元明시기 三國戱 주인공의 서사적 설정 변화 연구 = A Study on changes in the narrative construction of protagonists in sanguoxi during the Yuan–Ming period

다국어 초록 (Multilingual Abstract)

This study systematically examines the evolutionary trajectory and internal logic of protagonist narrative construction in Sanguoxi during the Yuan-Ming period, analyzing 21 Yuan dynasty works and 12 Ming dynasty works. The research reveals that during the historical transition from Yuan to Ming, while inheriting traditional narrative foundations, protagonist construction in Sanguoxi underwent profound and systematic transformations at both structural and content levels. These changes encompassed not merely quantitative adjustments in character presence, but fundamental shifts in the ideology of character portrayal and functional positioning within dramatic works.

Regarding protagonist factional distribution, Yuan-Ming Sanguoxi maintained the traditional Shu-Han-centered narrative framework, yet Ming works exhibited significant pluralistic tendencies. Yuan Sanguoxi demonstrated pronounced Shu-Han-centric narrative structures, reflecting Han Chinese literati and commoners' cultural identification with Shu-Han legitimacy and ethnic psychological demands under foreign rule. While Ming Sanguoxi retained Shu-Han dominance, other factions' appearance frequency increased substantially, indicating a transformation from single-faction centrality toward pluralistic openness.

In protagonist identity typology, Yuan-Ming Sanguoxi experienced a marked transition from military general-centered singular structures toward pluralistic balanced configurations. Yuan works prioritized military generals while marginalizing civil officials and lords. Ming works presented balanced proportions among lords, generals, and officials. Notably, Zhuge Liang ascended from Yuan supporting roles to become the primary protagonist in 50 Ming acts, while Zhang Fei's prominence declined to 24 acts, reflecting Ming society's shift from martial valor toward humanistic values and rational governance.

Concerning protagonist-lead singer relationships, Yuan Sanguoxi exhibited linear correspondence among play titles, protagonists, and lead singers. Ming developed complex "multiple roles per act" compositions with significantly diversified lead singer roles, including not only protagonists but also family members like Lady Huang and Lady Wang, and minor characters like Qingtong and Niu Tiegui, demonstrating Ming drama's enhanced artistic maturity and dimensionality.

In external imagery construction, Yuan works detailed characters' appearances, weapons, and mounts to manifest heroic images. Ming adopted highly selective strategies, preserving complete physical descriptions only for core figures like Liu Bei, Guan Yu, Zhang Fei, and Lü Bu. Most protagonists no longer emphasized external imagery, with physical descriptions transformed into functional devices serving narrative logic and dramatic persuasiveness.

Regarding personality construction, Yuan Sanguoxi exhibited typified and extreme characterization—Guan Yu's "loyalty-righteousness," Zhang Fei's "recklessness," Zhuge Liang's "wisdom" were excessively emphasized as singular traits, with high homogeneity among same-identity characters. Ming developed composite and independent personality structures: Zhuge Liang embodied rational prudence and "inner sage, outer king" character; Liu Bei manifested assertive yet benevolent leadership; Zhang Fei combined forthright temperament with loyal virtue—each protagonist forming irreplaceable independent archetypes.

In narrative function, Yuan Sanguoxi emphasized individual heroism, with protagonists as "actors" directly propelling plot development and resolving conflicts. Ming strengthened protagonists as "moral educators": Liu Bei practicing "benevolent governance," Zhuge Liang exemplifying loyal ministerial paradigms, Guan Yu symbolizing loyal righteousness. Narrative focus shifted from "what was done" to "why it was done," with ideological values becoming dramatic core themes.

This study identifies deep-level factors driving protagonist construction changes: political system transformation from Yuan foreign rule to Ming Han Chinese governance, literati status elevation through civil examination revival, creative subject transition from folk artists and lower literati toward scholar-official classes, audience structure differentiation from commercial economy development, and textual canonization from Sanguozhi Pinghua to Romance of the Three Kingdoms. These factors collectively propelled Sanguoxi's profound transformation from emotional, entertainment-oriented folk art toward ideological, educational literati drama.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구대상 및 목적 1
• 1.1. 三國戱 개괄 1
• 1.2. 주인공 설정의 개념 및 연구 범위 7
• 1.3. 연구의 동기 및 목적 13
• 2. 선행 연구 검토 16
• 2.1. 三國戱의 문헌학적 연구 17
• 2.2. 三國戱 서사 관련 연구 20
• 2.3. 三國戱 비교 연구 23
• 2.4. 선행 연구와의 차별성 25
• 3. 연구 방법 및 연구 개요 26
• 3.1. 연구 방법 및 이론 26
• 3.2. 연구 개요 31
• Ⅱ. 元明시기 三國戱 주인공 설정의 특징 비교 33
• 1. 주인공 진영 분포의 변화 33
• 1.1. 元代 : 蜀漢 인물 중심의 주인공 33
• 1.2. 明代 : 주인공 진영의 다원화 경향 37
• 1.3. 변화의 특징 : 비전형 인물의 다원적 부상 43
• 2. 주인공 신분 유형의 계층적 이동 52
• 2.1. 元代 : 武將 중심, 文臣과 主公의 보조적 역할 53
• 2.2. 明代 : 主公의 주도권 확보와 文武의 균형 62
• 2.3. 변화의 특징 : 文臣 주인공 비중의 확대 72
• 3. 주인공과 主唱 인물 설정의 변화 80
• 3.1. 元代 : 劇目 주인공과 主唱의 일치성 81
• 3.2. 明代 : ‘一出多角’ 구조 83
• 3.3. 변화의 특징 : 主唱 역할의 풍부화 86
• Ⅲ. 元明시기 三國戱 주인공의 이미지 변화 분석 94
• 1. 외적 이미지 설정의 변화 양상 94
• 1.1. 元代 : 이미지 설정의 보편성과 영웅 만들기 94
• 1.2. 明代 : 이미지 설정의 정밀화와 정치적 지향성 강조 109
• 1.3. 변화의 특징 : 보편적 묘사에서 선택적 창조로 122
• 2. 인물 성격 설정의 변화 양상 125
• 2.1. 元代 : 성격 설정의 단일화 경향 125
• 2.2. 明代 : 복합적 성격의 창조 139
• 2.3. 변화의 특징 : 집단적 단일성에서 독립적 캐릭터로의 전환 163
• 3. 주인공의 서사적 기능의 변화 양상 170
• 3.1. 元代 : 行動者로서의 기능 170
• 3.2. 明代 : 敎化者로서의 특징 부각 181
• 3.3. 변화의 특징 : 행위에서 이념으로 188
• Ⅳ. 元明시기 三國戱 주인공 설정과 이미지 변화의 원인 분석 195
• 1. 정치적 변화 195
• 1.1. 元代의 異族 통치와 관대한 문화정책 195
• 1.2. 明代의 漢族 통치와 정치 문화적 전환 204
• 2. 사회적 계층의 변화 212
• 2.1. 元代 戱曲문화의 수용계층 212
• 2.2. 明代 시민계층의 성장과 사대부 계층의 결합 218
• 3. 문학 장르의 발전과 변화 226
• 3.1. 三國戱에 미친 元雜劇 체제의 영향 226
• 3.2. 明代 장편소설과 傳奇문학의 영향 233
• Ⅴ. 결론 243
• 참고문헌 251