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      古典小說에 나타나는 幻想界 硏究 = (A) Study on a Fantastic World in a Classical Novel

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      https://www.riss.kr/link?id=T10776898

      • 저자
      • 발행사항

        서울 : 국민대학교 대학원, 2006

      • 학위논문사항
      • 발행연도

        2006

      • 작성언어

        한국어

      • 주제어
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        813.5 판사항(4)

      • DDC

        895.732 판사항(21)

      • 발행국(도시)

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      • 형태사항

        319p. : 삽도 ; 26cm

      • 일반주기명

        참고문헌: p. 301-310

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      다국어 초록 (Multilingual Abstract)

      The purpose of this study is to analyze and extract various space aspects and characters reflected in a Fantastic World in a classical novel throughout corresponding 50 works.
      In this manner, fantastic worlds are divided into five parts: the heavenly world(天上界), the wizard world(仙界), the world of the Dragon King's Palace(水宮界), th e world of the dead(저승계), the boundary world between the real and the surreal(現實界 境界 空間) and some round aspects are analyzed into 'a simple round', 'a round throughout his journey', 'a round throughout his dream' and 'a round throughout his death', focused on a hero from the real world comes and goes between th e real and the fantastic. First of all, some round aspects focused on each fantastic world are as follows:
      The heavenly world in a classical novel is not an object of journey but a place where is inspiring and receiving directions from the destiny. So it is thought that t he looks going and returning a celestial world are largely revealed to be two aspects: 'a round throughout one's dream and death: The heavenly world suggests that it be the most difficult world for one's body and mind to reach together and a human in a real world must get over the greatest distance to arrive in the heavenly world.
      Second, according to a human's wish, a space in the wizard world is presented a s the two following images exist. In case of a human looking for a miraculous me dicine like a <Sughyangjeon>, <Yangssijeon>, <Jingilchunghyorok>, a space in the wizard world is seen as a plain place with the graceful figure and in case of a hu man searching for a family like a <Jeonghaegyeongjeon>, <Yangpungjeon>, <Yeondangjeon>, it is seen as a brilliant palace. It is considered as the desire, a human's longing for a long life and wealth, reflected in works. As a result of analyzing some round aspects, the case that a process of journey is presented in detail is revealed mostly in this situation, coming and going between the wizard world. A round throughout one's death is not seen in a round between the wizard world. That's not because one's death is put directly into shape but because as a man bring a drug of revival and restoration to life from a long journey and meet the dead again, finally it is shaped into a space that a man overcomes one's own death.
      Third, the world of the Dragon King's Palace is not only a path to another fantastic world but a stopover and is described as a simple round in case of moving from the real world to the fantastic. While a character in a real receives some aids from the fantastic in the heavenly world, the wizard world, the underworld and so on, the world of the Dragon King's Palace takes some help from a human and call s for help immediately. From this point of view, it is thought that it is even more complementary in the real than in other worlds.
      Fourth, whether it is in a mountain or the sea, the beyond world is showed as a space keeping a vague feature without a fixed direction. The beyond world led by Hutobuin(后土夫人) brings out the feature that protect a human in the real warmly and in peace. On the contrary, the beyond world led by Yeomnadaewang(閻羅大王) appears to give thoroughly a human reward or punishment based on one's virtue and vice during one's life. That's because it plays an appraiser or watcher of the real world. Such role is derived from a recognition that death is fair and impartial to everyone and that the ideas of Hell under Buddhism have an enormous influence o n it. In addition, because the beyond world strongly has a space idea to free a human that the soul separate from a body from a world, it is thought that the soul separated from a body comes and goes between dream and death.
      Fifth, 'the boundary world between the real and the unreal' presents the space n of only in the real world but out of natural laws of the real. A typical boundary world is divided into three parts: 'well-known mountain' that Taoist lives in, 'tomb' that a ghost dwells in, 'the under world" that a monster resides in. It is thought t hat 'the boundary world between the real and the unreal' keeps a neutral tendency between the real and the unreal. 'The boundary world between the real and the un real' is presented as a simple round altogether.
