曲亭馬琴の「懲悪」と読本の世界

金學淳(Kim Hark soon) 고려대학교 글로벌일본연구원 2017 일본연구 Vol.27 No.-

本論文では、椿説弓春月と南総里見八犬伝の長編構成及び構想を勧善ではな く、懲悪に注目して分析した。勧善懲悪を江戸時代を代表する思想の観点ではな く、一つの構想の要素として捉えたわけである。また、勧善懲悪をモチーフとする 小物語の反復と連鎖が八犬伝をつらぬく構成原理になっていることについて考察し た。江戸後期では、理解水準が低い読者層のため、物語の単純化、定型化、読み切り の完結性などが求められた。馬琴の長編読本は、その完結した小さな筋立てが反復連 鎖することによって長編物となっているが、その完結した小物語のモチーフとして本 作品で注目されるのが勧善懲悪のテーマである。また、その勧善懲悪の懲悪に注 目し、悪人を中心にして考察した。 さらに、絶対的善悪論とは、弓張月の物語が内包している話型を構成する二元論 的世界観であった。その世界観に善悪の価値が結びついていた。それでは、なぜ馬琴 は二元論的世界観に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの伝統的世界観(中華思想にもとづく華夷的世界観)に対立するかたちで西洋伝来の地図的世界観が現実感をもって台頭してきたことを指摘した。そして世界観の衝突と対立があり、並行現象が見られて、<知>の転換があったことを主張した。多元的世界観の衝突への驚きが見られ、そのような<知>の拡大が馬琴読本に多元的世界観(弓張月では二元論的)を意識させていったと考える。<知>の転換期といわれる時代にあって、この歴史的規定の枠組の中に、関係構造と物語内容の関連があることに着目したのである。 本論文で対象とする八犬伝には、多元論的世界観はもはや見られない。あくまでも南房総安房国という領国を物語世界とする、一元論的世界が枠組をなしている。しかし二元論的世界観と善悪の結びつきは、実は八犬伝の人物造型、すなわち善人と悪人、とりわけ悪人造型に集約されている。八犬伝においても、絶対的善悪論に支えられた勧善懲悪はつらぬかれているのであって、善人は善人、悪人は悪人として物語構成を分割する。悪人は父子、母娘といった血筋関係の間を、そして悪の霊魂(玉)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界観の縮図継承とみてよく、この悪人造型こそが馬琴に独自なものなのである。 In Bakin’s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin’s Yomihon is the description of evil. The writer also thinks that the evil in Bakin’s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin’s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin’s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

曲亭馬琴の 「懲惡」 と讀本の世界『椿說弓春月』と『南總里見八犬傳』における<惡>の問題

김학순 ( Kim Hark-soon ) 고려대학교 글로벌일본연구원 2017 일본연구 Vol.27 No.0

本論文では、『椿說弓春月』と『南總里見八犬傳』の長編構成及び構想を「勸善」ではなく、「懲惡」に注目して分析した。「勸善懲惡」を江戶時代を代表する思想の觀点ではなく、一つの構想の要素として捉えたわけである。また、「勸善懲惡」をモチ一フとする小物語の反復と連鎖が『八犬傳』をつらぬく構成原理になっていることについて考察した。江戶後期では、理解水準が低い讀者層のため、物語の單純化、定型化、讀み切りの完結性などが求められた。馬琴の長編讀本は、その完結した小さな筋立てが反復·連鎖することによって長編物となっているが、その完結した小物語のモチ一フとして本作品で注目されるのが「勸善懲惡」のテ一マである。また、その勸善懲惡の「懲惡」に注目し、「惡人」を中心にして考察した。 さらに、絶對的善惡論とは、『弓張月』の物語が內包している話型を構成する二元論的世界觀であった。その世界觀に善惡の價値が結びついていた。それでは、なぜ馬琴は二元論的世界觀に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの傳統的世界觀(中華思想にもとづく華夷的世界觀)に對立するかたちで西洋傳來の地圖的世界觀が現實感をもって台頭してきたことを指摘した。そして世界觀の衝突と對立があり、幷行現象が見られて、<知>の轉換があったことを主張した。多元的世界觀の衝突への驚きが見られ、そのような<知>の擴大が馬琴讀本に多元的世界觀(『弓張月』では二元論的)を意識させていったと考える。<知>の轉換期といわれる時代にあって、この歷史的規定の樺組の中に、關係構造と物語內容の關連があることに着目したのである。 本論文で對象とする『八犬傳』には、多元論的世界觀はもはや見られない。あくまでも南房總安房國という領國を物語世界とする、一元論的世界が樺組をなしている。しかし二元論的世界觀と善惡の結びつきは、實は『八犬傳』の人物造型、すなわち善人と惡人、とりわけ惡人造型に集約されている。『八犬傳』においても、絶對的善惡論に支えられた「勸善懲惡」はつらぬかれているのであって、善人は善人、惡人は惡人として物語構成を分割する。惡人は父子、母娘といった血筋關係の間を、そして惡の靈魂(「玉」)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界觀の縮圖繼承とみてよく、この惡人造型こそが馬琴に獨自なものなのである。 In Bakin`s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin`s Yomihon is the description of evil. The writer also thinks that the evil in Bakin`s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin`s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin`s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

