한국 영웅소설에 수용된 중국문화의 배경 연구

안기수(Ahn, Gee-soo) 중앙어문학회 2013 語文論集 Vol.53 No.-

? The purpose of this study is Works the cultural background of the detained Chinese Korean hero in the novel, this study aims to look at it, how did the Korean hero of the novel creative customs. It is seen to have affected the schedule to settle the Chinese culture in Korea, Korean hero of the novel in the form of internal acceptance as First, the epic space hero novels 〈namhyungno〉, 〈Sunwoo〉 crowded, South 〈Manchuria〉, 〈gadal〉, 〈tobeon〉, 〈ohguk〉 China is a vast space above the space to move step-by-step even more giant becomes Saw this stranger China is realistically probable cause of the incident giving value through rich storytelling and recreating the events of the novel that space. Protagonist of the active area weighing island, white porcelain village, 〈yeju neungju〉, 〈Yangzhou〉, 〈Cheongju〉, 〈Unju〉, 〈Geumneung〉, 〈yeonhwasan〉, 〈Zhejiang〉, 〈Luoyang〉 nomination appeared throughout China.<br/> ? Second, China detained the hero in the novel the main ideas of Buddhism, Taoism, Confucianism Here you can see the profound impact of Confucianism and Taoism background gave Accepted hardships overcome, and the birth of the hero, and the ability to ending the culture and ideology in the biographies of heroes not less distinctive features, as well as in narrative structural hero of the novel creation of customs is an important framework. These ideas, especially the combination of During pregnancy dreams. Therefore, the protagonist is a mysterious and heroic temperament excellent ride, I would have thought way to rationalize the plausibility of the novel wiIl already born.<br/> ? Third, Romance of the Three Kingdoms 〈seolingwi〉 I gave the hero of the novel creation that have been investigated. Hero figures that appeared in two works, of course, the art of war, the hero of the narrative structure and the female hero’ s achievements, is the hero of the novel structure is almost similar to the ending point. Such as Chinese literature is the fact that our hero of the novel, gave a profound impact on our way down to posterity keeping with the emotional and creative writing, while all affected variety of new hero novel evolutionary creation.