      As a result of researching some spatial traits of the fantastic world focused on four rounds, we can see that 'the real & the fantastic' and 'the fantastic & the fantastic' have systematically an open-structure each other. As a consequence of analyzing some different works, we can see that the wizard world, the world of the Dragon King's Palace and the world of the dead are connected with 'Yaksu(弱水)'. 'Yaksu' shows a figure like a very broad lake, river or ocean. whichever figure presents, it reflects the image of the broad ocean. As a flowing 'Yaksu' surrounding the wizard world, the world of the Dragon King's Palace, the world of the dead and the like symbolizes the time that involves birth and death, it is estimated that the fantastic world finally exists transcending from the time. And as a human leaps over this river of the time, it is considered that a human not only experiences the dynamic between life and death but also has intense aspirations to communicate with the fantastic world beyond the world. And it is thought that the heavenly world with a figure like a huge mountain soaring in the middle that the wizard world, the world of the Dragon King's Palace and the world of the dead exist rises high. The heave my world is superior to all the other world and looks into the events that happen among all existences of the Universe and gives them some proper meanings.
      Next, as previously divided, the results of categorizing the characters in each world focused on the fantastic world-the heavenly world, the wizard world, the world of the Dragon King's Palace, the world of the dead and the boundary world between the real & the unreal-and analyzing the aspects and roles are as follows:
      First, Okhwangsangje(玉皇上帝), as the leader of the universe, is described not on ly as justice who judges values that discriminate between right and wrong and adjudicates praise and blame but as an existence that supervises all the fates of the Universe. Okhwangsangje as the leader, may reward a human for one's virtue. In this case, the nature of virtue keeps within the bounds, various universal models of a life, that pursue in the real world and in those days loyalty • filial piety • chastity(忠·孝·烈) taken essentially under the system of Confucianism appears to be a absolute value.
      Second, when a character in the real world lost a way and is at a loss, Sinseon(神仙) plays a key role that indicates a direction or leads a person. This role is similar to the elder of the groups. The elder is a man who is not simply older than any other people. In view of the idea that the elder prove symbolically the fact that the life of the groups is maintained as old as one's age, the existence of the elder i s a significant. Accordingly as the elder worship based on this nature is combined with a figure that is a Taoistic wizard, it is thought that he is shaped as Sinseon(老仙) getting to know all the awareness and wisdom of the whole world during h is eternal life.
      Third, looking around the figures and roles of the sea God tribes, we can see th at the sea King is presented as a ruler in the world of the Dragon King's Palace and as an old fisherman in the real world. The Prince and Princess of the Sea God is embodied as a beautiful boy and a pretty girl. The significant part among the various roles of the sea God tribes is the role-shift of the Princess of the Sea God. While the Princess of the Sea God in a myth or a legend become nearly the Queen or play a key role that gives birth to a successor to the throne, the Princess of the Sea God in a classical novel becomes hero's favorite mistress or is among the wive s in general. According to the result from the analysis of the figures of the Princes s of the Sea God in <Hongnangjeon>, <Jingilchunghyorok> and so forth, such a res ult may mean that the figure of Baeng neung-pa, the Princess of the Sea God in <Guunmong>, presents a concrete model to the nature and role shift of the Princes s of the Sea God.
      Fourth, we can see that ,in the world of the dead, the nature of Hutobuin differs from that of Yeomnadaewang. While Yeomnadaewang symbolizes a strict paternity that estimates and judges a person, discriminating between right and wrong, Hutobuin symbolizes a warm maternity that surround the people in the real world who spiritually wander out of the real world. The difference of the role like this is out of the notion of the world beyond (of Buddhism) called 'reward - punishment : heaven - hell' and may suggest a new concept of the world beyond, what is called 'judgement' and 'affection'.
      Fifth, the characters in the boundary world between the real and the unreal are divided into three parts: an ascetic, a ghost and the spirit. An ascetic in a heroic novel at the end of the Joseon Dynasty is described as an extraordinary master that changes a person with God's will(天命) into a hero. When a main character is put to the most difficult and miserable situations, An ascetic tells him that he has not only transcendental abilities but also boundless potentialities and trains him to sho w his abilities.. Like this, under the situation that everything is deficient, as a person meets a reversal moment dramatically, such a change stimulates interest in a story and makes a kind of satisfaction.
