고전문학 : 김연수제 춘향기 연구

김석배 ( Sug Bae Kim ) 배달말학회 2013 배달말 Vol.53 No.-

김연수는 자신의 판소리 이론을 바탕으로 이면에 맞는 소리를 정립하고, 판소리 다섯 바탕의 사설을 체계적으로 정리하는 등 현대판소리사에서 주목받는 명창이다. 본고에서는 김연수가 정립한 김연수제 춘향가의 판짜기와 특징 그리고 전승 양상을 살펴보았다. 이상에서 살핀 바를 간략하게 정리하면 다음과 같다. 김연수는 1967년에 소위 김연수제 춘향가를 완성하였는데, 스승 정정렬의 춘향가를 바탕으로 하고, 김창환제 춘향가, <옥중화> 등을 수용하여 이상적인 춘향가를 정립한 것이다. 정정렬제 춘향가와 동일·유사한 대목은 67.9%, 정정렬제 춘향가에 없거나 다른 대목 중에서 김창환제 춘향가와 동일·유사한 대목은 9.5%, <옥중화>와 동일·유사한 대목은 20.2%이다. 김연수제 춘향가는 다음과 같은 특징을 지니고 있다. 김연수제 춘향가는 정정렬제 춘향가를 바탕으로 여러 유파의 춘향가를 참고하여 새로 짠 춘향가로 8시간에 달하는 가장 긴 춘향가이다. 사설이 정확하고 합리적이며, 구성상 통일성과 서사적 완결성을 보이고 있다. 판소리 춘향가보다는 창극 춘향전의 성격이 강하고, 아니리가 확대되어 있다. 정정렬제 춘향가에서 삭제된 소리 대목이 다시 수용되었고, 장단 구성이 다채롭고, 너름새가 사실적이고 연극적이다. 오정숙은 아니리 대목 중에서 극히 일부를 삭제하였지만 비교적 원형대로 전승하였으며, 이일주는 공연 시간과 대중성 등을 고려하여 대폭 삭제하였다. Kim Yeon-Soo is a remarkable singer in the history of modern pansori, who has established “sori” consistent with Imyeon based on his pansori theory. This study has explored the aspects of composition, characteristics and aspects of transmission of Kim Yeon-Soo`s Chunhyangga. The results are as follows: Kim Yeon-Soo finished writing the so-called Kim Yeon-Soo`s Chunhyangga in 1967. Accepting Kim Chang-Hwan`s Chunhyangga, <Okjunghwoa>, and so forth, he wrote an ideal Chunhyangga, based on his teacher Jeong Jeong-Ryel`s Chunhyangga. 67.9 percent of it is the same with or similar to Jeong Jeong-Ryel`s Chunhyangga, and 20.2 percent of it is the same with or similar to Okjunghwoa. Kim Yeon-Soo`s Chunhyangga has the following characteristics: It is the longest Chunhyangga (about 8 hours) made on the basis of Jeong Jeong-Ryel`s Chunhyangga, taking into account several other kinds of Chunhyangga. The narration is exact and rational, and shows compositional unity and epic completion. It is more like Changgeuk Chunhyangga than pansori chunhyangga, and aniri is extended. It has received what was deleted in Jeong Jeong-Ryel`s Chunhyangga, and it has a variety of jangdan compositions. Its neoremsae is realistic and dramatic. O Jeong-Sook deleted a very small part of aniri, but transmitted Kim Yeon-Soo`s Chunhyangga almost as the original form. Lee Il-Joo deleted much of it, considering performance time and popularity.

일제강점기 판소리 명창의 생몰연대 고찰

김석배(Kim Sug-bae) 국어교육학회 2009 국어교육연구 Vol.45 No.-

It is very important to know the exact birth and death dates of Pansori Masters in order to study Pansori, Pansori Masters, and the history of Pansori. However, a lot of errors are found in many kinds of literature about the exact birth and death dates of Pansori Masters during the Japanese Colonial Period. Therefore, the purpose of this study is to correct the errors in the birth and death dates of Pansori Masters during the Japanese Colonial Period. The results are summarized as follows. First, it is necessary to check over Pansori-related literature such as 『Joseonchanggeusa』 and 『Pansorisosa』, family registers of Pansori Masters, newspapers and magazines during the Japanese Colonial Period, and witnesses about Pansori Masters in order to explore their birth and death dates and correct the errors written in many kinds of literature. Second, the birth and death dates of Pansori Masters who were popular during the Japanese Colonial Period are as follows. Kim Chang -Hwan was born in Naju, Jeonnam Province in 1855, and died there in 1937 at the age of 83. Kim Bong-Hak was born in 1884 and died in 1927. Lee Dong-Baek was born in Seo-Cheon, Chungnam Province, on February 3, 1866 by lunar calendar, and died in Pyeong-Taek, Gyeonggi Province on June 6, 1949 at the age of 84. Kim Jeong-Mun was born in Nam-Won, Jeonbuk Province in 1890, and died in Seoul on May 18, 1935 at the age of 46. Third, the birth and death dates of Female Pansori Misters who were popular during the Japanese Colonial Period are as follows. Gim hae Kim Rok-Ju was born in Gimhae, Gyeongnam Province in April 1898, and died in Daegu on January 10, 1928(December 18, 1927 by lunar calendar) at the age of 30. Lee Hwa-Jung-Seon was born in 1898 and died in Kyushu, Japan in 1943 at the age of 46. And Lee Jung-Seon was born in 1903 and died in Buan, Jeonbuk Province in 1935 at the age of 33. Kim Cho-Hyang was born in Daegu on April 15, 1900, and died on February 27, 1983(January 15 by lunar calendar) at the age of 84. And Kim So-Hyang was born in 1911, and died in 1933. We can correct, supplement or determine the birth and death dates of Pansori Masters in future when more believable data are found. And we will have to study on Pansori Masters whose exact birth and death dates have not been revealed yet.