제주도 신화 속 반(半)영웅적 존재의 의미

김신정 우리말글학회 2018 우리말 글 Vol.79 No.-

This research focuses on heroic features of half-heroes in Jeju Island’s mythology. The half-heroes become a god in the end even though they are not so much an omnipotent god in comparison with typically conceived almighty heroes. Furthermore, as opposed to traditionally acclaimed heroic roles, these half-heroes don’t want to save people and community. Some of them threaten heroes’ happiness and life. In this regard, this paper explores five Jeju myths and focuses on subversive aspects of half-heroes: Sobyeolwang in “Cheonjiwang-bonpuri,” Donhaeyonggungagi in “Samseunghalmang-bonpuri,” Noiljedeguil’s daughter in “Munjeon-bonpuri,” Daebyeolsang in “Manura-bonpuri,” and Jeongsunami in “Segyeong-bonpuri.” Unqualified to be a god due to their lack of ability, Sobyeolwang and Donghaeyonggungagi gain chances to compete with heroes. All of them desire to be a god and a goddess to control the human world rather than the underworld and thus participate in competitions. Sobyeolwang asks his brother Daebyeolwang to give him riddles first, but Sobyeolwang cannot defeat his brother at any of the riddle competitions. Donghaeyonggungagi is already a goddess of pregnancy and childbirth before Myongjingukagi appears in the story. Donghaeyonggungagi succeeds to have Imbaksa's wife’s pregnant and yet fails to make her give birth. Despite such lack of qualities, Sobyeolwang and Donghaeyonggungagi gain opportunities to compete for being a god and a goddess of the human world. Noiljedeguil’s daughter, Daebyeolsang and Jeongsunami receive punishment for their wrongdoings and then each becomes a goddess and gods eventually. To be specific, Noiljedeguil’s daughter kills Yeosanbuin and acts like Yeosanbuin, but her body is ripped off by Yeosanbuin’s sons. Daebyeolsang spreads epidemic smallpox to babies. His wife becomes unable to give birth to a baby under a curse of angry Samseunghalmang. Jeongsunami, disobedient to his owner Jacheongbi, tries to rape her and is eventually killed by Jacheongbi. He is nevertheless revived by her and becomes a god. In these myths, the ways in which each character establishes their own relational self are notable. The half-heroes play a catalytic role for the heroes to develop various potential power and exert inherent features by confronting the half-heroes with a series of attacks and defense in the mythical world. In the process of the games they recognize strong points of their competitors, learn from each other, and then they all become a god. The half-heroes’ struggles inevitably participate in the growth of heroes and prevent them from ending uo with a two-dimensional flat character. In addition, the conflicts between the half-heroes and the heroes and ensuing consequences generate many binary oppositions in the myths. These binaries are not static and perpetual but are extinct, exchangeable, and coexist each other. Indeed, the half-heroes enact as a hero in mythology. 제주도 신화 속에는 다른 신들에 비해 부족한 능력을 갖고 있으며 타인과 공동체를 위한다기보다는 타인을 공격하거나 방해하는 행위를 하는 신들이 등장한다. 이 논문에서는 그들을 ‘반(半)영웅적 존재’로 놓고 그들의 서사적 의미를 찾고자 하였다. “천지왕본풀이”의 소별왕과 “삼승할망본풀이”의 동해용궁따님아기는 능력의 부족함이 드러남에도 불구하고 재차 기회를 얻는다. 소별왕은 수수께끼와 꽃피우기내기에서 지지만 오래자기내기를 할 기회를 얻는다. 동해용궁따님아기는 산모과 아기의 생명을 위험에 빠뜨렸음에도 명진국따님아기와 생불왕자리를 놓고 겨루기를 할 기회를 얻는다. “문전본풀이”의 노일제데귀일의 딸과 “마누라본풀이”의 대별상, 그리고 “세경본풀이”의 정수남이는 악행을 하고 벌을 받지만 결국 신으로 좌정한다. 노일제데귀일의 딸은 여산부인을 죽이고 여산부인 행세를 하지만 여산부인의 아들들에 의해 갈갈이 찢겨진 후 측간신이 된다. 대별상은 아기들에게 마마를 내리고, 이에 화가 난 삼승할망이 대별상의 아내가 해산을 하지 못하게 만들자 결국 삼승할망에게 용서를 구한다. 정수남이는 주인 자청비의 명령을 듣지 않는데다 주인을 겁탈하려고까지 하다가 자청비에게 죽임을 당한 후 자청비에 의해 다시 살아나 세경신이 된다. 신화적 서사 안에서 반영웅적 존재의 관계적 자아가 두드러지며, 반영웅적 존재는 영웅의 성장에 관여하고 영웅을 입체적 인물로 그려내는데 일조한다. 영웅과 반영웅적 존재의 행위와 갈등은 대립항을 이루는데, 이때 대립항은 교환가능하고 소멸하거나 공존한다. 대립의 관계가 무화되므로 결국 반영웅적 존재 역시 영웅이라고 할 수 있다.