      The shape of a spirit is presented as formless and human form. The shape of a humanized spirit, especially, relates to a method that disclose the problems in the real world. An author gives a spirit a form like a human, which intends to be free from death, an object of fear and express one's self and reveal the problems of the real world by help of a spirit with a character like a human. As the conflicts among one's experience during one's life aren't settled, a spirit tries to solve the problems using a lot of movements: Sinwonseolchi(伸寃雪恥:clearing oneself of a false charge and wiping away a disgrace), 'keeping releations', 'gratitude and revenge(報恩과 復讎)', 'just making a disturbance(단순作亂)'.
      Likewise, as a result of analyzing the forms and roles focused on the various characters in the fantastic world, we can see that a rank system is established on the basis of the supervision(主宰性) and the miracle(靈明性). The supervision and the miracle that Jeong, Yak-Yong applies the theory and concept of Sung Confucianism t o the original heaven worship of a folk have much similarities to the roles of Buddha or Okhwangsangje in a classical novel. The supervision means authority of Go d and the miracle means a divine power of God. The absolute power of the supreme deity is derived from the supervision. Buddha or the King of hell are described as a the existence that supervises God's will and they only have both the supervision and the miracle among the existences in the fantastic world. With their abilities, they control the fate of all beings. As the chiefs of the fantastic world, like a wizar d, The Sea God and the King of hell, play an important part as a representative of Providence, their authorities are called the representative power. Therefore, we can see that Buddha or the King of hell gives a agent God's will and the sacred object s that demonstrate concretely God's will in the wizard world, the world of the Dra gon King's Palace and the boundary world between the real and the unreal. And, according to God's will, they ply a specialized role that observe closely and preserve someone in the under world.
      As a result of researching various space aspects and characters reflected in a Fant astic World in a classical novel, the values of literary like the followings are derived.
      First, a fantastic world protects the value of a real world, criticizes lots of pending issues and ultimately pursues a progressive equilibrium in a real world. All the existences in a Fantastic world take attitudes that emphasize basic values within Confucian ideas. In addition, a main character in a real world is described as a person that faithfully performs the values in the three bonds and the five moral rules in human relations. On the other hand, with the assistance of a fantastic world and themselves, they criticize some social problems in a real world or express the inner problems of human or indicate metaphorically all kinds of social irregularities and hit end to be rewarded. But these various movements have made a significant contribution that is not to change the system in a real world but to comment on a social development.
      Second, it seems that the close relationship between a fantastic world and a real world is to pursue a desire for perfect universe. Just as purgatory in Western is a world made into a alternative place to be free from a circumstantial situation and a fear of death that can't persuade people to save their life with the notions, Heaven and Hell, a fantastic world in a classical novel is another world that consists of a huge universe and has an aspect as a tremendous passage connected with a real world. Therefore purgatory has a medium disposition between Heaven and Hell. As each world has an individual disposition, the wizard world and the world of the Dragon King's Palace have an individual territory. A work that separates space and decides the category of the world is performed on the basis of the contemporary ideology. In result, what contemporary writers pursue throughout various fantastic world in classical novel lies in individuality, complexity and diversity.
      A fantastic world in a classical novel reflects the contemporary ideology that pur sues the universal hope of humankind and the ideology, in general, maintains its positive and warm sight. A modem society demands to recognize the fact that is only seen and takes strong anxiety and loneliness out of the visual evidence that only a human is found as the existence that can communicate each other in the vast uni verse. Science and reason in modern society expand human intellect but limit the earth to one space and intend to leave only a human race in the small earth. Accordingly hope of humankind in modern society has no more loneliness in a space cal led the 'Earth' and so may take alone the responsibility for all absurd situation of t he world. Like this, when a person feels lonely and uncomfortable in classical novel, the existence of a fantastic world before the main character spreads out. These aspects inform us of what is the positive and dynamic power that unreality provides a lonely person in a real world with.
      A fantastic world in a classical novel has significance under the relation to the real world. A hero in a classical novel experiences the real world and the fantastic world and putting together, he pursues 'more perfect universe'. A view of that a fantastic world escape from the solitude that human feel and give the dynamic power to pursue 'more perfect universe', A fantastic world in a classical novel will cast a literary significance to modem society.
      번역하기

