition structure of melodrama the hazard which embosses a discord huy from music of most part the structure which it uses generally it will be able to think. But opposition structure of melodrama the composition of good and evil is in parallel, the opposition structure does to be joined together in strong emotion. After hundred it coexists with each other a difficult subject and an expression method and, weaves it melts and and to new dimension it arrives. As the intention set for a subject angle of depression is a possibility of doing. The melodrama is the form which the masses prefers. It is to have the ease one subject where the masses approaches and an expression method. It follows in expression method and it does not request it crawls and but social criticism subject melodrama compared to the approach does not do ease. Distinguishes the acquisition of wealth of the society and the hazard which criticizes a mistake it is because necessary to approach with serious attitude it stands. After hundred puts a social criticism subject in melodrama type and express with two types which are equally divided in one place to meet, it makes a synergism and it puts out. After hundred applies the sentimental culmination system which it uses from the hazard melodrama which will reach and masses Chengtu of contingency and emergence it uses.

동해안 별신굿 중 거리굿의 연극적 (演劇的) 특징 고찰 : 현지조사를 중심으로

심상교(Sang Gyo Sim),이철우(Cheol Woo Lee) 한민족문화학회 2001 한민족문화연구 Vol.8 No.-

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정동진독립영화제의 상상력 구조와 의미에 대한 연구

심상교(Sang Gyo Sim) 목원대학교 교양교육혁신연구센터 2023 지식과 교양 Vol.- No.13

본고는 2023년 제25회정동진독립영화제에서 상영된 영화의 상상력 구조에 고찰한다. 이번 영화제에는 단편영화 19편, 장편영화 1편, 영화제 제작지원작 1편 등 모두 22편의 영화가 상영되었다. 이 작품들 중에서 상상력 구조를 확인하기 쉬우면서 서사구조가 분명한 7개 작품을 대상으로 고찰한다. 인간의 무의식이 언어로 구조화 되었다거나 리비도로 구조화 되었다는 설명이 있는 것처럼 이번 정동진독립영화제에 출품된 작품들을 생성한 상상력은 어떤 요소들이 핵심을 이루는가를 살펴보는 것이다. 이번 영화제에서 공통적으로 나타난 대표적 상상력 구조는 역설과 인간통찰이었다. 그 근저에는 인간애와 가족사랑이 자리잡고 있었다. 이런 특성이 영화제가 기획한 것은 아니고 이런 주제를 영화제를 관통하는 주제로 추구하는 것도 아니다. 그래서 역설과 인간통찰의 특성은 이번 영화제에 출품된 작품들 중에서 우연히 나타난 공통 특성이라고 볼 수 있다. 영화제를 특정 주제로 특성화할 필요가 있어 보인다. 가족이나 바다를 특성화된 주제로 기획하는 것이 필요할 수도 있겠다. 어린이영화교실프로그램 운영도 고려해 볼 수 있을 것이며 실버영화교실 성격의 프로그램을 추가하여 관람객의 균형지향도 생각해 볼만하다. This paper examined the imaginative structure of films screened at the 25th Jeongdongjin Independent Film Festival in 2023. A total of 22 films were screened at this fi lm festival, including 19 short fi lms, 1 feature fi lm, and 1 film festival support film. Among these works, seven works whose imaginative structure was easy to identify and whose narrative structure was clear were examined. Just as there is an explanation that the human unconscious is structured by language or libido that created the works submitted to this year's Jeongdongjin Independent Film Festival. The typical imaginative structures that appeared commonly at this film festival. Structures were paradox and human insight. The roots was love for humanity and family. It seems necessary to characterize fi lm festivals with specific themes. It may be necessary to plan with specialized themes such as family or the sea. Operating a children's film class program can also be considered, and it is also worth considering adding a program in the nature of a silver class.