교동시기의 대구향교 연구

김석배(Kim, Sug-bae) 한국학중앙연구원 2014 한국학 Vol.37 No.3

<골생원전> 연구

김석배 ( Sug Bae Kim ) 한국고소설학회 2002 古小說 硏究 Vol.14 No.-

The purpose of this thesis is to examine the general characteristics of Golsaengwonjeonira(골생원젼이라), which I have found recently, a new alternative version of Ganreungmaehwataryung(강릉매화타령). Although Golsaengwonjeon(골생원전), which was written in longhand, lacks some pages at the end of it, it is richer in contents than <oehwagara(梅花歌라), and it shows a great difference in words. Therefore, it is a new version that can contribute to revealing the realities of Ganreungmaehwataryung. Golsaengwonjeon originated from the same proto-version as Maehwaga(매화가), but it came from a different mother version from that of Maehwaga Golsaengwonjeon is more original and later than Maehwaga. The words of Ganreungmaehwataryung sung in the late 19th century were written in longhand, which became Golsaengwonjeon. The originality of Golsaengwonjeon is shown in the following four points; (1) various new events and anecdotes which are not found in Maehwaga appear in Golsaengwonjeon. (2) The phenomena of scene maximization are intensified. (3) Various songs are newly inserted. (4) Caricaturalization and vulgarization of Golsaengwon are greatly built up. And most of them are transformed, and adfusted to the context of Ganreungmaehwataryung under the influence of Chungyangga(춘향가).

朴仁老의 <早紅시歌> 硏究

김석배(Kim, Sug-Bae) 한국문화융합학회 2005 문화와 융합 Vol.27 No.-

This paper has explored four pieces of Danga well-known as Park In-Ro s representative sijo, commonly called . The results of this study are summarized as follows: First, previous studies misunderstood the detailed background of writing of four pieces of Danga, and so their results were wrong about their names, when they were written and whether they were Yeonsijo. Second, Banjungjohong(盤中早紅) of Haneum Daegam Gyeon Banjungjohong Myeongjag Samjang(漢陰大鑒見盤中早紅命作三章) is not ripe persimmons on a tray , but it points to Banjungjohong of Banjungjohonggami gowado boeanada(盤中早紅감이 고와도 뵈아나다). And this sijo was written by Park In-Ro after his being served with some ripe persimmons from Jang Hyeon-Gwang and receiving his instruction to write sijo. The time of writing was about the autumn of 1601(or 1600). The rest three pieces were composed early in September, 1601 under the instruction of Lee Deok-Hyeong who saw the first piece. However, when 『Nogye-Seonsaeng Munjib』 was published in 1831, the four pieces were called , and the reason of writing was embellished, which gave rise to confusion. Third, the aspects of variation in Gajib in the next generations show the handing down of Gajib. Fourth, the first piece shows his yearning for his deceased parents when recalling Yug Jeog(陸績) s Hoegyul-Gosa(懷橘故事), upon his being served with some ripe persimmons. The second piece reveals that he as a Confucian will be dutiful to his parents quoting a historical anecdote of a famous filial sons. The third piece describes his hope that his old parents will not become fast old. The fourth piece reveals his pride as a Confucian communicating with the then wise men.