曲亭馬琴の 「懲惡」 と讀本の世界『椿說弓春月』と『南總里見八犬傳』における<惡>の問題

김학순 ( Kim Hark-soon ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2017 일본연구 Vol.27 No.-

本論文では、『椿說弓春月』と『南總里見八犬傳』の長編構成及び構想を「勸善」ではなく、「懲惡」に注目して分析した。「勸善懲惡」を江戶時代を代表する思想の觀点ではなく、一つの構想の要素として捉えたわけである。また、「勸善懲惡」をモチ一フとする小物語の反復と連鎖が『八犬傳』をつらぬく構成原理になっていることについて考察した。江戶後期では、理解水準が低い讀者層のため、物語の單純化、定型化、讀み切りの完結性などが求められた。馬琴の長編讀本は、その完結した小さな筋立てが反復·連鎖することによって長編物となっているが、その完結した小物語のモチ一フとして本作品で注目されるのが「勸善懲惡」のテ一マである。また、その勸善懲惡の「懲惡」に注目し、「惡人」を中心にして考察した。 さらに、絶對的善惡論とは、『弓張月』の物語が內包している話型を構成する二元論的世界觀であった。その世界觀に善惡の價値が結びついていた。それでは、なぜ馬琴は二元論的世界觀に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの傳統的世界觀(中華思想にもとづく華夷的世界觀)に對立するかたちで西洋傳來の地圖的世界觀が現實感をもって台頭してきたことを指摘した。そして世界觀の衝突と對立があり、幷行現象が見られて、<知>の轉換があったことを主張した。多元的世界觀の衝突への驚きが見られ、そのような<知>の擴大が馬琴讀本に多元的世界觀(『弓張月』では二元論的)を意識させていったと考える。<知>の轉換期といわれる時代にあって、この歷史的規定の樺組の中に、關係構造と物語內容の關連があることに着目したのである。 本論文で對象とする『八犬傳』には、多元論的世界觀はもはや見られない。あくまでも南房總安房國という領國を物語世界とする、一元論的世界が樺組をなしている。しかし二元論的世界觀と善惡の結びつきは、實は『八犬傳』の人物造型、すなわち善人と惡人、とりわけ惡人造型に集約されている。『八犬傳』においても、絶對的善惡論に支えられた「勸善懲惡」はつらぬかれているのであって、善人は善人、惡人は惡人として物語構成を分割する。惡人は父子、母娘といった血筋關係の間を、そして惡の靈魂(「玉」)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界觀の縮圖繼承とみてよく、この惡人造型こそが馬琴に獨自なものなのである。 In Bakin`s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin`s Yomihon is the description of evil. The writer also thinks that the evil in Bakin`s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin`s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin`s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