나르시스적 영웅상象의 해체

黃靖惠(Hwang, Jeong-hyeo) 중국어문학연구회 2015 중국어문학논집 Vol.0 No.93

Since writing the work of 〈Power of the Satanic School Poem〉(1907), Luxun had continually asked the question ‘Where is a warrior of inner world to rescue China?’ However in the work 〈Resurrecting Dead〉(1935), the image of hero whom Luxun had longed for the hero’s emergence became mercilessly dismantled. This study aimed to identify the reason why Luxun could not endure the hero’s image any longer from the hero-intellectual’s narcissistic shape, because such a hero is only an illusion not being existed, and even makes the hero abhor himself. Narcissus who was a shepard boy being appeared in the Greek Mythology got the punishment of ‘pathological self-love’ from Nemesis, the goddess of revenge due to his arrogance on his beautiful appearance. And Freud coined a new term of so-called ‘narcissism’ by conceptualizing the pathological self-love. Tracing back to the hero-intellectual’s genealogy being described by Luxun in his novels, it could easily find their ‘Narcissistic’ shapes. The shape of poet fully confident in the work 〈Power of the Satanic School Poem〉, the shape of mad intellectual appealing the hope in the work 〈A Madman’s Diary〉, and Ah Q fallen into the narcissistic ‘psychological winning way’ in the work 〈The True Story of Ah Q〉 are representative examples. But at the time of writing the works like Lv Weipu and Wei Lianshu, the intellectual-hero’s shape was not only narcissistic(自己愛) any longer. Such change in the intellectual-hero’s shape resembles the Luxun’s appearance who returned to ‘enlightenment and salvation’, that is, was absorbed in the narcissism due to the loss of alloerotism (object love) (對象愛) and finally reached the step of self-contempt beyond the self-pity. In the work 〈Resurrecting Dead〉, there was reflected Luxun’s awareness that the ‘enlightenment and salvation’ having been pursued by himself and the hero’s appearance to realize such hope were only a shadow in water, that is, the illusive self. In this work 〈Resurrecting Dead〉, Luxun made Zhuangzi recall Samyeong daeshin(Death God) and order Samyeong daeshin to revive the skeleton/man. Although Zhuangzi asked the skeleton/man about the reason for his death, but the reason was not known and even Zhuangzi did not listen to the answer. Giving up to ask why the skeleton/man was dead, Zhuangzi tried to recall Samyeon daeshin in order to reach the skeleton/man to the death again, but Samyeong daeshin did not appear any longer. At the moment that the beautiful man in the water was himself, Narcissus drowned himself. That is, reaching to the death is caused from the realization of one’s own illusive image, and in this point, it is worthful to reconsider the fact that Samyeong daeshin left the skeleton/man alive. In the work 〈Resurrecting Dead〉, Luxun completely dismantled the image of hero having been pursued by him by ridiculously describing Zhuangzi’s image representing a fallacious intellectual and by shaping the opposite intellectual’s image as the skeleton/man who was already dead, had no real entity, and could not return to this world eternally (could not be revived). However, contrary to Narcissus