한국근,현대문학의 동,식물 상징 기호를 활용한 문화콘텐츠 창작 소재로서의 가능성 연구

박선애 ( Seon Ae Park ) 우리어문학회 2008 우리어문연구 Vol.30 No.-

어학 : <모심는소리> 연구 -경북 지역을 중심으로-

박선애 ( Seon Ae Park ) 대구가톨릭대학교 인문과학연구소 2009 인문과학연구 Vol.12 No.-

청소년의 심리경향과 거짓자아행동의 관계

박선애 ( Seon Ae Park ),심혜숙 ( Hae Sook Sim ) 한국심리유형학회 2007 심리유형과 인간발달 Vol.14 No.-

민요의 전승과 전이 과정 연구

박선애 ( Park Seon-ae ) 국제어문학회 2016 국제어문 Vol.0 No.68

필자는 1920년대 근대 대중매체인 ≪중외일보≫에 실린 자료를 중심으로 민요 관련 전승 이야기(Narrative)의 유형과 이 이야기(Narrative)의 민요 전이과정을 살펴보았다. 그 결과는 다음과 같다. 먼저, 민요 관련 전승 이야기(Narrative)는 사설의 내용면에서 `개인형 이야기` 두 작품과 `공동형 이야기` 두 작품으로 분류되었다. 개인형 이야기에 해당하는 노래에는 <메나리꽃아 메나리꽃아>와 <울아버지 가는길엔>가 있고, 공동형 이야기에 해당하는 노래에는 <吉州明川 가는배장수야>와 <네놈이 倭將 『淸正』이 아니냐>가 있다. 다음으로, 민요 관련 전승 이야기(Narrative)를 통한 민요 전이 과정을 살펴보았다. 이 과정에서는 첫째, 창자는 이야기 또는 대상(사회상, 풍속 등)을 정한다. 둘째, 숙련된 창자는 필터링(Filtering)을 거쳐 핵심어(Keyword)를 선택한다. 셋째, 핵심어(Keyword)를 선택한 숙련된 창자는 내용을 압축(Compression)하여 율격과 주제 진술을 나열한다. 넷째, 숙련된 창자는 압축한 율격과 주제진술을 장르 관습에 따라 구연한다. 이를 바탕으로 <울아바지 가는길엔>을 적용하여 보았다. 이는 설화가 민요화될 때 장르 전환이 일어나는 모형을 제시했다는 점에서 의의가 있다. I have looked around the transition process of folk songs and related narratives centering on the materials on the ≪Jungoe Ilbo≫ a modern mass media in the 1920`s. The result is like this. First, in the type of folk song related transmitted narratives, they were classified into two `individual type` works and two `public type` works. The individual type songs are < Maenari-flower, Maenari-flower > and < On the Road My Father Go >. The public type songs are < The Pear Dealer Going to Gilju-Myeongcheon(吉州明川) > and < Aren`t You the Japanese General Kiyomasa 「淸正」 >. Next, I have looked around the transition process of folk songs through transmitted narratives related with folk songs. In this process, firstly the singer fixes the narrative or the object(social aspect, customs, etc). Secondly the skilled singer selects the keywords through filtering. Thirdly after choosing the keywords, the skilled singer compresses the content and arranges versification rules and content statements. Fourthly the skilled singer recites the compressed versification rules and content statements according to the genre custom. On the base of this < On the Road My Father Go > was tried. This is significant in that it suggested the model of genre change when a tale becomes a folk song.

