동양: 황당함으로 담은 신라인의 애특한 사랑이야기

정출헌 문학과경계사 2003 문학과경계 Vol.3 No.3

「주몽신화」를 통해 생각해 보는 '아버지'라는 이름

정출헌 문학과경계사 2003 문학과경계 Vol.3 No.1

어느 한미한 사족의 倡義活動에 대한 기억과 그 추숭과정 - 金有富 가문의 『漁樵窩兩世三綱錄』과 古文書를 중심으로 -

정출헌 택민국학연구원 2019 국학연구론총 Vol.0 No.23

임진왜란은 깊은 전쟁의 상흔과 함께 많은 영웅을 만들어냈다. 류성룡, 이순신, 권율, 곽재우, 논개 등은 그 대표적인 인물이다. 하지만 훨씬 더 많은 무명의 전쟁영웅들이 왜적을 몰아내기 위해 창의활동에 나섰다. 그들을 義兵이라 부른다. 본고에서 다루려고 하는 밀양지역의 사족 漁樵窩 金有富(1549-1621)도 그런 인물 가운데 하나이다. ‘물고기 잡고 나무해서 먹고사는 사람’란 뜻으로 自號를 삼고 있는 것에서 짐작하듯, 그는 한미한 사족 출신이다. 그런 까닭에 ‘野人’으로 일컬어지기도 했다. 그런 김유부는 왜적이 밀양으로 쳐들어오자 鵲院關에서 패배하여 후퇴하는 밀양부사 朴晉를 따라 밀양 山內面 산골짜기로 구십 노모를 모시고 피난을 갔다. 그리고 거기에서 밀려드는 왜적에 맞서 의병으로 나섰다. 노모를 안전하게 모셔야 한다는 子息의 도리와 나라의 위기를 구하기 위해 전쟁에 나서야 한다는 臣民의 의무 사이에서 갈등하던 그는, 노모를 등에 들쳐 업고 적진으로 돌진하는 선택을 하게 된다. 그의 이런 卓異한 행적은 忠孝를 동시에 지켜낸 행위로 인정받아 선조 때 宣武原從功臣 2등에 冊錄되게 된다. 하지만 김유부의 후손들은 오랜 시간 동안 그 이상의 포상을 줄기차게 요구했다. 그런 노력의 결과, 마침내 5대손 金泰遠이 擊錚이란 수단을 통해 영조 30년 贈職과 旌閭를 하사받게 된다. 국가적 차원의 최고 포상이 이루어진 것이다. 특히, 영조의 시대는 임진왜란 이후에 산출된 전국의 충신․효자․열녀를 포상해야 하는 후속 작업은 물론이고 ‘이인좌의 난’ 이후 흐트러진 민심을 수습하고 사족집단의 향촌지배를 안정적으로 유지시켜야 하는 시대적 과제를 안고 있었다. 밀양출신의 義僧將 四溟大師에 대한 대대적 포상은 그 단적인 사례이다. 김유부의 후손과 밀양․영남지역의 사족집단도 이런 시대적 분위기에 편승하여 임진왜란 때 원종공신에 책록된 김유부는 물론 병자호란 때 雙嶺戰鬪에서 전사한 두 아들 金起南․金蘭生 형제, 그리고 그들을 따라 순절한 부인 慶州崔氏․恩津宋氏에 대한 포상까지 요구하기 시작했다. 그 결과 철종 13년(1862)에 두 아들이 추증되고, 그 이듬해인 철종 14년(1863)에는 두 아들과 두 부인에게 정려까지 내려지게 되었다. 김유부의 집안에는 이런 일련의 추숭과정을 확인할 수 있는 『漁樵窩兩世三綱錄』과 古文書가 상당수 보관되어 있다. 본고는 이런 고문헌 자료를 통해 임병양란 때 탁월한 삼강의 행적을 보였던 김유부 가문에 대한 포상과정을 시대적 맥락을 따라가며 재조명해보고자 했다. The Imjin war brought forth numerous war heroes such as Ryu Seungryong, Yi Sunshin, Gwon Yul, Gwak Jaewoo and Nongae as well as deep wounds from the war. However, a lot more unsung war heroes gathered together in order to drive out the Japanese enemy. They were called the Righteous Armies (義兵). This article deals with Eochowa Kim Yubu (1549-1621), one of those people from Milyang. His name Eochowa means a man who catches a fish and eats vegetables, causing speculation about his humble background as a nobleman of fairly insignificant rank. Thus he was called ‘a man retired to the countryside’. Kim Yubu took refuge with his old mother in a valley of Sannae myeon township in Milyang city with Milyang governor Park Jin who retreated after the defeat in Jakwongwan when Japanese armies invaded. He became a righteous army commander against