trying to overcome the discordance between his own shadow and his real entity through his own death, Luxun ordered the revived man to prove the value of his existence through his life again by leaving the hero alive but breaking the hero’s shadow. In that, the life and the death is one. And the 〈Resurrecting dead〉, that is the ‘reviving story’, being arranged in the last section of the work 〈Old Tales Retold〉 can be said as the last hope gotten from the narcissistic hero’s clear self-awareness.

스포츠 영웅 만들기

안용규,이택균 한국체육철학회 2012 움직임의철학 : 한국체육철학회지 Vol.20 No.1

Sport hero project has been finally set out to be pushed forward with the purpose of enhancing the value of sports heroes by selecting“a sports person contributing a lot to national sport development”and inducting them into the hall of fame. This project has a specific goal to take a sport hero out of our history, who become an example to all the sport people and is held in great respect by all the nation in our community, to make him/her as a role model in our society. However, there are several important points raised not to be neglected and to be discussed: what the true meaning of the‘sport hero’, how the‘sport here’is established, and why the‘sport hero’is needed in this era. This process of discussion is a necessary work to establish theoretical basis and set a standard for 'making a sport hero' by interpreting a sport hero from various perspectives and making a conceptual definition on a sport hero. Thus, this study was aimed at establishing theoretical basis and laying the philosophical foundation for the project of 'making a sport hero' required for this era by listing dictionary definitions of 'hero' through a literature review, based on this, exploring conceptual meanings of a sport hero, and presenting the difference between‘sport hero’and‘sport star’, which are thoughtlessly used by our ordinary language(media oriented). As the result, it was deducted as a conclusion that a‘sport hero’reflecting this era is positively necessary and through sport heroes the glory of sport last forever. Namely, it's about time to discover a true‘hero’in our sport community, representing the eternal value of a sport through the systematic project of 'making a sport hero', not making temporary sport stars or sport related issues. 스포츠 영웅 사업은 “우리나라 스포츠 발전에 크게 기여한 체육인”을 선정하여 명예의 전당에 헌액함으로써 스포츠 영웅의 가치를 드높여야 한다는 목적 아래 본격적으로 추진되었다. 이 같은 사업은 영웅들이 역사적 사료 속에만 존재하는 것이 아니라 모든 체육인들의 귀감이 되고 국민들의 존경을 받는 훌륭한 체육인, 즉 스포츠 영웅이 실제로 우리 사회의 역할 모델이 될 수 있도록 하는데 그 목적을 두고 있다. 하지만 여기서 간과해서는 안 될 중요한 부분이 몇 가지 제기된다. 첫째로 ‘스포츠 영웅’이 가지는 진정한 의미는 무엇인지, 둘째로 ‘스포츠 영웅’은 어떻게 성립되는 것인지, 셋째로 이 시대에 ‘스포츠 영웅’이 왜 필요한 것인지에 대해 반드시 논의되어야 한다는 것이다. 이 같은 과정은 다양한 관점에서 스포츠 영웅을 해석하고 스포츠 영웅에 대한 개념적 정의를 내림으로서 ‘스포츠 영웅 만들기’를 위한 기준과 그 이론적 근거를 마련하기 위한 필수적인 작업이기 때문이다. 따라서 이 연구는 문헌탐구를 통해 ‘영웅’에 대한 사전적 정의를 나열하고, 이를 바탕으로 스포츠 영웅이 가지는 개념적 의미를 탐색한 후, 일상 언어로(미디어 중심) 무분별하게 사용․이해되고 있는 ‘스포츠 영웅’과 ‘스포츠 스타’의 개념상 차이점을 제시함으로써 이 시대가 필요로 하는 진정한 ‘스포츠 영웅’ 사업에 이론적 근거와 철학적 토대를 마련하고자 하였다. 그 결과, 우리는 이 시대를 반영하는 ‘스포츠 영웅’이 반드시 필요하며, 그들을 통하여 스포츠의 영광이 영원히 지속되어야 한다는 결론에 도달하였다. 즉, 이제는 한시적인 스타성 선수 혹은 스포츠 이슈메이커가 아닌, 체계적인 ‘스포츠 영웅’ 사업을 통해 스포츠의 영원불멸의 가치성을 내세운 진정한 스포츠계의 ‘영웅’을 발굴해야 한다는 것이다.