      The purpose of this study is to analyze and extract various space aspects and characters reflected in a Fantastic World in a classical novel throughout corresponding 50 works. In this manner, fantastic worlds are divided into five parts: the heavenly...

      The purpose of this study is to analyze and extract various space aspects and characters reflected in a Fantastic World in a classical novel throughout corresponding 50 works.
      In this manner, fantastic worlds are divided into five parts: the heavenly world(天上界), the wizard world(仙界), the world of the Dragon King's Palace(水宮界), th e world of the dead(저승계), the boundary world between the real and the surreal(現實界 境界 空間) and some round aspects are analyzed into 'a simple round', 'a round throughout his journey', 'a round throughout his dream' and 'a round throughout his death', focused on a hero from the real world comes and goes between th e real and the fantastic. First of all, some round aspects focused on each fantastic world are as follows:
      The heavenly world in a classical novel is not an object of journey but a place where is inspiring and receiving directions from the destiny. So it is thought that t he looks going and returning a celestial world are largely revealed to be two aspects: 'a round throughout one's dream and death: The heavenly world suggests that it be the most difficult world for one's body and mind to reach together and a human in a real world must get over the greatest distance to arrive in the heavenly world.
      Second, according to a human's wish, a space in the wizard world is presented a s the two following images exist. In case of a human looking for a miraculous me dicine like a <Sughyangjeon>, <Yangssijeon>, <Jingilchunghyorok>, a space in the wizard world is seen as a plain place with the graceful figure and in case of a hu man searching for a family like a <Jeonghaegyeongjeon>, <Yangpungjeon>, <Yeondangjeon>, it is seen as a brilliant palace. It is considered as the desire, a human's longing for a long life and wealth, reflected in works. As a result of analyzing some round aspects, the case that a process of journey is presented in detail is revealed mostly in this situation, coming and going between the wizard world. A round throughout one's death is not seen in a round between the wizard world. That's not because one's death is put directly into shape but because as a man bring a drug of revival and restoration to life from a long journey and meet the dead again, finally it is shaped into a space that a man overcomes one's own death.
      Third, the world of the Dragon King's Palace is not only a path to another fantastic world but a stopover and is described as a simple round in case of moving from the real world to the fantastic. While a character in a real receives some aids from the fantastic in the heavenly world, the wizard world, the underworld and so on, the world of the Dragon King's Palace takes some help from a human and call s for help immediately. From this point of view, it is thought that it is even more complementary in the real than in other worlds.
      Fourth, whether it is in a mountain or the sea, the beyond world is showed as a space keeping a vague feature without a fixed direction. The beyond world led by Hutobuin(后土夫人) brings out the feature that protect a human in the real warmly and in peace. On the contrary, the beyond world led by Yeomnadaewang(閻羅大王) appears to give thoroughly a human reward or punishment based on one's virtue and vice during one's life. That's because it plays an appraiser or watcher of the real world. Such role is derived from a recognition that death is fair and impartial to everyone and that the ideas of Hell under Buddhism have an enormous influence o n it. In addition, because the beyond world strongly has a space idea to free a human that the soul separate from a body from a world, it is thought that the soul separated from a body comes and goes between dream and death.
      Fifth, 'the boundary world between the real and the unreal' presents the space n of only in the real world but out of natural laws of the real. A typical boundary world is divided into three parts: 'well-known mountain' that Taoist lives in, 'tomb' that a ghost dwells in, 'the under world" that a monster resides in. It is thought t hat 'the boundary world between the real and the unreal' keeps a neutral tendency between the real and the unreal. 'The boundary world between the real and the un real' is presented as a simple round altogether.
