『閒汨董』 所載 <韋生傳> 硏究

간호윤 ( Kan Ho-yun ) 한국고전문학교육학회 2007 고전문학과 교육 Vol.14 No.-

This article is focused on ‘the significance of excavated material < Wisaengjeon > which takes 『Hangoldong』 as the subject material, and the misunderstanding about < Wigyungcheonjeon >’. 『Hangoldong』 may have been transcribed in the mid-seventeen century by a transcriber who lived in a period near the disturbances of war. Summaries of inquiry are as followed: ① So far there exist several kinds of < Wisaengjeon >, including ‘kan Ho Yun’ version of < Wisaengjeon >, Korean version of < Wi Dyeon >, ‘Jeo Cho’ version and ‘Yu Jae Young’ version in one category, and < Wigyungcheonjeon > based on 『Godamyoram』 which is along a different path of transcription in the other category. The official title is < Wisaengjeon >. ② The < Wisaengjeon > category is closer to the original copy, while the < Wigyungcheonjeon > was transcribed from a different version copied out of the same bottom book with the < Wisaengjeon >’s. ③ The transcriber of 『Hangoldong』 presumably had experienced the disturbances of war, was morally indignant at invaders, was a person of wide reading, and was an righteous intellectual in a noble family who had an indistinct consciousness of novels. ④ While it can be said that < Wigyungcheonjeon > has lower-quality sentences and less tension compared to < Jusaengjeon >, < Wisaengjeon > may be generously assessed. ⑤ Issues of the representative version and the author of < Wisaengjeon >, which have not been dealt with in this article, may still remain as the future subjects. Particularly, the authors can be studied in the positive point of view, by connecting the Korean version of < Wi Dyeon > with the 『Hangoldong』-based < Wisaengjeon >. Additional articles are expected regarding this matter. In conclusion, clear solutions about authors and in-depth discussions on literary works are encouraged, by informing fellows, seniors and gentlemen that ‘Gan Ho Yun’ version of < Wisaengjeon > has been added to the history of Chinese novels in 17th century.

