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20세기 전반기 민요집 편찬 목적 및 체제에 대한 고찰 -『조선동요집』·『언문 조선구전민요집』·『조선민요선』을 중심으로-
전계영 ( Jeon Gye Yeong ) 한국문학언어학회(구 경북어문학회) 2016 어문론총 Vol.70 No.-
본고는 민요자료집 가운데 1920년대부터 해방 이전까지의 제1기(입문기)에 간행된 『조선동요집』(1924)·『언문 조선구전민요집』(1933)·『조선민요선』(1939)을 대상으로 편찬 목적 및 체제에 대해 고찰하는 것에 목적을 두고 기술되었다. 제1기에 해당하는 기간은 우리나라의 산업화가 진행되기 이전으로써, 민요와 민중의 삶이 어우러져 공존하던 때이다. 그렇기 때문에 당대 민중들이 향유했던 향토민요는 그들의 삶의 모습을 반추하고 그들의 지향을 살필 수 있는 단서가 된다. 그런데 이러한 논의를 보다 객관적이고 효율적으로 개진하기 위해서는 대상 자료집의 확정이 선행되어야 할 것이다. 그래서 본고는 20세기 전반기에 발간된 대표적 향토민요 자료집인 『조선동요집』·『언문 조선구전민요집』·『조선민요선』을 대상으로 편찬 목적과 체제 등을 살펴보았으며, 그 결과 김소운의 『언문 조선구전민요집』이 20세기 전반기 향토민요 연구에 가장 적합한 자료집임을 재차 확인할 수 있었다. The purpose of this thesis is to study on the purpose of publishing minyojip and its system based on Joseon dongyojip, Eonmun Joseon gujeonminyojip, Joseon Minyoseon, the first materials(introduction period), which were written from 1920s to before 1945 considering the historical current of the study in terms of minyo. The 1st period that it was the pre-industrial time was when minyo and people`s lives coexist together. Thus lyrics of local folk songs are the clues which ruminate on people`s lives and make it easy to understand people`s pursuits. Accordingly I tried to examine three things with the information from the above resources: to find out the purpose of publishing minyojip and the features of system, to investigate people`s pursuits after comparing and analyzing minyo distributed nationally and distributed locally with the works in Eonmun Joseon gujeonminyojip, and to examine the application plans after understanding the rhetorical figures and narrative features in each minyo. On account of space considerations, however, I focused a discussion on the purpose of publishing minyojip and the features of system mentioned in the first clause. That is, by examining the external factors of preface and arrangement of works in the three materials, Joseon dongyojip, Eonmun Joseon gujeonminyojip, Joseon Minyoseon, I tried to form the basis for a follow-up study while also selecting Eonmun Joseon gujeonminyojip by Kim Soun as a good example.
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전계영 ( Gye Yeong Jeon ) 우리어문학회 2011 우리어문연구 Vol.41 No.-
Hwimori-japga was affected by JangHyeongsijo, and It has a humor and an end causing laughter. And the floor in charge is the handi-craftsmen. To verify this information, I confirmed that Hwimori-japga was related with JangHyengsijo by surveying the affection with other kind of poetry about the 10 work of Hwimori-japga. Also I surveyed the change aspect of aesthetic by considering that the floor in charge is commoner. So I found out that the closely related work with JangHyengsijo were limited the only 4 work - 「YukChilWol」, 「ManHakCheonBong」, 「SaengMaeJapA」, 「HanJan-BuEoRa」. But I found out that the other work were showing the mixed aspect, that 「BiDanTaRyeong」were related with Pansori and Muga, 「Maengkongi-Taryeong」were related with 「Saseol-Sijo」and 「Minyo」, 「Gombo-Taryeong」were related with 「SaSeolSiJo」and 「PanSoRi」. Also I classified 「Bawi-Taryeong」, 「Giseang-Taryeong」, 「Byeongjeng-Taryeong」which is not included in above category by creations. Besides, I found out that the floor in charge of Hwimori-japga got selective acceptance and made a transfiguration of lyrics when they expropriate the poetry, especially SaSeolSiJo, and that, in the heart of the transformation, the sense of the common people was projected in Hwimori-japga, directly, being different from the consciousness of the floor of the elite or the middle. And I found out that, especially, lots of the vision of social phenomena, that is satire and social conditions, which can`t be seen in other kind of Japga, was reflected. If we consider such informations, there must be changes in the vision of looking at Hwimori-japga. In other words, it is judged that the journey to getting to the nature through the phenomenon of imitation and laughter is needed. While working above studies, I tried to find the meanings of the work. But, I feel lack of studies from the standpoint of the interpretation biased on intuition. I will gradually supplement this, and I hope that this process wil reach not to be limited in Hwimori-japga, but to the boundary of synthesis of all Japga.
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박춘재 소리 <맹꽁이타령>에 나타나는 근대적 성격 고찰
전계영 ( Jeon Gye-yeong ) 한국시가학회 2019 韓國 詩歌硏究 Vol.48 No.-
The purpose of this thesis is to examine the modern characteristics of Hwimori-japga < Maengkongi-taryeong >. Hwimori-japga originated from the Saseol-Sijo and was performed by masters as a popular song from the late 19th century to the first half of the 20th century. Generally, there are 'twelve japga, Sunsori-taryeong, Minyo-related japga, Hwimori-japga' in the subcategories of japga. As these songs were performed on a stage such as Gwangmudae, printed as japgajibs, and played by SP record and Kyungsung radio broadcast, they became well known and popular with the public. This situation is confirmed by research through empirical data analysis. However, most of the discussions related to the modern characteristics of the japga tends to rely on the background or the context surrounding it rather than on the lyrics of the original text. This is due to the inherent limitation that it is difficult to grasp the 'modern characteristics' in the lyrics. The japga is not far from the original lyrics because it consists of works that were altered or re-edited by taking part (or all) of the lyrics through the genre interaction between other poems which had been enjoyed. In the case of Hwimori-japga, however, there are the works which I-Hyeonik (person's name) created and some of his songs have been used as a satirical expression technique, reflecting the situation of the first half of the 20th century. In this context I determined < Maengkongi-taryeong > among Hwimori-japga as the subject of study and tried to derive the significance of the works through the appearance of people(the public) who responded to political violence( power) among various indicators that revealed the modern characteristics. As a result, in the < Maengkongi-taryeong > people's criticism and satire of political power which had not appeared in the existing Siga were embodied and people's hard life was sublimated as the comic. In addition, looking at the subjects and the way of embodying the modern characteristics, it could be confirmed that 'japga' was represented by the people who had enjoyed it and had lived traditionally not 'leavers' and 'returners'.
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