《老殘遊記》에 나타난 藝術的 特徵 分析

다국어 초록 (Multilingual Abstract)

《Laocanyouji》is the only pure-literary work of Liu E written at the end of Qing Dynasty.《Laocanyouji》 is the novel in a travel essay style that the writer described what he saw, heard, and felt, in person on the journey of every region in China, and it is a full length novel with 20 volumes in the first part and 6 volumes in the second part.
As censual novel is to criticize and rebuke sharply the political authority of those days, similar to chivalry novel and novel for public peace and order, it showed up at the end of Qing Dynasty and got into big public favor. Among the censual novels,《Guanchangxianxingji(官場現形記)》of Li Bao Jia, 《Ershinianmuduzhiguaixianzhuang(二十年目睹之怪現狀)》of Wu Wo Yao,《Laocanyouji》of Liu E, and 《Niehaihua(孼海花)》of Zeng Pu etc represented the social phenomenon the most, and they are called the major 4 censual novel.《Laocanyouji》of them is very unique to expose misconducts of officials of integrity, and it is the outstanding work literally and artistically in the aspect of its subject, pilot and detailed description etc.
This study aims to synthesize researches up to now and examine in parallel the artistic characteristics and thematic thought which is given in《Laocanyouji》.
First, the thematic thought of《Laocanyouji》has been analyzed in Chapter 3. Prior to analysis of artistic characteristics, I examined the thematic thought that this novel reflects. For this examination, the thematic thought has been classified into criticism of situations and politic, censure of cruel officials in Cheonggwan(淸官), and pursuit of ideal world.
《Laocanyouji》is more than just revealing and criticizing the politics and social aspect in chaotic days. It imaged a utopia without realizing the intention to save the public under tyranny and decaying nation.
Furthermore, on the other hand, he presents a hope through ideal character who the writer seeks for, although he is critical of the politics and social aspect of those days.
In Chapter 4, various artistic characteristics of《Laocanyouji》have been investigated. For analyzing the artistic characteristics, structure, technique of description, and shapes of characters have been examined.
《Laocanyouji》have been artistically accomplished in many aspects. The most outstanding of them is artistic value of sentences. Unlike other pieces of works, it is kept describing the people, landscapes, things etc. very well and actively, and bears vivid and bright colors. That’s why readers feel as if they are looking around there in reality. And《Laocanyouji》is written in elegant and refined style, so it’s very interesting to read in spite of the novel from Qing Dynasty.
Characters in《Laocanyouji》are not meaningless, but their personality is in accordance with periodical and environmental effects and ideals of the writer.
Pilot of《Laocanyouji》is well organized like this, and details are also smoothly composed in overall. In particular, it has various artistic characteristics. You can say that the real status of those days was expressed sometimes realistically, sometimes metaphorically, and the writer sublimated the work in art from an outstanding artistic view and senses.

국문 초록 (Abstract)