a surging number of Japanese armies. When there was a conflict between two duties for Kim Yubu: one is that he had to take care of his ninety year old mother; the other is the duty as the king’s subject, which was to fight for the country to overcome the national crisis, he made the choice of going to war and rushed to the enemy’s camp while carrying his elderly mother on his back. His unusual deed was recognized as the act of loyalty and filial piety and he was recorded for the second place of a vassal who contributed during the war. However, the descendants of Kim Yubu constantly requested further awards about the achievement of their ancestor. As a result of their endeavor, finally the fifth generation descendant Kim Taewon was granted the government post posthumously for Kim Yubu and a monument to celebrate his ancestor’s achievement through the method of appealing to the king in the thirtieth year of King Youngjo. It was a national reward. In the reign of King Youngjo there was a great task of the period that they had to reward loyal subjects, filial sons, faithful wives nationwide who were omitted from rewards during the Imjin War and Byeonja War, as well as the Japanese and Qing invasion of Joseon respectively. Their task was to regain the public sentiment after the rebellion of Yi Injwa and to make regional aristocrats control the local community in a stable manner. So a national reward for warrior monk Samyeong who was from Milyang was a case in point. The descendants of Kim Yubu and a group of local aristocrats from Milyang started to demand rewards in cases of Kim Yubu’s two sons Kim Ginam, Kim Nanseng who were killed at Ssangnyeong battle and their two wives Choi and Song who died after their husbands. Therefore, the two sons were granted government posts posthumously in the thirteenth year of King Cheoljong (1862) and a monument for the two sons and their two wives in the fourteenth year of King Cheoljong (1863). There are quite a few old documents that can verify the series of events that led to the posthumous honor. This article reexamines the procedure of rewarding the Kim Yubu family who demonstrated outstanding achievement of three Confucian qualities during the two invasions of Joseon by using these ancient documents in the context of times.

