[OPINION] “차세대 성장동력, 에너지신산업 육성에 앞장서겠다” : 허용호 녹색에너지연구원 원장

허용호,배성수 대한전기협회 2020 전기저널 Vol.- No.519

‘허재비 신앙’과 문화권역

허용호,정형호 (토론자),장장식 (토론자) 역사문화학회 2009 역사문화학회 학술대회 발표자료집 Vol.2009 No.8월

특별기고:중국 흑룡강성의 조선족사회

허용호 북한연구소 1993 北韓 Vol.- No.257

유네스코 체제와 한국의 무형문화유산

허용호 비교민속학회 2022 비교민속학 Vol.- No.75

This article focuses on the new trend that has emerged throughout Korea’s intangible cultural heritage since the UNESCO regime entered the main orbit. This is to summarize the remarkable aspects of Korea’s intangible cultural heritage in relation to the UNESCO Intangible Cultural Heritage of Humanity Representative List system since the early 2000s. There are various aspects, but what I am paying attention to is the following five aspects. These include ‘Expression of Intangible Cultural Heritage ownership and related disputes’ that appeared in the process of listing The Gangneung Danoje Festival, Nongak, Arirang, and Culture of Jeju Haenyeo, ‘Changes in policies related to intangible cultural properties’ such as the enactment of the Act on the Conservation and Promotion of Intangible Cultural Properties , ‘Hierarchical thoughts on intangible cultural heritage’ ranked as intangible cultural heritage of cities and provinces, national intangible cultural heritage and UNESCO’s intangible cultural heritage of humanity, ‘Organization of Intangible Cultural Heritage Transmission Community’ in Tugging Rituals and Games, Nongak, and Talchum Transmission Community, and ‘appropriation of intangible cultural heritage as a medium of solidarity and peace’ that appeared in the process of registering Ssireum and Talchum. These are the points of attention that emerged as looking at the time series after the UNESCO system was formed and Korea entered the system. Focusing on these points of attention, I looked at the progress and implications. What I argued through this process is that the influence of the UNESCO system is formidable. I also argue that UNESCO’s orientation and the orientation of each country or local community do not necessarily coincide. Furthermore, I would like to say that the reality is that ‘strengthening the sense of ownership of intangible cultural heritage and cross-border intangible cultural heritage’, ‘fixed and dismantled hierarchical thinking of intangible cultural heritage’, and ‘competition and harmony through intangible cultural heritage’ coexist. And I also added my own opinion on this. I also expressed the view that the coexistence of ideals and reality may be natural, referring to a reality in which different orientations and values coexist, perhaps very different from UNESCO’s.

유네스코 체제 하의 강릉단오제

허용호 국립민속박물관 2016 민속학연구 Vol.0 No.39

This paper is targeted with the discussions of UNESCO which focused on the Gangneung Danoje for ten years. I have discussed several notable points which are shown the Gangneung Danoje under UNESCO regime. This discussion begin with a definition of UNESCO regime. And I discuss UNESCO regime is formed in what background and orientation. Subsequently, I examine the controversies which connected with the Gangneung Danoje under UNESCO regime. On condition that UNESCO regime is not fixed, I have examined the reason of the change from the Masterpieces of Oral and Intangible Heritage of Humanity to the UNESCO Representative List of Intangible Cultural Heritage of Humanity and the ownership dispute of intangible cultural heritage on condition that UNESCO regime is not fixed. Through those discussion, I mention a role of the Gangneung Danoje perform directly or indirectly under UNESCO regime. Thirdly, I discuss the orientation of the Gangneung Danoje. In here, I examine the relationship between the orientation of UNESCO and the orientationof the Gangneung Danoje which impose tradition, history, original through a return of locality.