뉴미디어 시대의 일본 서브컬처 고찰

조주희 ( Joo Hee Cho ) 한국일어일문학회 2012 日語日文學硏究 Vol.83 No.2

Light Novel, one of the typical Japanese sub-culture in the 21st Century, is a literary genre which various classes of authors make in a contemporary sense for teenagers. Formally, Light Novel employs novel writing technique by using text, but it expanded the reading classes and created the culture of consuming the reading by visually complete reformation of text through characterizing short dialogues of cartoons, animations, illustrations, and function of symbols. By the way, the type of novels with illustrations has a rich history, and its genealogy can be found in Yomihon of the latter part of modern times. In other words, Light Novel is the 21st Century\`s edition of Yomihon. These two genres have two kinds of common. One is, these two genres achieved rapid growth with the development of media. And the other is, the aims of these two genres\` are the readers who need easier and lighter reading matters. That is, Yomihon was more common with the development of printing and publication, and Light Novel has become popular with the development of new media such as mobile phone and internet. The real shape Yomihon and Light Novel is the high strategy of the publishers superficially meeting readers\` hopes, but actually, considering the 2nd class of readers like merchant of the latter part of modern times, and teenagers as consumers. Especially, in Light Novel, character modeling highlights the desires of Japanese young people of these days. A couple of an introvert principal boy, and active, androgynous beauty is the key word which express modern Japanese outlook of man-woman indirectly. This genre will keep expanding and developing, but the positive evaluation of this genre in view of literal history as well as the position as sub-culture depends on solving and improving the problems of sexual discrimination which is over-shadowed by fancy cover and excessively commercialized sexuality of heroines.

근세중기 문인문학에 나타난 운문과 산문의 상호관계–아키나리(秋成)・데이쇼(庭鐘)・아야타리(綾足)를 중심으로–

김경희 한국외국어대학교 일본연구소 2013 일본연구 Vol.0 No.58

In this study, I looked upon the inter-boundary-ness between verses and proses. Specifically, how the verse literatures like haikai, waka, kanshi, and, others, were expressed in the representative prose literature, yomihon works was contemplated. By means of that, I tried to make clear of the iner-relativity between arears of two literature genres, and, simultaneously, to examine the common cultural base which was shared by contemporary men of letter, which was a prerequisite of yomihon making. with Ueda Akinary as the central figure, closely related in Akinary exchange zone, contemporary representative writers, Tsuga Teisyo and Takebe Ayatari were also catched in the eye, and therefore, their major works, Harusame-monogatari, Hanabusa -zousi, Nishiyama-monogatari were analyzed. In each work, key word extraction and analyzation of rhetoric expression technique which used waka were followed by identifing process of haikai technique. As before, modern era literature studies mostly ended up in the native area of the genre, and they did not reach to the point that can enough light up the entire aspects of many sided literature activities of edo era men of letters. In this point, a study meant to look into corelation between each proper literature areas would be a very organic approach. Through this study, accomplishment which suggest the organic relations between preceded modern era verse literature study and yomihon study could be expected. Furthermore, how the foundation of the phenomenon, the expanding of literature genre to various forms in Japanese modern times, were established could be examined. This try to reveal corelations with other genres getting out of before independent genre study could be said as a rare approach in domestic or abroad, and the fruits would be highly usable study in home and foreign academy.

19세기 에혼요미혼(絵本読本)에 그려진 이순신

김준배 한국일본언어문화학회 2019 일본언어문화 Vol.46 No.-

In this paper, we will look at how Yi Sun-sin is depicted in some of the books of the 19th century published for the purpose of commerciality. Especially, the main target genre that I want to deal with in this article is Ehon-Yomihon, which was a genre that had a commercial purpose. In the course of the commercialization of the Imjin war of early modern Japan, it will be possible to confirm how Yi Sun-sin is depicted in the genre of Ehon-Yomihon. In the study of the above objects, it was confirmed that the exaggeration, the creation and the quickness for commercials as commercial publishing continued or created the heroism of Yi Sun-sin in Japan in the 19th century. It is interesting to note that Yi Sun-sin’s image, which was drawn in commercial publishing, continued until the end of the 19th century, despite the lowered value of these materials. Their influence was so great that it suggests that commercial distribution books through publishing have had a lasting effect on the image of Imjin war and Yi Sun-sin in modern Japan.

바킨 요미혼에 나타난 교훈성과 서민 교화적 태도

홍성준 한국일본사상사학회 2016 일본사상 Vol.0 No.31

19세기에 들어서 일본은 서적의 간행과 유통이 활발해지고 독서를 즐기는 사람이 증가하여 출판업이 대성황을 이루었다. 또한 글을 읽고 쓸 줄 아는 사람이 증가함에 따라 교화적인 내용을 담은 작품이 다수 간행되었으며, 희작자(戯作者)들 사이에서도 심학물(心学物)이 인기를 끄는 등 교훈적인 내용이 포함된 작품이 유행하게 되었다. 교쿠테이 바킨(曲亭馬琴)은 그 시기에 가장 인기 있었던 작가 중 한 명으로 방대한 독서량과 풍부한 지식을 바탕으로 수많은 작품을 집필하였다. 그는 특히 유교의 인의팔행(仁義八行)과 권선징악, 불교의 인과응보와 윤회사상을 기본 바탕으로 한 요미혼 작품의 집필에 열정적이었으며, 유교사상과 불교사상을 바탕으로 하여 교훈적인 내용을 작품에 도입하였다. 또한 무사 집안 출신이었던 바킨은 독자보다 자신이 지식적으로 우위에 서 있다고 생각하여 그들을 婦幼라 칭하며 그들을 적극적으로 교화하려는 태도를 보였다.