애니메이션 <홍길동>(1967)에 나타난 영웅여행 서사

엄경섭 동아대학교 석당학술원 2023 石堂論叢 Vol.- No.85

This article examines narrative on the animation <Hong Gildong> reflecting narrative of the classical novel Honggildong-jeon , focusing on its main characters, with reference to Christopher Vogler’s stages of the hero’s journey. Vogler believed that heros leave their ordinary world and enter the new one, taking risks of the adventure. Accordingly, he introduced seven major character archetypes and classified the hero’s journey into twelve stages. It is main characters in a literary work that develop narrative of the hero’s journey. In <Hong Gildong>, six character archetypes, the hero, the mentor, the threshold guardian, the herald, the shadow, and the trickster, can be found among Vogler’s seven character archetypes. The shapeshifter does not appear in <Hong Gildong>, who plays a role of misleading the hero into confusion by bringing in doubt and dubiety in the story. The shapeshifter wearing a mask creates dramatic tension at the scene in which he traps the hero trusting him whereas that in <Hong Gildong> rather paved the way for Gildong’s becoming a hero by helping him not to suffer from allies. Hero’s journey is the one which leads the hero into the special world. In that of <Hong Gildong>, Gildong castigated corrupt officials’ tyranny and built a comfortable and peaceful world. In addition, he needed the special world to solve the problem of discrimination between legitimate and illegitimate children since he was born as a child of concubine. The narrative on hero’s journey of <Hong Gildong> consists of eight stages, ‘the ordinary world - call to adventure - crossing the first threshold - tests, allies, and enemies - meeting the mentor - approach to the inmost cave - the ordeal - the reward’. After Gildong ended the narrative of hero’s journey, he seized a right to call his father ‘father’ as a reward. In <Hong Gildong>, the right obtained when Gildong is recognized as his father’s legitimate child was more significantly described than realization of embodying social justice with disciplinary action for corrupt officials. The fight with the Minister of War, Choi Bulhoon, can be regarded as a rite of passage that Gildong had to undergo in order to save his father, not as a fight with the extensive royal forces. The skeleton framework of hero’s journey is maintained, but the details of the journey can have variations in accordance with events and conflicts. Likewise, character archetypes can change depending on times and audiences’ demand. The animation <Hong Gildong> released in 1967 appropriately transformed in the framework of hero’s journey and portrayed the hero, Gildong. <Hong Gildong>, reinvented as an animation by adding satirical and humorous elements to the theme of the classical novel Honggildong-jeon , has great significance in that it is a literary work resonating to the social situation reflecting the times. 본고에서는 고전소설 홍길동전 의 서사를 활용한 애니메이션 <홍길동>의 서사를 주요 캐릭터 중심으로 크리스토퍼 보글러의 영웅여행 단계에 맞춰 살펴보았다. 보글러는 영웅은 자신의 세계를 벗어나 또 다른 세계로 들어가 위험을 감당하는 여행을 한다고 보고, 일곱 가지 캐릭터 원형을 제안하고 영웅의 여행을 12단계로 분류하였다. 영웅여행 서사를 이끄는 것은 작품 속에 등장하는 주요 캐릭터들이다. <홍길동>에서는 보글러의 캐릭터 일곱 가지 원형 중에서 영웅, 정신적 스승, 관문 수호자, 전령관, 그림자, 장난꾸러기의 여섯 가지 원형이 드러난다. 스토리에 의심과 불확실함을 불어넣어 영웅을 혼란에 빠뜨리게 하는 역할을 하는 변신자재자는 <홍길동>에서는 드러나지 않는다. 가면을 쓴 변신자재자가 자신을 믿고 있던 영웅을 함정에 빠뜨리는 장면에서 극적인 긴장감을 유발하는 기능을 하지만, <홍길동>에서는 길동이 영웅으로 가는 길을 협력자로부터 시련을 겪지 않도록 평탄하게 열어주고 있다. 영웅의 여정은 영웅을 특별한 세계로 이끄는 여행이다. <홍길동>에서의 특별한 세계는 탐관오리의 횡포를 징치하고 백성들의 안락하고 평안한 세계를 만드는 것이다. 또한 서자로 태어난 길동은 적서차별의 문제를 해결할 수 있는 특별한 세계가 필요했다. <홍길동>의 영웅여행 서사는 ‘일상 세계–모험에의 소명–첫 관문의 통과–시험, 협력자, 적대자–정신적 스승과의 만남–동굴 깊숙한 곳으로의 진입–시련–보상’으로 8단계의 구성으로 나타난다. 길동이 영웅으로서의 서사를 마친 후 주어진 보상은 호부(呼父)이다. <홍길동>에서는 탐관오리의 횡포를 징치하여 사회정의구현을 실현하는 일보다 아버지로부터 자식으로 인정받아 호부하는 일을 더 중요하게 부각하고 있다. 병조판서 최불훈과의 대결은 대대적인 관군과의 싸움이라기보다는 아버지를 구하기 위해 거쳐야 하는 통과의례로서의 의미로 볼 수 있다. 영웅여행 서사의 큰 흐름은 유지되지만 세부적인 여정은 사건과 갈등에 따라 변형되고, 캐릭터 원형 또한 시대적 상황과 관객의 요구에 따라 변형되어 드러나기도 한다. 1967년에 개봉한 애니메이션 <홍길동>은 영웅여행 서사의 틀 속에서 적절히 변형되어 길동이라는 영웅을 성장시켰다. 고전소설 홍길동전 의 주제에 풍자적이고 해학적인 요소들을 가미해 애니메이션으로 재창조된 <홍길동>은 그 시대를 반영한 사회상에 울림을 주는 작품으로 의의가 있다.