박인로의 <권주가> 연구

김석배(Kim, Sug-bae) 한국문화융합학회 2008 문화와 융합 Vol.30 No.-

The purpose of this study is to examine the circumstances of writing <Gwonjuga> included in 『Nogyegajib』 recently found, its characteristic features, and the aspects of handing down from generation to generation, and to reveal its value. The results are summed up as follows. First, Park In-Ro adapted an old prose and poetry and wrote <Gwonjuga> in order to enhance the conviviality from drink after he was asked from Lee Yeo-Hwang in charge of Seonsan county, the third son of Lee Deok-Hyeong in mid-April, 1632. Second, the characteristic features of Park In-Ro s <Gwonjuga> are summarized as follows. 1) Park In-Ro s <Gwonjuga> is short and composed of 5 paragraphs, 49 lines, 104 phrases, and about 710 letters. The first paragraph, which is a prologue, expresses the frailty of human life. The second to the fourth paragraphs point to the dullness of people who do not recognize the transience of human life by using historical events, and ask them to drink and forget all kinds of hard life. The fifth paragraph, which is an epilogue, reveals a lesson that people should drink and play with their friends after doing loyalty and filial piety without having greed for money and honors. 2) Park In-Ro s <Gwonjuga> made use of some prose and poetry of Jeong Cheol s <Jangjinjusa>, Lee Baek s <Jangjinju>, and Lee Ha s <Jangjinju>. It also used the same or similar phrases, a variety of Chinese idioms, authentic precedents, and 6-foot meters, which were characteristic of Park In-Ro s verses. These features had some effect on sijo poetry of the next generations. Third, Park In-Ro s <Gwonjuga> was considerably transformed in the process of handing down from generation to generation. Wrong information was given about its writer. Some part of narration was changed, added, or deleted.

판소리의 보존과 전승 방안

김석배(Kim, Sug-bae) 한국문화융합학회 2009 문화와 융합 Vol.31 No.-

Our country has been acknowledging, preserving and promoting Pansori art ability holders(Boyuja) since Pansori was designated as the fifth Main Intangible Cultural Heritage in December 1962. This study explores some ways of preserving and handing down Pansori based on some problems of the Intangible Cultural Heritage policies being put into operation at present. The results are summarized as follows: First, the problems related with Pansori preservation are as follows: (1) the designation of Intangible Cultural Heritage has to be revised systematically, and the deficiencies of the laws and ordinances of the Korean cultural assets have to be modified. (2) Each and every city and province has to designate Pansori as Intangible Cultural Heritage, and acknowledge its Boyuja. (3) Its Boyuja and honorary Boyuja have to be acknowledged systematically and actively. (4) The securing of Pansori-related data has to be done systematically. Second, the problems related with the handing down of Pansori are as follows: (1) The system of handing down Pansori has to be controlled and candidates of vice-Boyuja has to be separated from Junsu-assistants. (2) The managing of the education of handing down Pansori delegated wholly to Boyuja is needed. Third, a new law has to be established and Pansori has to be protected and promoted along with other items listed on the Masterpieces of the Oral and Intangible Heritage of Humanity , for Pansori has been listed on the World Cultural and Natural Heritage of UNESCO.

朴仁老의 <相思曲> 硏究

김석배(Kim, Sug-bae) 한국문화융합학회 2007 문화와 융합 Vol.29 No.-

The purpose of this study is to explore the value of <Sangsagok>contained in the recently found『Nogyegajib』by taking into consideration its writing reasons, its characteristic, and its world. The results are as follows: First, <Sangsagok> was written by Park In-Ro under the request of Lee Yeo-Gyu who was Sangju-Moksa, and the eldest son of Lee Deok-Hyeong. It was composed in mid-April, 1632. Second, it consists of 105 lines, 222 phrases, and 1,520 letters, and its theme is for a loyal subject to love and respect his king. It has 10 paragraphs with the plot of introduction, development, turn, and conclusion. And it has the following characteristics: (1) The same or similar words and phrases that were used in other works written by Nogye often appear. (2) A variety of Chinese words or phrases and authentic precedents were used, and his idiosyncratic idiomatic expressions are found. (3) Exceptional rules and versification of five feet and six feet make appearances, the theme can be found in all across <Sangsagok>, affecting the Sijo of later Kim Cheon-Taek. Third, the world of <Sangsagok> is as follows: The first paragraph (introduction) describes the speaker s situation, who parted from his love, and the 2nd to 8th paragraphs(development) describe the heartbrokenness of parting from his love and the heart pining for his absent love. In the 9th paragraph(turn) the speaker forgets his yearning for his love for a moment, and makes up his mind to wait for him with faith. The 10th paragraph(conclusion) describes his state of being content in adversity and taking delighting the Taoist Way, and his constant mind toward his love.