국학파의 ‘조선학’ 논리구성과 그 변모양상

정출헌 열상고전연구회 2008 열상고전연구 Vol.27 No.-

『춘향전』의 인물형상과 작중역할의 현실주의적 성격

정출헌 판소리학회 1993 판소리연구 Vol.4 No.-

고독한 중세 지식인의 시각으로 읽어보는 『금오신화』

정출헌 문학과경계사 2003 문학과경계 Vol.3 No.4

동양 : 한 가련한 여성의 삶과 죽음, 그 열녀 환생에 대한 보고서

정출헌 문학과경계사 2004 문학과경계 Vol.4 No.1

16세기 서사문학사의 지평과 그 미학적 층위

정출헌 釜山大學校 韓國民族文化硏究所 2005 한국민족문화 Vol.26 No.-

The sixteenth century's novels have not get much attention in the history of classical novels. They remained as vacuum in the history of novels or played a bridge role connecting the novels of fifteenth century and those of seventeeth century. However, the place of novels of sixteenth century in the history of classical novels are getting more and more important through recent discovered and introduced materials. It is required to study the phase of the history of the narrative literature in the sixteenth century and its aesthetic characteristics in order to cope with this situation positively. This study pointed out some perspectives briefly that we should keep in mind when we comprehend the phases of the history of narratives in the sixteenth century. First, various inclinations of the history of narratives in the early Joseon period ; second, the worldview of confucian scholars in the early Joseon period and the complexity of literary aesthetics and third, the new role and the place of narrative genre. We should bear in mind the actual condition of the narrative history of intertwinement and division of genres such as Pilgi(筆記), Peseol(稗設) and Jigwe(志怪), Jeongi(傳奇) as well as complicated aspects of literary aesthetics among confucian scholars and seemingly contradictory but combined phase of narrative interest and ideological instruction. With the above basic understanding this article examined the aesthetic qualities being cultivated in the narrative history of the sixteenth century by major types. The first type is human narratives, the second type is Jeongi novels and the third type is narrative allegory. This article focused on the most important works among them such as Seolgongchan Story(薛公燦傳), Gijegiyi(企齋記異), and Wonseng Mongyurok(元生夢遊錄). The following characteristics are identified : the aesthetic characteristics of human narratives of the reality of Pilgi, Peseol genres and fictional inclination of Jigwe, Jeongi varied the existing Jeongi novels' narrative grammar, characters and episodes in a various way; the aesthetic characteristics of narrative allegory that publicized confucian scholars' strong desires in the form of fables. This discussion is expected to suggest useful clues to elucidate the process of division of novel genres from premodern narrative literature, diverse strata of confucian scholars' literature in the early Joseon period, and the entire history of the seventeenth century's novels that opened the ear of novels.

고전소설 연구의 몇몇 국면에 대한 반성적 고찰

정출헌 고려대학교 민족문화연구원 한국문학연구소 2002 한국문학연구 Vol.- No.3

A classical novel is one of the literary genre that one of the most important literary genre which is changed place from the trivial genre to the most important genre, which is rapidly developed from the latter beinning to the most fastest developed genre, and is the genre which is within the bounds of possibility for jumping over the deep gap between the upper and lower classes and make them feel togther cultural and emotional sympathy.For these respects, the novel genre cannot be lightly dealt with it.But without some basic reflection for the some aspects about the reconsideration of the classical novels's, we cannot evolve the new area of research. First, the evaluation of the classical novel genre based on the modern view of literature. We've overestimated the novel, the modern genre, rather than real image, but the other genres get out of it have been underestimated rather than real image.Now, we need to valuate these genres fairly.Second, the evaluation of the classical novel genre based upon the national literary view.We've estimated the classical novel according to the quantity of the national point of view.But we need to evaluate the both sides of the inner part of the national development and the effect of the outer world.Third is the evaluation of the severe exclusion about the medieval view of literature.We've evaluated the aspects of literature that is dispositioned with the medieval view of literature in classical novels are the intentions of the modern literature directly.Because they established that the medieval aspects are the object of the overcome.But the view of medieval literature itself is to be valued fairly without being buried to the modern view of literature. Things are easy to be criticized, but are difficult to solve practically.The three aspects of being critically examined far now-'the completion of the modern literature', 'the cherishment of the national literature', 'the overcome of the medieval literature'-are the thems which is the main topic leading our classical novel research over the last period. Neverthless we had to reconsider critically these things. To sublimate the love to one more higher level, it is to be believed that we have to step back from the blind love of the youth.Isn't that only so one can see one's lover's face rightly?

