「Dongsanggi(東廂記)」is a play about the forced marriage by the king or emperor and tells about a special wedding story organized by a state for old bachelors and old maids. This story that aroused the public’s interest was recorded ...
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https://www.riss.kr/link?id=A105676900
2018
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Dongsanggi(東廂記) ; popularity ; daily ; wedding ; play ; Language-expression
810
KCI등재
학술저널
35-63(29쪽)
1
0
상세조회0
다운로드다국어 초록 (Multilingual Abstract)
「Dongsanggi(東廂記)」is a play about the forced marriage by the king or emperor and tells about a special wedding story organized by a state for old bachelors and old maids. This story that aroused the public’s interest was recorded ...
「Dongsanggi(東廂記)」is a play about the forced marriage by the king or emperor and tells about a special wedding story organized by a state for old bachelors and old maids. This story that aroused the public’s interest was recorded by the royal orders and Lee Ok(1760~1815) created a play, a totally new genre, based on the story.
Although 「Dongsanggi」 is written in classical Chinese, it greatly accepts people’s slang, proverb, curse, and song for fun and interest based on the
fact of wedding, reflects the manners of the times, and is adhered closely to public emotion. In this sense, it is necessary to review in association with ‘popularity’. If popularity means enjoying easily and widely among people,
「Dongsanggi」 may be discussed in three features.
First is the popularity of the main character. The main characters of classical narratives are mostly heros or heroins with strong ideology or stereotype.
However, it was greatly changed in the late of the Joseon Dynasty. With several characters including women and the middle and lower classes received, the prospect of writing was expanded and materialized. Characters in 「Dongsanggi」 are the common people including Kim, Huijip, the head of a village, a deputy, a village young man, and a young servant. In order
words, they are all common and ordinary people. The world in 「Dongsanggi」
is the common people’s space where most people live and the world of reality telling by their natural voices. The reality obtained by it increases interestand rouses new fun, resulting in strong popularity.
Second is the popularity of using materials. One flow of literature in the late of the Joseon Dynasty was to get rid of the area of classics which expresses the world view of Confucianism. It avoided theoretical, scientific, and ideological things and preferred popular materials found in the actual feeling of life.
The main material of 「Dongsanggi」 is main character’s wedding and a town scene. The main character who cannot marry because of poverty solemnizes
a blessed marriage, goods which brighten the wedding are listed in detail, and the ritual of groom-hazing is unfolded. A popularity-oriented intention to share and communicate with many people is hold in this ordinary and
non-ordinary story(material).
The final is the popularity of language expression. A play is characterized by developing accidents through lines. In order words, it should strengthen
the operation of language that the audience can easily understand and
communicate, that is, the popularity of expression. The lines of a play should be directly delivered to and understood by the audience and performed by
actors. Unlike a novel, the lines should be concise and interesting and the
ways to express should use usual speaking. Although 「Dongsanggi」 is created for reading and not for performance, it commands vernacular Chinese that writes ordinary spoken language in letters. It also commands a totally new style which completely destroys the formality of classics in choosing grammar or vocabulary such as borrowed characters of Korean onomatopoeia or interjection and writing proverbs or common phrases using Chinese characters.
A command of such ordinary and common language may result in the opening of the way of popularity.
「Dongsanggi」 is exceptional in both an external form of a play and an internal form of character, material, and expression. The exception is the fruit of efforts that try to truly do literature of ‘now-here’ and not transcendental literature. It is the feature of ‘popularity’ that tries to approach more people by closely and deeply adhering to people’s life and what 「Dongsanggi」 pursues.
목차 (Table of Contents)
참고문헌 (Reference)
1 이학주, "혼례놀이 신랑다루기의 전승의의와 관광자원화 방안" 민속학연구소 (31) : 335-362, 2015
2 심경호, "한국한문학이 지닌 다층성의 한 구현, 통속성" 근역한문학회 39 : 9-35, 2014
3 최진원, "한국고전시가의 형상성" 성균관대학교 대동문화연구원 275-280, 1996
4 안대회, "조선후기 소품문의 실체" 태학사 33-, 2003
5 이지하, "인물형상화 방식을 통해본 <昌蘭好緣錄>의 통속성" 규장각한국학연구원 (34) : 43-69, 2004
6 이옥, "완역이옥전집 2" 휴머니스트 2009
7 김홍백, "구비공식구 이론과 한문 산문의 작법 원리 -이옥(李鈺)의 <동상기(東廂記)>를 중심으로-" 국문학회 (34) : 297-318, 2016
8 윤지양, "『東廂記』 나타나는 문체 실험의 양상 고찰" 한국한문학회 (48) : 435-467, 2011
9 강영주, "「김신부부전」과 「동상기」의 노처녀 담론과 탈규범의 형상" 한양대학교 대학원 2012
10 정용수, "[동상기]의 성격과 조선후기 백화투 문체" 우리한문학회 18 (18): 991-1016, 2008
1 이학주, "혼례놀이 신랑다루기의 전승의의와 관광자원화 방안" 민속학연구소 (31) : 335-362, 2015
2 심경호, "한국한문학이 지닌 다층성의 한 구현, 통속성" 근역한문학회 39 : 9-35, 2014
3 최진원, "한국고전시가의 형상성" 성균관대학교 대동문화연구원 275-280, 1996
4 안대회, "조선후기 소품문의 실체" 태학사 33-, 2003
5 이지하, "인물형상화 방식을 통해본 <昌蘭好緣錄>의 통속성" 규장각한국학연구원 (34) : 43-69, 2004
6 이옥, "완역이옥전집 2" 휴머니스트 2009
7 김홍백, "구비공식구 이론과 한문 산문의 작법 원리 -이옥(李鈺)의 <동상기(東廂記)>를 중심으로-" 국문학회 (34) : 297-318, 2016
8 윤지양, "『東廂記』 나타나는 문체 실험의 양상 고찰" 한국한문학회 (48) : 435-467, 2011
9 강영주, "「김신부부전」과 「동상기」의 노처녀 담론과 탈규범의 형상" 한양대학교 대학원 2012
10 정용수, "[동상기]의 성격과 조선후기 백화투 문체" 우리한문학회 18 (18): 991-1016, 2008
11 경일남, "<동상기>의 서민적 작품 성향" 어문연구학회 41 : 49-74, 2003
12 조만호, "<東廂記>考(1)" 도남학회 16 : 277-, 1977
김려령의 너를 봤어에 나타난 죽음 본능 - 프로이드의 정신분석적 접근 -
학술지 이력
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2028 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2022-01-01 | 평가 | 등재학술지 유지 (재인증) | |
2019-01-01 | 평가 | 등재학술지 유지 (계속평가) | |
2016-01-01 | 평가 | 등재학술지 선정 (계속평가) | |
2015-12-01 | 평가 | 등재후보로 하락 (기타) | |
2011-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2009-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2007-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2005-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2002-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | |
1999-07-01 | 평가 | 등재후보학술지 선정 (신규평가) |
학술지 인용정보
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.31 | 0.31 | 0.28 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.3 | 0.32 | 0.556 | 0.11 |