『소설신수(小説神髄)』의 역사소설론 ―지식 수용의 관점으로 본 과도기적 특징을 중심으로―

홍성준 단국대학교 일본연구소 2019 일본학연구 Vol.56 No.-

This paper considers the characteristics of the modern Yomihon and discusses how Western literary thought was accepted at that time in Japanese literary world in the transition period from modern to modern. Then, analyze the theory of historical novel which Tsubouchi Shoyo discussed in “Shosetsu Shinzui”, and understand the method and flow of the historical novel at the time. In the Meiji era, a view of literary pragmatism and a view of realistic literature of western were incorporated, and the Japanese literary world came to a state of confusion as to whether to inherit the flow of traditional folklore novels or to develop a novel genre that accepted western thought. This kind of collaboration between traditional culture and Western civilization through civilization can be regarded as one of the characteristics of literature at this time. Current historical novels can be said to be a developed form of readmen popular in modern period. In the early modern period, works that adapted white novels were published in the latter part of the early modern era, and a number of works were added that added fiction to historical facts. In the modern era, Western literary tendency became newly established, and had a major impact on the cultural community in general, including literary circles. The transitional period in which the literary thought changed in the literary circle was in the early Meiji era, the “Shosetsu Shinzui” announced at this time played the role of leading change. “Shosetsu Shinzui” gave the opportunity to start the modern Japanese literature, regarding the novel as art. As this book shifts from early modern literature to modern literature, it can be said that it is a work that gives an impressive view on how literary knowledge of Western literature can be utilized in Japanese literature. 이 논문은 근세 요미혼의 특징을 살펴보고 근세에서 근대로 넘어가는 과도기에 서양에서 들어온 문학사조가 당시 일본 문학계에 어떻게 수용되었는지 그 양상을 논한다. 그리고 쓰보우치 쇼요가 『소설신수』에서 논한 역사소설론을 분석하여 당시 역사소설의 방법과 흐름을 파악한다. 메이지시대에 들어서 서양의 실용주의 문학관과 사실주의 문학관이 들어오고, 일본문학계는 기존의 통속소설의 흐름을 이어받을 것인가, 아니면 서양의 사상을 받아들인 소설장르를 발전시킬 것인가로 혼란스러운 국면을 맞이하였다. 이러한 문명개화로 인한 전통문화와 서양문명의 충돌을 이 시기 문학의 특징 중 하나로 볼 수가 있다. 현대에 말하는 역사소설은 근세기에 유행한 요미혼이 발전한 형태라고 말할 수 있다. 근세전기에는 백화소설을 번안한 작품이 많았고, 근세후기에는 역사적 사실에 허구를 가미한 작품이 많이 나왔다. 그리고 근대에 접어들어 서양사조가 들어와 새로이 정착하면서 문학계를 비롯한 문화계 전반에 큰 영향을 미쳤다. 문학계에서 추구하는 문학사조가 변화하게 된 과도기적인 시기가 바로 메이지 초기라 할 수 있으며, 이 시기에 발표된 쓰보우치 쇼요(坪内逍遥, 1859-1935)의 평론집 『소설신수(小説神髄)』(1885년 간행)가 변화를 주도하는 역할을 하였다. 소설을 예술로 승화시키고 일본 근대문학의 시작을 알리는 계기를 만들어준 것이 바로 『소설신수』이며, 이 평론집은 근세문학에서 근대문학으로 바뀌어가는 과정에서 서양의 문학사조가 들어오고 일본문학에서 그러한 문학 지식을 어떻게 활용시킬 수 있는지에 대한 쇼요의 견해를 엿볼 수 있는 작품이라고 할 수 있다.