1910년대 총독부의 조선 문화재 조사 사업에 관하여

박선애(Park Seon-AE) 부산경남사학회 2008 역사와 경계 Vol.69 No.-

When the Choseon dynasty became a colony of Japan in 1910, the Government-General of Choseon tried to strengthen the modernity of the remains preservation by enacting laws about historical remains investigation. However, the Government-General of Choseon intended to directly control Choseon's cultural properties in order to put national consciousness under surveillance, which might be included in cultural properties that symbolize Choseon's traditional properties and ceremonial means. Historical remains investigation was started by enacting different kinds of protection laws. Firstly, 「HangGyo properties maintenance provisions」 was aimed to make country's confucians friendlier to colonial rule by means of providing stable physical supports. Similarly, 「Temple provisions」 was a strategy to remedy monks' grievance from the anti-Buddhist policy, and also to make monks to become friendlier to Government-General side while putting Choseon's culture under organized control. Finally, 「Preservation provisions for historic remains」 was passed based on the conditions mentioned above and thus many projects were processed by 「Preservation provisions for historic remains」. A full-scale investigation and excavation was processed since 1916. The Government-General‘s leading ability of conducting investigation and excavation was stronger than before. Especially, it was first modern excavation done by using modern surveying technique, new method of arranging manpower, new set of drawings, to name a few. The Government-General, however, excluded Koreans from excavation, as the results might enhance the national consciousness. Actually there were ceremonial customs called 'Ancestor worship‘ about the graves and grave goods at the time. It's possible to say that the investigation and excavation of tombs at the time gave the first modern step for Korea's investigation and excavation of tombs. In general, researching project conducted by the Government-General was the starting point of cultural assets policies in order to control the colony and to rearrange the colonial thoughts about their history or tradition by managing cultural properties of colony. In 1920s, the Government-General enforced cultural assets policies to make good conditions to strengthen the ruling of Choseon based on these researching projects. That was an attempt to exclude the national consciousness in cultural properties by researching cultural properties completely and making them relatively 'antique' to modernization, not as cultural properties or as cultural ceremony.

영월 지역 민요의 현대적 수용 양상 : 단종애사를 중심으로

박선애(Park, Seon-ae) 한국문화융합학회 2020 문화와 융합 Vol.42 No.8

In this research, we have looked around the contemporary accommodation aspect of Yeongweol region folksongs in which Danjong’s sad story was represented. First, the folksongs in Yeongweol related with Danjong’s sad story are <Daewanginsanyo> which sang Danjong’s life story, <Hanyangga>, <Yeongweolpalgyeongga> and <Ssangdarinore>. Second, we looked around Danjong’s sad story as a culture content. The state funeral of Danjong is reproduced since 2007 which is one of the representative events in Danjong Cultural Festival. When the state funeral is reproduced the singer who plays the most important role in the event sings first <Daewanginsanyo> the content of Danjong’s life story. Presently in Yeongweol region the sad story of Danjong is sublimated as a regional cultural festival and is enjoyed. This event has a meaning as a space content. And in Yeongweol region there are Cheongryeongpo and Ssangdari as sightseeing commodity. Above all Cheongryeongpo of ‘Yeongpodugyeon(泠浦杜鵑)’ is noted where Danjong’s sad exile living is exposed in <Yeongweolpalgyeongga>. There are ‘Geumpyobi(禁標碑)’ ‘Nosandae’ ‘Manghyangtap(nostalgia tower)’ ‘Danjong Eoso(端宗御所)’ where Danjong lived and ‘Gwaneumsong(觀音松), that watched the misery of Danjong and heard his sad voice. Now Cheongryeongpo is a sightseeing commodity of Danjong’s sad exile living place partly borrowed from the content of <Yeongweolpalgyeongga>. Next, as is well known in the content of <Ssangdarinore>, the seop(brushwood) main material of Ssangdari(Seopdari) is due not to Danjong’s weakness but to the ‘tough vitality’ of the seop(brushwood). Presently, this seopdari is installed annually to remind people of the event of paying respect to Danjong. This is a sightseeng commercialization of remembering Ssangdari which is an essential course in a procession paying respect to Danjong. This is a cul2ture content accomplished by the cultural desire of the Yeongweol residents, in relation to Danjong, and Yeongweol administration. 본고는 단종애사가 나타난 영월의 지역 민요가 현대적으로 수용된 양상을 고찰한 것이다. 첫째, 영월의 지역 민요 가운데 단종애사와 관련한 민요는 단종의 일대기를 노래한 <대왕인산요>와 <한양가>, <영월팔경가>, <쌍다리 노래>가 있다. 둘째, 문화콘텐츠로서의 단종애사를 고찰하였다. 우선, 공간콘텐츠로서 단종문화제의 대표적인 행사 중 하나로 2007년부터 단종 국장을 재현하고 있다. 단종 국장을 재현할 당시 이 행사의 가장 중요한 역할을 하는 소리꾼은 선소리로서 단종의 일대기를 내용으로 하는 <대왕인산요>를 부른다. 현재 영월 지역에서는 단종애사를 지역 문화 축제로 승화시켜 즐기고 있다. 이 행사는 단종 국장을 실제로 재현하는 공간콘텐츠로서의 의미를 지니는 것이다. 그리고 영월 지역에서는 관광 상품으로서의 청령포와 쌍다리가 있다. 우선, <영월팔경가>에서 단종의 슬픈 귀양살이가 잘 드러난 ‘영포두견(泠浦杜鵑)’의 청령포가 주목된다. 이곳에는 ‘금표비(禁標碑)’와 ‘노산대’, 그리고 ‘망향탑’과 단종이 기거를 하던 ‘단종어소(端宗御所)’가 있으며 단종의 비참한 모습을 지켜보고 슬픈 말소리를 들었다고 하는 ‘관음송(觀音松)’이 있다. 현재 청령포는 <영월팔경가>의 내용에서 일부 차용된 단종의 슬픈 유배생활 장소를 관광 상품화한 것이다. 다음으로 쌍다리는 <쌍다리 노래>의 내용에서 알 수 있듯이 쌍다리(섶다리)의 주재료인 섶은 단종의 나약함이라기보다는 섶의 끈질기고 ‘강인한 생명력’에 기인한 것이다. 이 섶다리는 현재에도 매년 설치되어 단종의 참배 행사를 세인들에게 상기시키고 있다. 이는 <쌍다리 노래>에서 단종의 참배 행렬 당시 필수 코스인 쌍다리를 추억하는 장소를 관광 상품화한 것이다. 따라서 <대왕인산요>를 내용으로 하는 단종 국장 재현은 단종애사와 직접적으로 관련이 있는 축제와 실제 주민이나 관광객들이 참여하는 공간콘텐츠로서의 의미를 지니고 있다. 그리고 <영월팔경가>의 청령포와 <쌍다리 노래>의 쌍다리는 각각 단종의 슬픈 유배생활 장소와 단종의 참배 행렬을 추억하는 장소로서의 문화콘텐츠적 의미가 있다. 이는 단종과 관련한 영월 지역민들의 ‘문화적 욕구’와 영월의 관청이 함께 이루어낸 문화콘텐츠인 것이다.