『冶隱先生行錄』 硏究

김석배 ( Sug Bae Kim ) 경북대학교 영남문화연구원 2015 嶺南學 Vol.0 No.27

조선시대에 先賢에 대한 追崇事業은 문집 간행, 서원 건립, 문묘 배향 등을 통해 이루어졌다. 조선 초부터 야은 선생은 고려왕조에 대한 節義精神과 도학을 계승·전수하고 躬行實踐한 점이 높이 평가되어 추숭사업이 지속적으로 이루어졌는데, 야은 선생의 문집 간행이 여러 차례 이루어진 것도 이러한 추숭사업의 일환이었다. 최근에 그 동안 알려지지 않았던, 야은 선생 문집 초간본인 『야은선생행록』의 존재가 알려져 주목된다. 본고에서 『야은선생행록』의 전반적인 성격에 대해 살펴본 결과를 정리하면 다음과 같다. 첫째, 1570년 선산부사 윤지형이 야은의 6세손 吉誨에게 야은 선생의 문집을 간행하도록 하였고, 길회가 1573년에 3권 1책 33장의 목판본 『야은선생행록』을 善山에서 간행하였다. 둘째, 『야은선생행록』은「목록」, 「권지상」, 「권지중」, 「권지하」, 「발」로 이루어져 있다. 卷首에는 「目錄」, 「卷之上」에는 「遺像」(李瑋), 「遺像贊」(權遇),「祠堂壁上贊」(金洵), 「行狀」(朴瑞生)과 야은이 남긴 「偶吟」 등 시 5수와 「謝監司南龜菴送酒」등 遺文 5편이 수록되어 있다. 「卷之中」에는 야은을 讚詠한 「題龜菴諸公所賦詩卷序」(權近)와 「高麗五百獨先生」(南在)을 비롯한 한시 47수 등의 詩文이 수록되어 있다. 그리고 「卷之下」에는 「追贈吉再箋」(金性源)등 2편과 『齋叢話』와 『續蒙求』에서 발췌한 2편, 「金烏山」(宋純) 등 詩賦10편이 수록되어 있으며, 권말에 崔應龍의 친필 跋文이 수록되어 있다. 셋째, 현재 『야은선생행록』은 3개의 판본이 전하는데, 『계명대본』이 초간본이고, 『충남대본』과 『자양서당본』은 각각 다른 복각본이다. 『충남대본』은『계명대본』을 저본으로 복각한 것이고, 『자양서당본』은 『충남대본』을 저본으로 복각하면서 일부 수정·보완이 이루어진 것으로 추정된다. A collection of works was published as part of the project to cherish the memory of sages in the Joseon Dynasty. 『Yaeunseonsaenghaengrok』, the first edition of the book by Gil Hoe, recently found, is noteworthy. This paper investigated the process of its publishment and its contents from the perspective of bibliography. The results can be summarized as follows: First, Seonsanbusa Yoon Jihyeong ordered Gil Hoe, a descendent of Yaeun, to publish a collection Yaeun``s works to cherish the memory of him in 1570. In 1573 『Yaeunseonsaenghaengrok』 with Choe Eungryong``s epilogue was published. It was a block book of 3 volumes, 1 book, and 33 leaves. Second, 『Yaeunseonsaenghaengrok』consists of a list, the first volume, the middle volume, the last volume, and an epilogue. The first volume contains a portrait of Yaeun, records of Yaeun``s life, and his 5 poems and 5 articles. The middle volume has 48 poems in which other people praised Yaeun. The last book contains 4 articles, 10 poems, and Choe Eungryong``s epilogue written by himself. Third, 『Yaeunseonsaenghaengrok』 has 3 editions at present. It is assumed that 『Gyemyeongdaebon』 is the first edition, and 『Chungnamdaebon』 is the reengraved edition of 『Gyemyeongdaebon』, and 『Jayangseodangbon』 is the reengraved edition of『Chungnamdaebon』.

<陋巷詞>의 文獻學的 考察

김석배(Kim, Sug-bae) 한국문화융합학회 2006 문화와 융합 Vol.28 No.-

The main purpose of this study is to establish the original text of <Nuhang-Sa> written by Park In-Ro through the recently found 『Nogye-Gajib』(block book of the collection of Park In-Ro s works). The results of this study are as follows: First, 『Nogye-Gajib』 printed on wood blocks is its first edition published by Lee Deok-Hyeong s great grandson Lee Yoon-Moon in Yeongcheon, Gyeongbuk Province in March, 1690. Second, the differences between 『Nogye-Gajib』 and 『Nogye-Jib』(old manuscript of the collection of Park s works) were revealed: There was no difference in meaning, though there were some differences in spellings, some deleted words, and the changing of Chinese characters into Korean ones. Third, Jeong Ha-Weon and Choi Ok deleted or modified the expressions describing Park In-Ro s situations of hard life and complaints about the then world affairs into roundabout ones. In addition, they changed some expressions in view of metrical schemes, and modified Korean characters into Chinese ones, and turned some words into those more appropriate to their context. There were some intentional modifications in 『Nogye-Seonsaeng Mujib』(block book of the collection of Park s works Printed in the Year of 1831), and so it is considerably different from the original <Nuhang-Sa>. Therefore, the future research of <Nuhang-Sa> will have to be based on 『Nogye-Gajib』.