영웅의 시간/영토 그래프로 본 『조웅전』-한국의 고전구조 시론 1-

김용철 ( Yong Cheol Kim ) 성균관대학교 인문과학연구소 2013 人文科學 Vol.0 No.51

영웅의 몰락과 회복의 과정을 소설화한 영웅소설 『조웅전』은 사건이 전개되고 인물들이 등장하는 모습을 따라서 그래프 위에 선과 면으로 표현할 수 있다. 이 그래프의 모습은 “영웅의 시간”과 “영웅의 영토”라는 두 가지 모습을 가지고 있다. 『조웅전』의 그래프는 왼쪽에서 아래로 떨어졌다 오른쪽에서 상승하는 곡선을 보이고 있다. 이때 영웅과 천하국가는 같이 몰락하나 영웅이 준비하는 동안 천하국가의 몰락을 10년간 유예함으로써 영우의 구원을 기다리게 한다. 이 “영웅의 시간” 그래프는 고난형 영웅, 준비형 영웅, 구원자형 영웅을 차례로 나타내며 이중 천하국가를 구원하는 구원자형 영웅의 활약이 기본이 된다. 또한 “영웅의 시간”은 몰락, 고난, 준비, 회복 및 복수, 누림과 평화의 시간이라는 5단계로 나타난다. 이 “영웅의 시간” 그래프는 동시에 “영웅의 영토” 그래프이기도 하다. 가운데를 지나가는 선 아래 부분이 영웅 조우의 영토이다. 이 “영웅의 영토”는 영우의 힘이 가지고 있는 힘과 비례하며 “영웅의 몸”을 나타낸다. “영우의 몸”은 영우의 주체적 힘과 객관적 힘의 불일치와 일치의 과정을 두 차례 반복하며 작품을 이끌어가고 있다. 이러한 “영웅의 영토” 그래프를 타고 등장인물들은 제 위치에 맞게 등장한다. 이때 이 그래프를 타고 아버지의 부재, 상하층 인물의 등장, 숨어있는 인물과 드러난 인물의 교차 등장 등의 과정이 나타난다. 이를 통해 작품은 자신의 편폭을 크게 확장하고 있다. The fictional process of ChoUng-Jeon an korean hero novel can represent the line and surface of a graph. On this graph plot and charaters appear in order. This graph is a Hero`s Time and Hero`s Territory Graph. This graph display a curved line. It goes below and then goes up. This curve display hero`s fall and restoration. Hero and the world fall at the same time. And hero builds strength and relieves the world. Required time is ten years. In ten years the world delay the perishment and wait for hero`s relief. Hero`s time graph display a trial and preparation and messianic hero in turn. The messiainc hero is a fundamental form. The heroic time diplay a stage of fall-trial-preparation-restoration-peace time in turn. Hero`s time graph is Hero`s territory graph too. The part below central line is hero ChoUng`s territory. This territory is in proportion to ChoUng`s heroic strength. This territory represents hero`s Mom. Hero`s Mom repeats the process of disaccord/accord of subjective/objective. In this process Hero`s Mom drives ChoUng-Jeon forward. The characters appear on the stage in this graph. The characters represent three charactiristics. First Father`s absence. Second crossing appearance of upper/lower class. Third swinging appearance of exposing and disposing characters.