조선총독부의 문화재 '보존' 사업과 戰時動員

박선애(Park Seon-Ae) 부산경남사학회 2007 역사와 경계 Vol.65 No.-

This study is on cultural properties policy preservation by Chosun-Governor office after 1930s, a society for the study club of Chosun historic remains starting and activity, laws related to the cultural properties arrangement, extention of a people preservation club activity, that is, mainly a side of war mobilization, to war cooperation a side of cultural mobilization establish of the great east Asia nation museum, destruction of cultural properties, a enforced delivery, consciousness of the great Asia nation raise, framed by the office etc. While Chosun-Governor office established a modernized preservation system for historic remains by enacting various laws enough to take control of Chosun properties directly, it pursued a policy to deprive Chosun of traditional respect and formal ceremony on their cultural properties. Even though it helped modernization on the preservation for historic remains, it definitely showed dual face of the colonial cultural properties policy by destroying traditional authority of the historic remains. Rather the readjustment and preservation policy of the Chosun culture in the Greater East Asia Co-Prosperity Sphere raised by Japan has caused Chosun to realize its cultural superiority. Then, while it caused Chosun to make a cultural cooperation for Japan under the Japanese colonial era, in the long term, it helped causing Chosun to have self-understanding on their culture and cultural realization. That is, even though the colonial cultural policy was initially planned to transform Chosun culture into the 2nd Japanese or sub-Japanese imperialism culture, it has rather resulted in deeper consideration by Chosun on their cultural individuality except partially expanded pro-Japanese culturism as a result of positive consideration. Chosun made for themselves the unintended result of cultural properties policy by the imperialism Japan, it is considerable perception that this has something to do with the current HanRyu culture.