      As a result of researching some spatial traits of the fantastic world focused on four rounds, we can see that 'the real & the fantastic' and 'the fantastic & the fantastic' have systematically an open-structure each other. As a consequence of analyzing some different works, we can see that the wizard world, the world of the Dragon King's Palace and the world of the dead are connected with 'Yaksu(弱水)'. 'Yaksu' shows a figure like a very broad lake, river or ocean. whichever figure presents, it reflects the image of the broad ocean. As a flowing 'Yaksu' surrounding the wizard world, the world of the Dragon King's Palace, the world of the dead and the like symbolizes the time that involves birth and death, it is estimated that the fantastic world finally exists transcending from the time. And as a human leaps over this river of the time, it is considered that a human not only experiences the dynamic between life and death but also has intense aspirations to communicate with the fantastic world beyond the world. And it is thought that the heavenly world with a figure like a huge mountain soaring in the middle that the wizard world, the world of the Dragon King's Palace and the world of the dead exist rises high. The heave my world is superior to all the other world and looks into the events that happen among all existences of the Universe and gives them some proper meanings.
      Next, as previously divided, the results of categorizing the characters in each world focused on the fantastic world-the heavenly world, the wizard world, the world of the Dragon King's Palace, the world of the dead and the boundary world between the real & the unreal-and analyzing the aspects and roles are as follows:
      First, Okhwangsangje(玉皇上帝), as the leader of the universe, is described not on ly as justice who judges values that discriminate between right and wrong and adjudicates praise and blame but as an existence that supervises all the fates of the Universe. Okhwangsangje as the leader, may reward a human for one's virtue. In this case, the nature of virtue keeps within the bounds, various universal models of a life, that pursue in the real world and in those days loyalty • filial piety • chastity(忠·孝·烈) taken essentially under the system of Confucianism appears to be a absolute value.
      Second, when a character in the real world lost a way and is at a loss, Sinseon(神仙) plays a key role that indicates a direction or leads a person. This role is similar to the elder of the groups. The elder is a man who is not simply older than any other people. In view of the idea that the elder prove symbolically the fact that the life of the groups is maintained as old as one's age, the existence of the elder i s a significant. Accordingly as the elder worship based on this nature is combined with a figure that is a Taoistic wizard, it is thought that he is shaped as Sinseon(老仙) getting to know all the awareness and wisdom of the whole world during h is eternal life.
      Third, looking around the figures and roles of the sea God tribes, we can see th at the sea King is presented as a ruler in the world of the Dragon King's Palace and as an old fisherman in the real world. The Prince and Princess of the Sea God is embodied as a beautiful boy and a pretty girl. The significant part among the various roles of the sea God tribes is the role-shift of the Princess of the Sea God. While the Princess of the Sea God in a myth or a legend become nearly the Queen or play a key role that gives birth to a successor to the throne, the Princess of the Sea God in a classical novel becomes hero's favorite mistress or is among the wive s in general. According to the result from the analysis of the figures of the Princes s of the Sea God in <Hongnangjeon>, <Jingilchunghyorok> and so forth, such a res ult may mean that the figure of Baeng neung-pa, the Princess of the Sea God in <Guunmong>, presents a concrete model to the nature and role shift of the Princes s of the Sea God.
      Fourth, we can see that ,in the world of the dead, the nature of Hutobuin differs from that of Yeomnadaewang. While Yeomnadaewang symbolizes a strict paternity that estimates and judges a person, discriminating between right and wrong, Hutobuin symbolizes a warm maternity that surround the people in the real world who spiritually wander out of the real world. The difference of the role like this is out of the notion of the world beyond (of Buddhism) called 'reward - punishment : heaven - hell' and may suggest a new concept of the world beyond, what is called 'judgement' and 'affection'.
      Fifth, the characters in the boundary world between the real and the unreal are divided into three parts: an ascetic, a ghost and the spirit. An ascetic in a heroic novel at the end of the Joseon Dynasty is described as an extraordinary master that changes a person with God's will(天命) into a hero. When a main character is put to the most difficult and miserable situations, An ascetic tells him that he has not only transcendental abilities but also boundless potentialities and trains him to sho w his abilities.. Like this, under the situation that everything is deficient, as a person meets a reversal moment dramatically, such a change stimulates interest in a story and makes a kind of satisfaction.
      The shape of a spirit is presented as formless and human form. The shape of a humanized spirit, especially, relates to a method that disclose the problems in the real world. An author gives a spirit a form like a human, which intends to be free from death, an object of fear and express one's self and reveal the problems of the real world by help of a spirit with a character like a human. As the conflicts among one's experience during one's life aren't settled, a spirit tries to solve the problems using a lot of movements: Sinwonseolchi(伸寃雪恥:clearing oneself of a false charge and wiping away a disgrace), 'keeping releations', 'gratitude and revenge(報恩과 復讎)', 'just making a disturbance(단순作亂)'.