일제강점기 하회별신굿탈놀이 조사 사진의 표면과 이면

허용호 국립민속박물관 2022 민속학연구 Vol.- No.51

This article focuses on photographic research data related to Hahoe Byulsingut Talnori in the Japanese colonial period. The discussion is about 30 photographic data that I reviewed for myself. Studies, researches, newspapers, and magazine articles related to Hahoe Byulsingut Talnori were examined. Based on the period and investigator, the article consists of three parts: ‘video data in the early and mid-1930s,’ ‘video data in 1939’, and ‘video data in 1940’. It is a three-part summary of the aspects and characteristics of the video materials - that discover the rituals and masks of Hahoe Village, change the mask nature, and then settle in a masque. Subsequently, I focused my research on what is shown and not shown in the photographic data related to Hahoe Byulsingut Talnori in the Japanese colonial period. Based on the previous discussion, I argued what photographic data related to Hahoe Byulsingut Talnori straightly indicates, and the hidden side of the data which was meaningfully intended to tell us. As a result of the discussion, Hahoe Byulsingut Talnori, captured through photographs during the Japanese colonial period, moved its emphasis from ritual to entertainment, from sacred to secular, and from village community ritual to masque. Seok-ha Song's passion and desire can be found here. It is also worth noting that personal desire and passion are on the same page with Japanese policy. 본고는 일제강점기 하회별신굿탈놀이 관련 사진 자료를 대상으로 했다. 필자가 직접 확인한 30여 개의 사진 자료를 중심으로 논의를 한 것이다. 논의 과정에서는 사진 자료만이 아니라 당대 하회별신굿탈놀이 관련 연구나 신문·잡지 기사 역시 함께 다루었다. 연구는 조사 시기와 조사자를 기준으로 해서 ‘1930년대 초·중반의 영상 자료’, ‘1939년의 영상 자료’, ‘1940년의 영상 자료’ 등의 3부분으로 나누어 살피는 방식으로 진행했다. 하회마을의 제의와 가면을 발견하고, 그 가면의 성격이 전환되며, 이후 가면극으로 정박하게 되는 영상 자료의 양상과 특징을 세 부분으로 나누어 정리한 것이다. 이어서 필자는 일제강점기 하회별신굿탈놀이 관련 사진 자료가 보여주는 것과 보여주지 않은 것을 살폈다. 앞선 논의를 바탕으로 하회별신굿탈놀이 관련 사진 자료가 표면적으로 보여주는 것과 직접 보이지 않지만 의미있게 우리에게 말하고자 하는 이면을 논의한 것이다. 논의 결과 일제강점기 사진을 통해 포착된 하회별신굿탈놀이는 제의에서 오락으로, 신성에서 세속으로, 동제에서 가면극으로 그 강조점이 달라지는 양상을 보였다. 여기에는 송석하의 개인적 열정과 욕망이 자리한다. 그리고 그 개인적 욕망과 열정은 일제의 정책과 궤를 같이한다는 점에 유념할 필요가 있다.

‘특수 집단’으로서 어산 집단의 무형문화유산적 의미

허용호 무형유산학회 2020 무형유산학 Vol.5 No.2

This paper focuses on special groups that have been overlooked in our policy of intangible cultural assets. It focused on the community that needs expertise and has a certain entry barrier in the process of transferring intangible heritage, which is why it has become special. Particularly noteworthy in this paper is, which passes on Buddhist rites. The reason why we pay attention to the Eosan group as a special group is because we felt the need to overcome various confusion arising in the course of implementing policies regarding the designation of intangible cultural assets. The discussion first begins by looking at the status of special groups and the confusion that emerges in the course of policy implementation. The situation of ‘controversy over the similarity of Buddhist ritual performing subjects’, ‘controversy over the similarity of the Buddhist ceremony’, ‘crossing the events of the same performing subject’, and ‘inconsistency between the performing and leading groups’ are reviewed here. The following discussion is a review of Japan’s unique collective succession structure. While studying Japan’s Iemoto system, we will organize things to consider in our special group discussions. Based on this arrangement, we looked at what we should pay attention to in our special group, which is the following discussion. Through this discussion, I stressed that the attributes of our special group, which appear to be ‘a similar family-oriented transmission’ and ‘a closed transmission’, are never anachronistic. That property is the basic attribute of our special group. Based on the above discussion, I looked at the intangible cultural heritage meaning of the special group represented by the Eosan group. The conclusion of this study is as follows. Our special group is characterized by a broad sense of family succession. Therefore, it has a certain closeness, which blends with the equality of religious ideologies, creating a stable and enduring successionable structure. Closure and sharing of religious ideologies indicate that there is a limit to entering or leaving the group. In addition, our special group is a community that has its own internal system and order to secure expertise. These attributes of special groups are also products of the past, but rather come from the nature of the community. This means that attention and consideration of special groups are never anachronistic. Attention to these special groups may solve a number of problems that currently appear in the relevant designated events. Now it is necessary to pay attention to special groups. Perhaps the intangible cultural heritage value of our special group lies in the group itself. Of course, the policy emphasis should be placed on maintaining the integrity of this special group.