한국 근대 민요론 연구-우이동인의 민요론을 중심으로

박선애 ( Seon Ae Park ) 성신여자대학교 인문과학연구소 2012 人文科學硏究 Vol.30 No.-

The purpose of this study is to grasp the folk song recognition around the 1920`s with newspapers and magazines as the objects and to examine the folk song theory of Uidongin serialized in ``Jungwoeilbo`` in the 1920`s. Before the 1920`s folk song words were printed with the name of ``Children``s Song`` on newspapers and magazines or only the words were printed. Then children`s song did not mean ``Song of Children``, that was classified into lower rank of folk song, but meant ``The Mind of Heaven``. Before Uidongin Lee Kwang-Soo, Yang Myeong, Yeom Sang-Seob, Park Buk-Hyang, and Hong Sa-Yong made efforts to define ``Folk Song``. First of all, Uidongin defined folk song as ``Song of the Race, Song of the People and Song of the Nation``. In that period, Joseon was dominated by the Imperial Japan first in her history and a national system was introduced. And the concepts of ``race`` ``people`` and ``nation`` were not internalized in the thought of an intellectual as modern system but were in a confusion. And he wrote that folk songs did not embellish at all, were sung with naivety and innocence, and made simple genuine sensation without impure utilitarian elements revealed, touching popular psychology. Here the words of "naivety" "innocence" and "genuine sensation" are related with the unartificialIdleness(無爲) used in ``Jangja(莊子)`` among oriental aesthetics. Uidongin wrote that folk songs express candid mind without embellishment and this is due to the Oriental view of the folk song. And he explained the merits of folk songs as follows. First, the author of folk songs are unknown. Second, folk songs are floating literature. Third, folk songs are with melody. Fourth, in folk songs the special products, custom, and life of the region are represented. Fifth, folk songs are easy to sing. Second, Uidongin looked upon the transition of folk songs as circulation and wrote that the author became obscure and the meaning changed as folk songs were transmitted. He explained the circulation in time and space. First, time circulation may weaken once but may revive with a chance afterwards. There is a change in the form that are melody and words. Next, in spatial circulation, the melody and words change with circulation from one region to another. Namely, time circulation means the transmission of folk songs and the spatial transmission means the spreading of folk songs. And the factors of folk song development are explained in six. First, what were extinct in the native place, when the Gyeongbokgung Palace wasrebuilt, partly remained in Gyeongseong. Second, the encouragement of folk songs by Emperor Gojong gave birth to the new folk songs(新民謠). Third, the role of the demimonde who learnt folk songs was great. Fourth, the number of those who studied folk songs increased. Fifth, estranged celebrated singers emerged. Sixth, magazine publishers collected folk songs. Lastly, Uidongin classified folk songs into two kinds, centering on the expression. First, in the expression form, they were classified into vulgar songs, popular songs, children`s songs and created folk songs. Next, in the principal and auxiliary relation by the expression subject, they were classified into narrative folk songs and lyric folk songs. This seems to be influenced by Tanaka(田中初夫) of Japan.