      Likewise, as a result of analyzing the forms and roles focused on the various characters in the fantastic world, we can see that a rank system is established on the basis of the supervision(主宰性) and the miracle(靈明性). The supervision and the miracle that Jeong, Yak-Yong applies the theory and concept of Sung Confucianism t o the original heaven worship of a folk have much similarities to the roles of Buddha or Okhwangsangje in a classical novel. The supervision means authority of Go d and the miracle means a divine power of God. The absolute power of the supreme deity is derived from the supervision. Buddha or the King of hell are described as a the existence that supervises God's will and they only have both the supervision and the miracle among the existences in the fantastic world. With their abilities, they control the fate of all beings. As the chiefs of the fantastic world, like a wizar d, The Sea God and the King of hell, play an important part as a representative of Providence, their authorities are called the representative power. Therefore, we can see that Buddha or the King of hell gives a agent God's will and the sacred object s that demonstrate concretely God's will in the wizard world, the world of the Dra gon King's Palace and the boundary world between the real and the unreal. And, according to God's will, they ply a specialized role that observe closely and preserve someone in the under world.
      As a result of researching various space aspects and characters reflected in a Fant astic World in a classical novel, the values of literary like the followings are derived.
      First, a fantastic world protects the value of a real world, criticizes lots of pending issues and ultimately pursues a progressive equilibrium in a real world. All the existences in a Fantastic world take attitudes that emphasize basic values within Confucian ideas. In addition, a main character in a real world is described as a person that faithfully performs the values in the three bonds and the five moral rules in human relations. On the other hand, with the assistance of a fantastic world and themselves, they criticize some social problems in a real world or express the inner problems of human or indicate metaphorically all kinds of social irregularities and hit end to be rewarded. But these various movements have made a significant contribution that is not to change the system in a real world but to comment on a social development.
      Second, it seems that the close relationship between a fantastic world and a real world is to pursue a desire for perfect universe. Just as purgatory in Western is a world made into a alternative place to be free from a circumstantial situation and a fear of death that can't persuade people to save their life with the notions, Heaven and Hell, a fantastic world in a classical novel is another world that consists of a huge universe and has an aspect as a tremendous passage connected with a real world. Therefore purgatory has a medium disposition between Heaven and Hell. As each world has an individual disposition, the wizard world and the world of the Dragon King's Palace have an individual territory. A work that separates space and decides the category of the world is performed on the basis of the contemporary ideology. In result, what contemporary writers pursue throughout various fantastic world in classical novel lies in individuality, complexity and diversity.
      A fantastic world in a classical novel reflects the contemporary ideology that pur sues the universal hope of humankind and the ideology, in general, maintains its positive and warm sight. A modem society demands to recognize the fact that is only seen and takes strong anxiety and loneliness out of the visual evidence that only a human is found as the existence that can communicate each other in the vast uni verse. Science and reason in modern society expand human intellect but limit the earth to one space and intend to leave only a human race in the small earth. Accordingly hope of humankind in modern society has no more loneliness in a space cal led the 'Earth' and so may take alone the responsibility for all absurd situation of t he world. Like this, when a person feels lonely and uncomfortable in classical novel, the existence of a fantastic world before the main character spreads out. These aspects inform us of what is the positive and dynamic power that unreality provides a lonely person in a real world with.
      A fantastic world in a classical novel has significance under the relation to the real world. A hero in a classical novel experiences the real world and the fantastic world and putting together, he pursues 'more perfect universe'. A view of that a fantastic world escape from the solitude that human feel and give the dynamic power to pursue 'more perfect universe', A fantastic world in a classical novel will cast a literary significance to modem society.