강릉관노가면극과 진주오광대 등장인물의 주체성 비교 연구

심상교 ( Sim Sanggyo ) 강원대학교 강원문화연구소 2022 강원문화연구 Vol.46 No.-

본고는 강릉관노가면극과 진주오광대에 등장하는 여러 인물의 특성을 주체라는 관점에서 고찰하였다. 강릉관노가면극과 진주오광대의 등장인물은 누구이며, 그들의 성격은 어떠하며, 등장인물의 위상과 의미가 작품의 주제나 극적 양식과 어떤 연관을 맺는 지 등을 주체라는 관점에서 분석하였다. 강릉관노가면극과 진주오광대의 등장인물 중 정상과 변별되는 등장인물, 주류에 벗어나 있는 등장인물들이 어떻게 주류세계에 용납되고 그들의 신분적 조건, 생김새의 조건 등이 주체형성에 어떻게 작용하는 지를 고찰하면 탈놀이의 성격에 대한 또 다른 해석이 될 수 있으리라 본다. 탈놀이가 바라보는 세계가 언어이자 타자이고, 어떻게 바라보느냐 하는 관점이 주체의 핵심이라고 할 수 있겠다. 탈놀이의 경우 큰 질서 속에 포섭되는 작은 질서로 만족하지 않는다. 모든 인간의 주체를 동등한 가치로 설정하고 이를 작품의 근거로 하는 점에서 탈놀이는 다른 예술장르에 못지 않은 보편적 미학을 갖는다고 볼 수 있다. 강릉관노가면극과 진주오광대는 어긋남의 미학을 보여준다. 이것은 극적 갈등을 부각시키는 요인이기도 하다. 연극성과 축제성 신성성이 하나가 된다. 그래야 상생, 화합, 축원의 의미가 살아나고 원형성이 복원된다. 우리의 전통연희가 그렇다. 주체성은 이처럼 연극성 축제성 신화성을 하나의 세계로 끌어들이는 강력한 매개체이면서 주체자이다. Among the characters, the characters related to the subject were classified into three types. The Jangjamari of Gangneung Gwanno Mask Play, the kidney of Jinju Ogwangdae, a doctor, a shaman, and Mushirumi are characters irrelevant to the subject. These characters are excluded from classification. The classification standard is to classify type A as a person who is not aware of the subject, type B as a person in the process of forming a subject, and type C as a person who has formed a subject. There are also characters who change from type B to type C according to the change in the character's behavior. In this case, it is included in both type B and type C. Type A includes Sisi Takttagi in Gangneung Gwanno Mask Drama, Yeonggam, Saengwon, Palseonnyeo, and Seoulaegi in Jinju Ogwangdae. Type B belongs to the Yangban in the Gangneung Gwanno Mask Play, and in Jinju Ogwangdae, lepers, Eodingi, and Sangjwa belong to this category. As for type C, Somae Gaksi in Gangneung Gwanno Mask Play belongs to this category, and Malttugi and Halmi belong to this category in Jinju Ogwangdae.

고구려건국신화와 김수현드라마의 특성 비교 연구

심상교(Sim Sang-Gyo) 비교민속학회 2009 비교민속학 Vol.0 No.38

고구려 건국신화와 김수현드라마의 특성을 멜로드라마관점에서 고찰하였다. 신화와 멜로드라마 사이에 공통점을 찾고 나아가 한국인이 선호하는 작품의 특성을 알기 위함이었다. 두 작품 사이의 공통점은 대중성을 확보를 위한 내적 장치와 전형적 인물의 등장이다. 등장 인물의 성격, 끝마무리, 우연성이 많은 전개과정, 사랑문제, 신분상승, 새 질서 탄생 등도 공통점이다. 멜로드라마의 특성으로 꼽히는 선악대결과 해피엔딩, 감정고조, 우연성, 우화적 성격, 사랑문제, 신분을 넘어선 결합 등이 신화에서도 나타나는 것이다. 멜로드라마와 신화의 경우 인물은 전형적이며 대중적이다. 고구려 건국신화와 멜로드라마에서 해피엔딩은 동일한 정서적 만족감을 주는데 정서적 만족감을 주는 이유는 두 장르의 해피엔딩에 싸디즘적 요소와 마조히즘적 요소가 혼합되어 있기 때문이다. 주몽이 처한 위기에 향유자는 긴장하지 않는다. 오히려 주몽을 위기를 즐기게 된다. 『청춘의 덫』에서 윤희의 고통은 동정의 대상이 아니라 쾌락의 대상이 되며 악의 인물을 대변하는 동우의 행동도 쾌락의 대상이 된다. 멜로드라마 형식적 특성은 우연성에서 출발한다. 고구려 건국신화에 등장하는 신이로움은 우연성을 드러내는 대표적인 경우다. 하늘과 땅을 자유롭게 오간다거나, 변신을 한다거나, 알에서 태어난다거나, 나무를 뿌리 채 뽑는다거나, 채찍과 활로 물을 가르거나 물고기ㆍ자라 다리를 만드는 사건은 논리와 일상을 벗어난 우연성 그 자체다. 〈청춘의 덫〉에서는 윤희의 행동에 우연성이 두드러진다. 위기에 처하고 위기에서 벗어나는 과정에도 우연성이 개입된다. Kokuryeo-Myth is composed by the latent tripodal structure. The latent tripodal structure is added in transposition opposing structure. The latent tripodal structure is immanent to a Kokuryeo-Myth and raises a popular appeal power. That is confirmed narrative structure. The narrative quality merged reality and unreality. Which contained secure political and popularity etc. Kokuryeo-Myth passes over a contingency and an identity. Kokuryeo-Myth is immanent in deep emotion, love and new order birth etc. That is equal to melodramatic characteristics. Kokuryeo-Myth has political purpose & mass's interest. The latent tripodal structure is a goal of myth and accomplishes also political of myth accomplishes. The narrative composition power from myth pursues a change equips the transposition opposing structure. The Kokuryeo-Myth secure a new star characteristic with transposition. The Kokuryeo-Myth two natures which are contrary uses the mythical narrative technique which amalgamates in one place.