전통인형연희의 기호학적 연구

허용호 한국기호학회 2005 기호학연구 Vol.18 No.-

This study is to investigate the whole life of puppet performing object which is from the molding of puppet to the treatment of puppet after performance. In other words, this study is to examine the whole process of puppet performance. And I try to systematize the whole process of puppet performance, ratiocinate the cultural tradition which make a system possible and human desire which is located in the depth of cultural tradition. The result of this study is to show in a graphic form as follows. This study which abstract in this way is meaningful in view of confirmation of traditional puppet performance's diverse aspects and cultural tradition. Furthermore, a fruit of this study is systematize traditional puppet performance's diverse aspects. The semiotics make this meaningful and fruit possible. Semiotics is not only to make in to a systematize, but also to make a new perspective possible.

최치원의 신격화와 홍성 월계리 용연 마을 공동 제의의 전승 양상

허용호 실천민속학회 2016 실천민속학연구 Vol.27 No.-

This study pay attention to community ritual of the Yongyen village where is located in the Wallge-ri Hongsung-gun Chungcheongnam-do. That community ritual worship the Choi Chi-Won as a god of village. This study start with check cases which is worship the Choi Chi-Won as a god of village. Next I examine handing down of community ritual of the Yongyen village. And I finish this study, appending a deification of Choi Chi-Won and the center things of attention which emerge in a defied process. The result of this study is as follows. The Choi Chi-Won is deified in the Yongyen village. By the way, the aspects of a deification of Choi Chi-Won are differ from the general patterns of deification. Community ritual of the Yongyen village undergoing a change which is ‘from a folk ritual to a confucian saint worship ceremony’, ‘form a ritual of village god to a memorial ceremony of the progenitor of the Gyngju Choi family name’, ‘from a community ritual of village to a cultural event of county’. In the process of change the Choi Chi-Won may be a county god, on the contrary may be the loss of identity as a village god. Therefore I interest in a ritual of the Choi Chi-Won. As it is still moving in a different direction after the establishment of the village deity, a community ritual of the Choi Chi-Won is noteworthy. 무형 유산이라는 측면에서 최치원은 주목할 만한 인물이다. 전국에 산재해 있는 그의 유적지에는 어김없이 시문이나 문장, 비문 등을 남기고 있다. 그의 발길과 마음이 닿은 곳은 유형의 유적만이 남아 있는 것이 아니다. 그 유적과 함께 어김없이 무형유산이 함께 전한다. 본 연구는 바로 그러한 무형유산에 대해 주목했다. 특히 최치원을 마을 신격으로 모시는 충청남도 홍성군 월계리 용연 마을의 공동 제의에 주목했다. 논의는 마을신으로 최치원을 모시는 사례들을 먼저 점검하는 것으로 시작되었다. 이어서 용연 마을 공동 제의의 전승 과정을 살펴보았다. 그리고 최치원의 신격화 과정과 그 과정에서 나타난 주목할 만한 것들을 덧붙이는 것으로 논의를 마무리했다. 논의 결과, 용연 마을에서 최치원은 마을 신격으로 정립되는 단계에 이른 것으로 파악할 수 있었다. 그런데 마을 신격으로 정립된 최치원에 대한 근래의 양상은 일반적인 신격화 패턴과는 다른 모습을 보이고 있었다. 월계리 용연 마을 공동 제의의 전승 과정을 살펴보면, ‘민속 신앙 차원의 제의에서 유교 성현 제향’으로, ‘마을신 제의 에서 경주 최씨 시조 추모제’로, ‘마을 차원의 공동 제의에서 고을 차원의 문화 행사’로의 변화가 이루어지고 있는 중이다. 그 변화가 여전히 진행 중이라는 점에서, 전승 양상은 역동적이다. 구체적으로 최치원이 마을 신격에서 고을 신격으로의 확산이라는 방향으로 갈 수도 있지만, 반대로 마을 신격으로의 정체성 상실이라는 방향으로 갈 수도 있는 것이다. 그래서 필자는 용연 마을의 최치원 관련 제의가 흥미롭다. 마을 신격으로의 정립이 이루어진 이후에도, 또 다른 방향으로 여전히 살아 움직이고 있어 주목할 만 한 것이다.