조선전기 언해사업의 지평과 문명전환의 맥락- 새로운 언어문자의 창제와 새로운 학문주체의 탄생

정출헌 민족어문학회 2018 어문논집 Vol.- No.84

This article is a part of efforts to examine what process the foundation of Joseon Dynasty and the vision of Confucian civilization went through in the transitional period of Yuan Dynasty and Ming Dynasty in China. King Sejong planned a huge project of changing the nation into a country of Confucian civilization and created a new writing system, Eonmun(言文) / Hunmin Jeongeum(訓民正音) as an effective tool for the completion of the project. Thus, he started to compile the oldest Confucian classics such as Unhoe(韻會, Chinese character pronunciation dictionary) and Saseo(四書, Four Books) and then annotation book like Samgang Haegsildo(三綱行實圖), which is a basic book of confucian cultivation. Also he used annotation for a music book like Yongbieocheonga(龍飛御天歌) that displayed the dignity of foundation of Joseon Dynasty and actively made use of annotation to create buddhist songs like Wolin Cheongang Jigok(月印千江之曲) whose aim was to wish for peace and prosperity of royal family. However, the plans of King Sejong was not succeeded smoothly through the reign of King Munjong, Danjong and Sejo. Although Buddhist scripture annotation project went well vigorously in the period of King Sejo, compared to original intention of creation, the usage was sharply reduced. There can be many reasons that the translation work was delayed or reduced. However it is clear that one of the reasons is that the creation of new writing system and the translation work with it acted as an element of anxiety for established authority who monopolized Chinese characters until then. As a matter of fact, dualism of writing authority seemed as a severe threat to their vested interest and the signs of resistance due to that could be seen in several places. That’s why they endeavored to express the way of Chinese civilization that they dreamed of through Chinese characters, which was universal writing system in the Middle Ages. As long as they are alive and had control over politics and academics from the period of King Sejo to King Seongjong, the work of translation had been left undone or delayed. However, newly arising scholars during the reign of King Seongjong, were in conflict with the established but carved out their own territories. They determined to be more thorough in Neo-Confucian ideology to complete Confucian civilization and believed to distribute their ideology to all parts of society. As a result, they came to meet Confucian civilization project and translation work for its practical use that King Sejong long ago planned. That’s the reason that they became the main characters of translating Poetry of Dubo(杜詩), a new model of poetry and arranging and spreading Samgang Haegsildo(三綱行實圖) Confucian book annotation, translation work that was left alone for a long time. 세종은 유교문명 국가로의 전환이라는 원대한 프로젝트를 설계하고, 그것의 완성을 위한 유효한 도구의 하나로 언문/훈민정음을 창제했다. 그리하여 韻會․四 書와 같은 유교문명의 최고 고전으로부터 삼강행실도와 같은 유교 교화의 기본서적에 이르는 언해 프로그램을 기획하고 착수했다. 또는 조선 건국의 위엄을 드러내는 「용비어천가」와 같은 樂章이라든가 왕실의 안녕을 기원하는 「월인천강지곡」과 같은 讚佛歌를 창작하는 데도 적극 활용했다. 그럼에도 세종의 기획은 문종-단종-세조의 시대를 거치며 순탄하게 계승되지 못했다. 비록 세조대에 불경 언해사업이 활발하게 펼쳐지긴 했지만, 그건 언문/훈민정음 창제 의도에 비추어 볼 때그 용도가 대폭 줄어든 것이었다. 이처럼 언해의 작업이 지체되거나 축소된 까닭에는 많은 원인이 있을 수 있다. 그렇지만 새로운 문자의 창제와 그것을 통한 언해가 한문을 독점하고 있던 기성권력에게 불안의 요소로 작용한 것이 주된 이유 가운데 하나였던 것만큼은 분명하다. 문자 권력의 분산은 자신의 기득권에 심각한 위협으로 다가왔고, 그로 말미암은 반발의 징후도 곳곳에서 감지된다. 때문에 그들은 중세 보편문어였던 한문을 통해 자신들이 꿈꾸는 중화문명의 길을 구현하고자 노력했다. 그리고 세조로부터 성종의 시대에 이르기까지 정치권력과 학문권력을 장악하고 있던 그들이 건재한 한 세종이 기획한 언해 사업은 방치되거나 지체될 수밖에 없었다. 하지만 성종대의 젊은 新進士類는 이러한 기성세대와 갈등․대립하며 자신의영역을 개척해나갔다. 유교문명의 완성을 위해서는 그들 스스로 성리학적 이념에보다 철저해야 한다고 다짐했고, 그를 위해서는 그것을 사회 저층에까지 보급․ 확산시키지 않으면 안 된다고 믿었다. 그리하여 그들은 세종이 오래 전에 설계했던 유교문명 프로젝트와 그를 위해 활용하고자 했던 언해와 만나게 되었다. 새로운 詩學의 전범으로 떠오른 杜詩를 언해하고 오랫동안 방치되어 있던 언해본 삼강행실도를 간행․보급하는 주역으로 그들이 나섰던 까닭이다.