曲亭馬琴『括頭巾縮緬紙衣』의 考察 –『羇旅漫録』『蓑笠雨談』의 椀久 考証 内容의 利用을 中心으로–

강성국 한국외국어대학교 일본연구소 2014 일본연구 Vol.0 No.59

Kyokutei Bakin went around Nagoya, Kyoto, Osaka and Ise etc. from 9th May to 24th Aug 1802 and during his visits he collected information on the local customs, dialects, historical monuments and personalities which he noted in his works “Kiryomanroku” and “Saritsudan”. As a Yomihon writer, gathering facts that may form the basis for his works later, could have been one of the most stimulating aspect to Bakin’s visits. Infact, five years later he happens to have revealed the details he collected on “Wankyu” at Osaka in his work “Kukurizukin chirimenkamiko”. This paper discusse show Bakin used the information on Wankyu as documented in “Kiryomanroku” and “Saritsudan” and analyze his intentions and technique as to how they are used in his work “Kukurizukin chirimenkamiko”. In “Kukurizukin chirimenkamiko”, the scene where Jissoji elaborates on the “Tomb of So-Tatsu” and the one where Wankyu meets Matsuyama at a red light district, both of them are inspired by the actual accounts that were noted by Bakin during his travels. Among these, the former scene was written while being conscious of the Intellectual class as its reader and the same can be verified from the relevant context. Just before this scene, the story that unfolds so far is written in “Joruri style” in order to earn appreciation of the “Women and child” readers and at the same time had an encoded message for the readers that of being mocked at by the Intellectual class since there was no special literary style adopted. However, the next scene that follow, consists of an objective writing style where Jissoji lectures on the tomb and can be thought to have been written while being mindful of the Intellectual readers. Regarding the latter scene, the main characters like “Wankyu”, “Matsuyama”, “Nozaki”, “Naoroku” etc., all correspond with the real life personalities and this gives rise to the possibility that Bakin might have set all the characters in this novel based on this theory. Further, changing the first ever scene of meeting between Wankyu and Matsuyama into a scene of their re-union demonstrates the capability of Bakin as an author.

바킨(馬琴) 작품의 교훈성과 습자 스승으로서의 태도

홍성준 한국일본어문학회 2023 日本語文學 Vol.99 No.-

In the early modern period in Japan, interest in education increased throughout society. The Sengoku period of the Middle Ages, which was chaotic due to constant wars, ended, and the establishment of the Tokugawa shogunate, ushered in the so-called era of peace. In a political atmosphere dominated by literary principles, there was a marked shift from the traditional politics of powerlessness to politics that sought social stability through the spread of Confucianism. Literary society in particular took on unprecedented social and cultural characteristics. Even before the Tokugawa shogunate was established, Jesuit missionaries had become interested in Japanese methods of teaching reading and writing, and there was a positive view of the operation of society with documents. In this article, we examine the didacticism in Bakin’s works and his ideas on education as a teacher. It can be said that Bakin was the author who placed the most importance on didacticism among writers of Yomihon because of his attitude of enlightenment. 일본 근세기는 사회 전반적으로 교육에 대한 관심이 고조된 시기이다. 끊임없는 전란으로 혼란스러운 중세의 전국시대가 끝나고 에도막부가 열리면서 평화가 도래하여 이른바 태평한 시대가 찾아왔다. 문치주의(文治主義)가 주도하는 정치적 분위기 속에서 기존의 무력에 의한 정치가 아니라 유학(儒学)의 보급에 의한 사회적 안정을 추구하는 정치로의 이행이 두드러졌다. 에도시대에 들어서 평화로운 시대적 상황을 맞이하여 이전과는 다른 새로운 사회·문화적인 특징 아래 문자 사회가 시작되었다. 에도 막부가 열리기 이전부터 예수회 선교사들 사이에서는 문자를 읽고 쓰는 일본의 교육 방식에 대해 관심을 가졌고, 사농공상(士農工商)의 신분 체계를 넘어선 문자 교육이 이루어져 문서를 이용한 사회 운용을 긍정적으로 바라보는 시선이 존재하였다. 본고에서는 바킨의 작품 속에 나타난 교훈성을 검토하고 습자 스승으로서 지니고 있었던 교육에 대한 관념을 살펴보았다. 바킨은 서민 교화적인 집필 태도를 지니고 있었기 때문에 요미혼 작가 중에서 가장 교훈성을 중시한 작가라 할 수 있다.