연행 인형'을 통해서 본 조선시대 사람들의 인형 인식 양상

허용호 한국구비문학회 2004 口碑文學硏究 Vol.0 No.19

This research is to investigate figure of puppet on ‘Annals of Chosun Dynasty’. The recognition of puppet was grasped in daily life through the result of study. It is studied on the frame of performance comparing to the cognition of puppet in daily experience. Furthermore this study is conferred like that: How is recognition of puppet appeared through the process of puppet performance? What is cultural grounds or orientation on the cognition of puppet? What is the attitude of human on puppet? Why does people use puppet? The result of this study is as follows.The two aspects of performance puppet recognition in Chosun Dynasty come from magic-religious culture orientation and artistic-play culture orientation. These are cultural grounds of puppet performing object. These two types have a common things. The common things related human desire. The puppet of performance can do individual behavior and inhuman things with no hesitation. The puppet of performance is acted mimicry of human but essential character of puppet. But these behavior are managed by human performer. The attribute of managed existence is located in human mentality. The puppet performance is based on magic desire that can control supernatural existence and artistic desire that take off daily life. Human desire which control supernatural phenomenon, appeared magic desire in magic oriented culture and exposured artistic desire in art oriented culture. 이 논문을 통해 필자는, ‘조선시대 우리의 인형 전통은 일천하며 인형은 마를 부르는 흉물로 인식되었다’는 시각이 잘못된 것임을 주장했다. 논의는 일상에서 통용되는 인형 비유에서의 인형 인식 포착을 실마리로 하여, 여러 문헌에 나타나는 인형 연행에서의 인형 인식 고찰로 이어졌다. 이어서 인형 연행 전 과정을 통하여 드러나는 인형 인식의 지향성과 그 문화적 기반에 대한 논의로까지 확장하고, 문화적 기반 이면에 자리한 인간 태도에 대한 필자 나름의 견해를 피력했다. 논의 결과를 정리해 보면 다음과 같다. 조선시대 사람들은 연행 인형을 ‘초자연적 존재/자연적 존재’로 인식한다. 초자연적 존재로 인식되는 연행 인형에 대해 사람들은 경건함과 놀라움의 감정을 드러낸 반면, 자연적 존재로 인식되는 연행 인형에 대해서는 신기함과 흥미의 감정을 드러낸다. 이러한 변별성은 인형 연행의 전 과정을 통해서도 뚜렷하게 드러난다. 이를 바탕으로 할 때, 연행 인형 인식의 두 양상은 서로 변별되는 ‘주술적․종교적 문화 지향성/예술적․오락적 문화 지향성’을 기반으로 하여 나온 것이라 할 수 있다. 그런데 이 두 문화 지향성과 이를 기반으로 한 연행 인형 인식의 두 양상은 인간의 욕망이라는 보다 상위의 차원에서 통합된다. 인간이 자신을 둘러싸고 있는 초자연적․자연적 제 현상을 자신 마음대로 하려는 욕망이, 주술 지향의 문화 속에서는 ‘초자연적 존재를 마음대로 하려는 주술적 욕망’으로, 예술 지향의 문화에서는 ‘자연적 존재의 일상에서 벗어난 파격적 모습을 드러내려는 예술적 욕망’으로 드러나는 것이다.