한국 근대 민요론 연구 Ⅲ

박선애(Park Seon Ae) 우리문학회 2015 우리文學硏究 Vol.0 No.47

이 논문은 1930년대 대표적인 민요 연구자인 김태준과 김사엽의 연구를 일부만 비교 검토한 것이다. 민요의 정의를 보면 첫째, 김태준과 김사엽은 모두 민요의 정의를 서구와 일본에서 찾고 있다. 둘째 김태준은 민요는 무슨 필요에 의해 생겼다고 한 반면, 김사엽은 민요를 조선어로 나타내야 한다고 강조했다. 셋째, 김태준과 김사엽은 모두 민요는 민중의 가요라고 하여 민요의 향유층을 민중으로 보았다. 그러나 김태준은 계급을 강조한 민중의 가요라고 한 점에서 차이가 있다. 여기서 계급이란 주로 프로문학에서 거론되는 프롤레타리아 계급에 기반을 둔 민중을 의미한다고 할 수 있다. 민요의 지역성에서 김태준은 전국적으로 분포되어 전승되고 있는 조선의 민요를 각 도-경상도, 전라도, 평안도, 함경도, 제주도, 황해도, 경기도-별로 소개했다. 반면에 김사엽은 조선민요를 유교문화와 관련하여 설명하고, 영남고유민요인 “쾌지나칭칭노-네”를 들어 조선가요의 향락성과 도피사상의 표리관계가 있음을 서술했다. 그리고 제주도민요는 이 섬의 제반생활기구가 민요의 발전에 크게 기여함과 동시에 조선민요의 보고라고 했다. 민요의 분류에서 먼저, 김태준은 ‘(1) 정연(情戀), (2) 서사(?事), (3) 생활(生活), (4) 의식(儀式), (5) 아가(兒歌), (6) 골계(滑稽)’의 6항목으로 분류하였다. 그러나 민요 분류방법의 기준이 모호하다. 즉 그가 설명한 ‘정연’은 내용적인 분류이고, ‘생활’과 ‘의식’, ‘아가’는 기능적인 분류이며, ‘서사’는 장르적인 분류이고, ‘골계’는 미학적인 분류이다. 반면에 김사엽은 우선 표현형태로 분류하고, 다음으로 표현주체의 주객관계로 분류했다. 표현 형태에서 ‘(1) 동요(童謠), (2) 이요(俚謠), (3) 민요(民謠), (4) 신민요(新民謠)와 신동요(新童謠)’ 4항목으로 분류했다. 그리고 표현주체로는 서사민요와 서정민요로 분류했다. 이러한 김사엽의 민요 분류는 전중초부(田中初夫)의 민요 분류 방법을 차용하여 민요를 표현형태와 표현주체의 주객관계로 분류한 것이다. 1930년대 김태준과 김사엽의 민요론은 당대 민요 현실에서 요구되는 민요론을 제시하고, 문제점을 지적한 점에서 의의가 있다. In this thesis the studies of Kim Tae-jun and Kim Sa-yeop were compared and examined in part who are the representive folk song researchers of the 1930’s. To consider the definition of folk song, both Kim Tae-jun and Kim Sayeop firstly looked for the definition of folk song in West Europe and Japan. Secondly, Kim Tae-jun said that folk song came into being by some necessity, but Kim Sa-yeop emphasized that folk song should be represented in the Joseon(Korean) language. Thirdly, both Kim Tae-jun and Kim Sa-yeop said that folk song is the popular song of the people and considered the people to be the enjoying class of folk song. But there is a difference in that Kim Tae-jun emphasized the class. Here the class can be said to mean the people based on the proletarian class mentioned in the proletarian literature. In the locality of folk songs, Kim Tae-jun introduced Joseon folk songs, distributed and transmitted nationwide, by Gyeongsangdo, Jeollado, Pyeongando, Hamgyeongdo, Jejudo, Hwanghaedo and Gyeonggido. But Kim Sa-yeop explained Joseon folk songs in relation to the Confucian culture. And he mentioned “Koejinachingchingnone(쾌지나칭칭노-네)” a Yeongnam(嶺南) proper folk song and described that pleasure-seeking and escapist idea of Joseon folk songs are double-faced. And he explained that Jejudo folk songs are the treasure house of Joseon folk song, and the various living tools in Jejudo contributed greatly to the development of folk song. Kim Tae-jun classified folk songs into 6 items of (1) love(情戀), (2) narration(?事), (3) living(生活), (4) ceremony(儀式), (5) children’s song(兒歌), and (6) joke(滑稽). But the criterion of classifying method of folk songs is vague. In his explanation ‘love’ is classification by the content, ‘living’ ‘ceremony’ and ‘children’s song’ are classification by the function, narration by the genre and, and by the aesthetics. But Kim Sa-yeop firstly classified by the expression form, and next by the subject-object relation of the expression subject. By the expression form into 4 items of (1) children’s song(童謠), (2) nature song(俚謠), (3) folk song(民謠), and (4) new folk song(新民謠)’ & new children’s song(新童謠). And by the expression subject into folk ballad(敍事民謠) and lyric folk song(抒情民謠). Kim Sa-yeop’s this classification of folk songs employed the folk song classsification method of Tanaka Hatshu(田中初夫) and classified folk songs by the expression form, and next by the subject-object relation of the expression subject. The folk song theory of Kim Tae-jun and Kim Sa-yeop in the 1930’s is significant in that it suggested the folk song theory demanded by the folk song reality of the day and indicated the problem.