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      목차 (Table of Contents)

      • 목차
      • Ⅰ. 서론 = 1
      • 1. 문제 제기 = 1
      • 2. 연구 범위 = 13
      • Ⅱ. 고전소설에 나타나는 환상계의 공간 양상과 의미 = 23
      • 목차
      • Ⅰ. 서론 = 1
      • 1. 문제 제기 = 1
      • 2. 연구 범위 = 13
      • Ⅱ. 고전소설에 나타나는 환상계의 공간 양상과 의미 = 23
      • 1. 환상계의 개념 및 범주 = 23
      • 1) 환상계의 정의 = 24
      • 2) 환상계의 종류 = 37
      • 3) 현실계와 환상계 왕복 방식 = 41
      • 2. 환상계의 공간의 특징 = 46
      • 1) 천상계 = 47
      • 2) 선계 = 53
      • 3) 수궁계 = 68
      • 4) 저승계 = 77
      • 5) 현실계 경계공간 = 91
      • 3. 환상계 공간의 의미 = 102
      • Ⅲ. 환상계 등장인물의 역할과 의미 = 112
      • 1. 환상계의 등장인물 분류 = 113
      • 2. 천상계 옥황상제의 형상과 역할 = 120
      • 3. 선계 신선의 형상과 역할 = 125
      • 1) 老仙의 형상과 역할 = 125
      • 2) 典故 인물의 역할 = 134
      • 4. 수궁계 용족의 형상과 역할 = 148
      • 1) 용족의 형상과 성격 = 148
      • 2) 용녀의 역할 변화 = 157
      • 3) 탈취자의 역할 = 162
      • 5. 저승계 등장인물의 분화된 성격과 역할 = 166
      • 1) 염라대왕과 후토부인의 역할 = 166
      • 2) 저승사자와 청조의 역할 = 171
      • 6. 현실계 경계공간에 나타나는 등장인물의 형상과 역할 = 175
      • 1) 도사의 형상과 역할 = 175
      • 2) 귀신의 형상과 역할 = 181
      • 3) 精靈의 형상과 역할 = 211
      • 7. 환상계의 위계질서와 그 의미 = 227
      • 1) 고전소설에 나타나는 天命사상 = 228
      • 2) 主宰性과 靈明性에 의한 계급 분화 = 234
      • Ⅳ. 환상계의 문학적 의의 = 245
      • 1. 현실계의 발전적 균형 추구 = 245
      • 1) 현실계의 가치 수호와 현실 문제 비판 = 246
      • 2) 새로운 경험을 통한 세계관의 확대와 갈등의 초월적 해결 = 260
      • 2. 완전한 우주를 향한 열망 = 274
      • 1) 이분화된 환상계와 다양화된 환상계 = 274
      • 2) 환상계의 열린 구조와 내부 균형 = 277
      • 3. 고전소설에 나타나는 환상계의 현대적 의의 = 281
      • Ⅴ. 결론 = 286
      • [참고문헌] = 301
      • Abstract = 311
      • ※ 그림 = 319
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