《老殘遊記》는 淸末에 쓰여진 劉鶚(유악)의 순수문학적인 유일한 작품이다.《老殘遊記》는 작가 스스로 중국 각 지방을 여행하면서 실제로 보고 듣고 느낀점을 쓴 遊記體 소설이자, 초편 20회 · 속편 6회로 구성된 장편소설이다.
譴責小說은 당시의 정치권력에 대해 신랄하게 책망하고 꾸짖는다는 뜻으로, 義俠․公案小說과 비슷하게 청말에 등장하여 대중적인 인기를 누렸다. 견책소설 중에서도 사회의 현상을 가장 잘 반영한 작품으로 李寶嘉의《官場現形記》, 吳沃堯의《二十年目睹之怪現狀》, 劉鶚의《老殘遊記》, 曾樸의《孼海花》등이 있는데, 이들을 四大譴責小說이라고 한다. 그중《老殘遊記》는 청렴한 관리의 비행을 폭로하는 매우 독특한 것으로, 주제, 구성방식, 세부묘사 등 문학적, 예술적으로 뛰어난 작품이다.
본 논문에서는 이제까지 연구된 것들을 종합하는 동시에,《老殘遊記》에 나타난 주제사상과 예술적 특징을 살펴봄을 그 목적으로 하였다.
먼저 제3장에서는《老殘遊記》의 主題思想을 분석하였다. 예술적 특징 분석에 앞서 소설이 반영하고 있는 주제사상을 살펴보았다. 주제사상 분석에서는 時局과 정치에 대한 비판, 淸官酷吏에 대한 견책, 이상세계의 추구로 나누어 살펴보았다.
《老殘遊記》는 단지 혼란스러운 시대 속의 정치와 사회상을 폭로, 비판하는데 그치지 않고, 기울어가는 나라를 구하고 虐政에 시달리는 백성들을 구하고자 했으나 뜻을 이루지 못하고 이상향을 그려보았다. 그리고 여러 인물들의 형상을 통해서 신랄히 비판하고 있지만, 한편으로는 작자가 추구하는 이상적 인물을 등장시켜 희망을 제시하고 있다.
제4장에서는《老殘遊記》의 다양한 예술적 특징을 분석하였다. 예술적 특징 분석에는 구조적 특징, 묘사기법의 특징, 인물형상의 특징에 대해 살펴보았다.
《老殘遊記》는 여러 면에서 예술상의 성과를 거두었다. 그 가운데서 가장 두드러진 것은 文章의 예술성이다. 다른 작품과는 달리 작가의 뛰어난 관찰력과 묘사능력을 발휘하여 풍경과 인물, 사물에 대한 묘사 등이 잘 표현되었고 생동적이며, 선명한 색채를 띠고 있다. 그래서 독자들로 하여금 실제 그곳에 가서 구경하는 듯 한 착각에 빠져들게 한다. 그리고《老殘遊記》는 典雅한 문체로 이루어져 청대의 소설임에도 불구하고 읽는 재미가 있다.
《老殘遊記》속의 인물의 성격은 아무런 의미 없이 부여된 것이 아니라 당시의 시대적․환경적 영향․작가의 이상에 따라 출현하고 있는 인물들에게 성격적 특징을 부여하고 있다.
이와 같이《老殘遊記》는 구성 방식이 잘 짜여 있으며, 전체적인 세부 처리도 매끄럽게 잘 이루어져 있다. 특히, 다양한 예술적 특징을 가지고 있다. 당시의 실상을 때로는 사실감 있게, 때로는 은유적으로 표현해냈으며, 탁월한 예술적 감각과 안목으로 작품을 예술적으로 승화시켰다고 할 수 있다.

목차 (Table of Contents)

• 第 一 章 序 論 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 1
• 第 一 節 硏究目的과 硏究方法 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 1
• 第 二 節 旣存의 硏究現況 및 硏究範圍 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 3
• 第 二 章 劉鶚의 生涯 및 創作背景 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 6
• 第 一 節 劉鶚의 生涯 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 6
• 第 二 節 創作背景 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 9
• 1. 政治·社會的 背景
• 2. 文學的 背景
• 第 三 章《老殘遊記》의 主題思想 分析­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 17
• 第 一 節 時局과 政治에 대한 批判 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 17
• 第 二 節 淸官酷吏에 대한 譴責 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 23
• 第 三 節 理想世界의 追求 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 29
• 第 四 章《老殘遊記》의 藝術的 特徵 分析­­­­­­­­­­­­­­­­­­­­­­­­ 33
• 第 一 節 構造的 特徵 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 33
• 1. 楔子와 常套語의 설정 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 36
• 2. 揷話의 첨가 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 39
• 3. 對話의 運用 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 40
• 4. 客觀的 敍述 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 44
• 第 二 節 描寫技法의 特徵 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 47
• 1. 風物描寫 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 49
• 2. 人物․心理描寫 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 60
• 3. 事實的 描寫 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 64
• 第 三 節 人物形象의 特徵 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 67
• 1. 實存人物 形象 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 68
• 2. 理想的 人物 形象 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 72
• 3. 彫塑된 人物 形象 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 80
• 第 五 章 結 論 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 83
• 參 考 文 獻 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ 85
• Abstract