Монгол тууль дахь эмэгтэйчүүдийн дүрийн хэв шинж

노로브냠 한국몽골학회 2020 몽골학 Vol.0 No.60

In Mongolian heroic epic, a woman appears with three images such as a female hero, a hero's spouse, and a negative woman. Among these women, a shape of a woman as a hero's life partner, who has divine ability, is outstanding. The divine ability is specified as, first, a prophet, second, a therapist who can revive the dead, third, a capable person who can use a transformation technique, and fourth, the function dubbed the goddess of light. This not only shows the aspect of goddess(女神) but also is the function of shaman. A woman, who combines all of these, is a male hero's spouse and helper, thereby making the male hero a true hero. Meanwhile, what makes a competent woman a life partner shows a male hero's capability. There are few special comments on the external shape of a female hero who indicates ability like a male hero. This is interpreted to be more emphasized a female hero's heroic move than a female hero's appearance. A female hero displays 'physical prowess' same as a male hero. The capacity of a female hero includes archery, wrestling and horse riding. Like the positive female image, a negative woman in the Mongolian heroic epic has special ability, is beautiful, or has an ugly image of a witch as well. A conflict between a hero and a woman is analyzed as a material that represents a struggle for power between men and women in the process of being implemented into a male-dominated society from a matriarchal society. The image in the goddess of light was transformed from generation to generation, thereby having been turned into a woman who satisfied the standard of medieval beauty in a woman, and into a female image that well performs a woman's role in realistic life. Ultimately, a woman's image, which is understood in the Mongolian heroic epic, shows two aspects that are very ideal and realistic at the same time. What is proposed as omnipotence is its ideal shape. On the other hand, the realistic shape is to be presented as a male hero's companion and adviser while being in charge of the household chores as a housewife. The ideal woman's shape is related to the origin of the Mongolian heroic epic. The ideal woman's shape expresses the aspect, which was changed into a realistic female image, with losing its function gradually. 몽골 토올에서 여성은 여성 영웅, 영웅의 배필, 부정적인 여성 등 3가지 모습으로 등장한다. 이들 여성 중에서 영웅의 배필인 신이한 능력을 지닌 여성 형상이 돋보인다. 신이한 능력은 첫째, 예언자 둘째, 죽은 자를 살릴 수 있는 치료사 셋째, 변신술을 쓸 수 있는 능력자 넷째, 광명의 여신이라는 기능으로 구체화된다. 이것은 여신(女神)의 면모를 보여주는 동시에 샤먼의 기능인 것이다. 이 모두를 겸비한 여성은 남성 영웅의 배필로, 조력자로 남성영웅을 진정한 영웅으로 만들어준다. 한편 유능한 여성을 배필로 삼는다는 것은 남성 영웅의 능력을 보여준다. 남성영웅처럼 능력을 보여주는 여성영웅의 외적 형상에 대해서 별로 언급이 없다. 이것은 여성 영웅의 외모보다 여성영웅의 영웅다운 행보가 더 중시되는 것으로 해석된다. 여성 영웅은 남성 영웅과 똑같이 ‘육체적 무용(physical prowess)’을 발휘한다. 활쏘기, 씨름하기, 말 타기 등은 여성 영웅의 능력이 된다. 몽골 토올에서 부정적인 여성은 역시 긍정적 여성상과 마찬가지로 특별한 능력을 지니고 있거나 아름다운 미모를 갖추거나 또는 흉한 마녀상을 지니기도 한다. 영웅과 여성의 갈등은 모계 중심에서 남성 중심 사회로 이행되는 과정에서 남녀 권력 다툼을 보여준 소재로 해석된다. 광명의 여신의 모습이 후대로 갈수록 변모되어 여성의 중세적 아름다움의 기준을 충족한 여성, 현실적인 삶에서 여성의 역할을 잘 수행하는 여성상으로 변모되었다. 결국 몽골 토올에서 파악되는 여성의 형상은 매우 이상적인 동시에 현실적인 두 양상을 보여준다. 전능성으로 제시되는 것이 그 이상적 형상이라면 그 반면에, 주부로서의 가사 일을 담당하여 남성영웅의 동반자, 조언자로 제시되는 것은 현실적인 형상이다. 이상적 여성의 형상은 토올의 기원과 관련이 있다. 점차 이상적인 여성 형상은 그 기능을 상실하고 현실적 여성상으로 바뀐 양상을 보인다.

스포츠사회학 : 스포츠영웅의 유형과 대중매체의 스포츠 보도 경향의 관계: 2002 한·일 FIFA 월드컵 한국 국가대표선수를 중심으로

남재화(NamJae-Hwa) 한국체육학회 2003 한국체육학회지 Vol.42 No.6

The purpose of this study was to examine the relationship between the type of sport heroes and the trend of sport reports through mass media. For accomplishing this purpose of the study, the 320 subject were selected by stratified cluster random sampling method from college students of 8 colleges located in Seoul.The survey questionnaires were used to collect data. The questionnaire for type of sport heroes and trend of sports report defined by Koo, Chang-MO(1998). The factor analysis was used for verify of reliability and validity.The statistical methods utilized in this study for analyzing the collected data were reliability analysis, factor analysis, descriptive statistics, one-way ANOVA, and analysis of covariance.From the analyses of the data, this study reached the following conclusions were obtained:First, the recognition of the sports hero that they like best varied according to the sport hero type. People recognize Jeong-hwan Ahn not only as a winner type hero but also as a splendid performer type hero. They recognize Myeong-bo Hong as a hero of social acceptability, Cheon-su Lee as a hero with an independent spirit, and Tae-young Kim as a group servant type hero.Second, there are differences in perception on sports reporting inclination according to socio-demographic characteristic variables.Third, there is difference in sports reporting inclination according to sports hero type. Regarding group servant type, mass media show the high inclination of moral reporting, regarding heroes of social acceptability they show the high inclination of symbolic reporting, regarding heroes of independent spirits they a high inclination of unique reporting and regarding winner type heroes, they show a high inclination of fictional reporting.