강원도 민요에 나타난 지역 문화 연구: 영월 지역을 중심으로

박선애 ( Seon Ae Park ) 한국커뮤니케이션학회 2018 커뮤니케이션학연구 Vol.26 No.2

본 연구에서는 강원도 영월 지역 민요를 중심으로 영월 지역 문화를 고찰해 보았다. 먼저, 단종의 죽음과 관련된 노래 <대왕인산요>와 <한양가>에서는 단종의 억울한 죽음에 대한 한(恨)을 노래했다. 그리고 ‘술이 나는 샘(酒泉)’을 노래한 <술샘노래>에서는 지금은 술이 나지 않고 현재 영월지역 망산(望山) 밑에 샘터만 있어 ‘그리움’의 현장으로만 남아있을 뿐이다. 또한 당시 강원감사가 단종의 무덤인 장릉을 참배할 때, 감사 일행이 다리를 건너던 내용의 노래인 <쌍다리 노래>에서 ‘쌍다리’와 만지 나루터의 주모 ‘전산옥의 집터’와 돌담 역시 ‘그리움’의 현장으로 남아있다. 다음으로 영월 민요의 사설에 나타난 당대 문화(근·현대)를 살펴보았다. 노래의 사설에 ‘명주’와 ‘목도리’가 등장한 것으로 보아 근대 시기 복식 문화를 알 수 있었고, ‘소주’, ‘약주’라는 술의 종류가 등장하는 것으로 볼 때, 19세기 말 이후 술 문화를 엿볼 수 있었다. 그리고 노래 사설에 ‘미도리’라는 담배와 일본어, 외국 지명이 등장하는 것을 통해서 일제 시대의 흡연 문화와 언어문화를 짐작할 수 있었다. 또한 <빨래가>와 <영월팔경가>를 통해서 1970년대와 그 이전 영월 지역의 생활 모습과 현대 영월 지역의 전체 모습을 알 수 있었다. 이 논의를 통해 영월 지역의 민요에서만 드러나는 특징을 발견할 수 있었다. 즉 비극적인 삶을 통한 단종의 한(恨)과 과거의 장소로만 남아 있는 흔적은 그리움의 정서를 더욱 더 강화시키는 기능으로 적극 활용되고 있고, 근대 이후 영월 지역의 사회 문화 생활상의 편린을 짐작해 볼 수 있었다는 점에서 의의가 있다고 하겠다. In this study the culture of Yeongweol region was looked around centering on the folksongs of Yeongweol region Gangwon-do. First, in the songs of < Daewanginsanyo > and < Hanyangga > related with the death of king Danjong, the regret about the unfair death of king Danjong was sung. And in < Sulsaem nore > that sang ‘the fountain of wine (酒泉)’, now wine does not come out and only the site exists at the foot of Mangsan(望山) Yeongweol region, remaining as the site of yearning. In the song of < Ssangdari nore > that sang the visit of then Gangweon provincial governor on Jangneung(the tomb of king Danjong) crossing Ssangdari(Twin Bridge), ‘Ssangdari’ and ‘the housing site and the stone wall of Jeon San-ok’, barmaid of manji ferry, remain as the site of yearning, too. Next, modern and contemporary culture represented on the poem of Yeongweol folksongs was looked around. There were ‘silk’ and ‘scarf’ in the poem of the songs, showing modern dress culture. The kinds of alcohol ‘soju’ and ‘yakju’ showed 19th century-end and after drinking culture. And in the poem of the songs, the tobacco name of ‘Midori’, Japanese words and foreign geographical names showed the smoking and language culture of the Japanese domination era. And through < Palaega(Laundering) song > and < Yeongweol palgyeongga(eight landscape song) > the living conditions and look of Yeongweol region before 1970’s and today could be known. In this discussion, the features shown only in the folksongs of Yeongweol region were discovered. The regret(恨) of king Danjong through his tragic life, traces of yearning place, and social cultural life of Yeongweol region since modern times could have been guessed.