신화 속 영웅을 통해 본 스포츠영웅의 조건: 오디세우스와 이승엽을 중심으로

김성태,문혜은 인문사회 21 2022 인문사회 21 Vol.13 No.3

The Condition of a Sports Hero Seen Through a Mythical Hero-Analysis of Odysseus and Lee Seungyeop-Sungtae Kim & Hyeeun Moon Abstract: This study prioritizes comparing and analyzing the actions of the hero Odysseus in the ancient myth Iliad and the hero’s conditions such as the hero’s essence and fate he showed with the modern sports hero Lee Seung-yeop. A result of analyzing the actions of Odysseus and Lee Seung-yeop through Joseph Campbell’s Genshin Impact and Christopher Bogler’s hero’s travel model, the actions of separation-introduction-return are all entirely consistent, and had the hero’s condition that heavenly talent, outstanding ability. They also had a strong will to accept their destiny but never give up, and had all the heroic traits of victory in war and return from travel. Through this, Heroes who appeared in ancient myths have reached the present age and have become sports heroes. And Its form differs depending on the time and region, but it has universality that exists on the back side, so heroes are timeless and symbolic of that time. Key Words: Myth, Hero, Sports, Odysseus, Lee Seung-yeop 신화 속 영웅을 통해 본 스포츠영웅의 조건:오디세우스와 이승엽을 중심으로김 성 태*ㆍ문 혜 은** 요약: 본 연구는 고대 신화 일리아드에 등장하는 영웅 오디세우스의 행적과 그가 보여준 영웅의 본질과 숙명 등 영웅의 조건을 현대 스포츠 영웅 이승엽과 비교 및 분석하는 것을 우선으로 한다. 조셉 캠벨의 원질신화와 크리스토퍼 보글러의 영웅의 여행 모형을 통해 오디세우스와 이승엽의 행적을 분석한 결과, 모두 분리-입문-귀환이라는 행적이 일치하며 영웅의 조건인 천부적인 재능과 탁월한 능력을 갖추고 있었다. 또한 자신의 숙명을 받아들이면서도 포기하지 않는 강한 의지의 존재였으며 전쟁에서의 승리와 여행에서의 귀환이라는 영웅의 특성을 함께 갖추고 있었다. 이를 통해 고대 신화에 등장하는 영웅은 현대에 이르러 스포츠 영웅으로 변화했으며 시대와 지역에 따라 그 형태는 다르지만, 이면에 존재하는 보편성을 갖고 있기에 영웅은 시대를 관통하는 존재이자 그 시대를 상징하는 존재라는 것을 확인할 수 있었다. 핵심어: 신화, 영웅, 스포츠, 오디세우스, 이승엽 □ 접수일: 2022년 5월 31일, 수정일: 2022년 6월 12일, 게재확정일: 2022년 6월 20일* 주저자, 고려대학교 문화콘텐츠학과 박사과정 수료(First Author, Completion of Doctoral Course, Korea Univ., Email: dkryuji@naver.com)** 교신저자, 고려대학교 문화콘텐츠학과 박사과정 수료(Corresponding Author, Completion of Doctoral Course, Korea Univ., Email: lledu@hanmail.net)

타자와의 관계를 통해 본 여성영웅 홍계월

김정녀 ( Jeong Nyeo Kim ) 한국고소설학회 2013 古小說 硏究 Vol.35 No.-

This study researched how the emergence of the subject who was a female hero embodied in Hong-kyewol-jeon, and how other characters in the work functioned in the emergence and persistence of the female hero`s appearance and the female hero`s ability. The role of the others who contributed to the appearance and growth of female hero was worthy of notice in that the life of the subject was constructed and was changed depending on the relationship with the others and the change of their relation. In the work, kyewol`s parents, the ascetic Kwak and Yeogong who rescued and raised Kyewol, were the others who arranged the foundation that she was growing as the female hero. The male main character, Boguk redounded kyewol`s ability as he competed her, provided opportunities that kyewol`s status was readdressed as he conflicted with her and hinted how Kyewol as the female hero entered into a relation in the others. On the other hand, the king, the high-ranking officials and father-in-law and so on, who was represented patriarchal system, constructed the networks that they helped the growth and persistence of female hero. This relation network was worthy in an end in itself. Furthermore, they were the others who contributed to change the relation of Boguk andKyewol positively. As a result, this means that female hero could be appeared in the relation with the others who provided the basis of her growth as female hero, made her be exposed hero`s properties through competition and cooperation, and supported her after the fact that Kyewol was a female came out in the open. This means that if female hero didn`t advance to the mutual recognition and cooperation, ultimately, the life of female hero could not be persisted stably. The emergence and growth of the female hero was the narration that could be appeared because the female hero entered into a close relation with the others and mutually recognized on another.