日帝下 禁書 『奇人奇事錄』 下에 나타난 金忠善 話의 現在性 -野談文學에 투영된 戰爭體驗의 篇幅을 중심으로-

간호윤(Kan Ho-yun) 우리문학회 2004 우리文學硏究 Vol.0 No.17

The purpose of this study is to find a piece of war experience shown in 『Gi-in-gi-sa-rok(奇人奇事錄)』 a banned book under the rule of Japanese colonialism, through the presence of Kim, Chung-seon story. Edited in two volumes by Muljae(勿齋) Song, Soon-gi(宋淳夔), 『Gi-in-gi-sa-rok』 is a collection of historical stories printed in old type, which was published in 1923.<br/> Of the two volumes of 『Gi-in-gi-sa-rok』, only the last volume was banned. It was presumably due to Kim, Chung-seon story. Mohadang(慕夏堂) Kim, Chung-seon (金忠善:1571~1642) was a Japanese surrenderer. His other name was Seonji(善之), and family origin was Saseong(賜姓) Kimhae(金海). He had been a Japanese with the name of Sayaga(沙也可). Kim was a leading general of Gato Kyomasa(加藤淸正) when Japan invaded Korean in 1592. However, deeply impressed with Chosun’s customs and civilization, Kim, Chung-seon became naturalized as a Korean with his 3,000 soldiers to Kim, Eung-seo(金應瑞), and initiated how to produce fowling guns, gunpowder, etc. into Koreans. Afterwards, he became a meritorious retainer of the three rebellions when he performed a remarkable service during the Lee, Gua(李适) revolt and Byungja-horan(丙子胡亂).<br/> The reason that Kim, Chung-seon story has not been seen in Korean collections of historical stories(野談集) so far can be explained by the fact that he had been a general of Japan, a country that invaded Korea. For about 300 years since the Hideyoshi invasion, the name Kim, Chung-seon has been faded away from Chosun. Then, during the Japanese colonial period, he appeared in the historical stories telling the period of the Japanese invasion in the late 16th century. To throw this point into relief, Kim, Chung-seon’s appearance might imply a relative superiority over the Japanese rule. On the contrary, ‘Chosun Research Association(朝鮮硏究會)’ presided by CheongryuKang Taerang(靑柳綱太郞) in 1915 made clear that Kim, Chung-seon’s 『the collection of Mohadang’s works(慕夏堂 文集)』 was a fake book, and Kim was a national traitor. It suggested that Kim, Chung-seon was a bitter figure to them. Putting all this together, the last volume of 『Gi-in-gi-sa-rok』 was supposed to become banned under the Japanese colonial rule.<br/> Based on national consciousness, Song, Soon-gi made up Kim, Chung-seon story as a historical story by adding a bit rhetoric words properly. This is obvious evidence that the historical-story literature of old printing type(舊活字本) in the 1920s cannot just be seen as a commercial one. It is because 『Gi-in-gi-sa-rok』 includes a clear national consciousness. Another one century after that, Kim, Chung-seon is achieving a new presence. Kim is now being read as “a peaceful figure” to open a new future for both of Korea and Japan.<br/> It is Urok(友鹿) village, Dalseong-gun, Daegu city, a common rural village surrounded by low lines of mountains out of the central Daegu city, where the descendants of the Kims of Saseong Kimhae(賜姓金海金氏) have resided collectively all the way since Kim, Chung-seon’s lifetime. Since 1992, Japanese tourists have visited this village inhabited by Kim, Chung-seon’s offspring. In addition, movements to review him are emerging in Japan. In symposia, documentary productions and various other books, Kim, Chung-seon is under the spotlight as a humanitarian who rejected causeless wars of aggression. Also in Korea, the “Ethics” textbook forthe third grade of middle school includes the story of Kim, Chung-seon as a 22 year-old precocious pacifist, which means that the interest in him carries presence.<br/> Kim, Chung-seon is now a figure that is much expected to resound with the ringing to awaken such common languages as “peace,” “humanity,” “future,” etc. as well as an angular point that enables both Korea and Japan to co-exist hostily. At this time when we are going over to the future beyond history, I wish to reconsider the long return of Kim, Chung-seon who loved “peace,” walking with hard steps in the battlegrounds 400 years ago. Thus, I hope that many people fr

고소설도 목록화와 문화접변 연구

간호윤 ( Kan Ho-yun ) 한국고전문학교육학회 2013 고전문학과 교육 Vol.26 No.-

This paper has enlisted our 古小說圖(ancient novel paintings) and traced close cultural assimilation phenomena of ancient novels and paintings. First, Ancient novel paintings is a 俗畵(commonplace painting). the backgrounds of the ancient novel paintings were influenced by the politics and economy, society and culture of the late Chosun. Tthe types of ancient novel paintings can be divided into substitutive use for wall painting, for temple murals, for folding screens, covers and illustrations of the books and for shaman drawings(ggokdu:꼭두), and the enlisted ancient novel paintings as of are 391 pieces in total. Illustrations are 142, which are the most in number, and folding screens 129 pieces, shamanic painting 60 pieces, statue 26 pieces, shaman drawings 22 pieces, ggokdu 11 pieces, in order. The art of drawing ancient novel paintings were divided into drawing lines, composition, shapes, materials for pictures and picture colors. The most frequently appearing features in the ancient novel paintings are 흥(Hŭng) and 멋(Mot).

신연활자본 고소설 책의도 목록화와 문화접변 연구

간호윤 ( Kan Ho-yun ) 한국고전문학교육학회 2014 고전문학과 교육 Vol.28 No.-

The Shinyeon whalja(new-lear printed) old novel is simply not an isolated novel. The new-lead printed olde novel's catalogue pictures which were born through the meeting the art, a formative art with the publishment culture led the development of old novels during the period from 1910s to 1930s. The Shinyeon whalja(new-lead printed) old novel's catalogue pictures indicated that external situation around the old novels were at an intersection point assimilating with political, economic and social cultures, not simply the transformation of old novels. Especially, the Shinyeon-whaljabon(new-lead printed) old novel's catalogue pictures directly influenced on the popularization of Korean old novels. The influence was in the very Shinyeon-whaljabon (new-lead printed) old novel's catalogue pictures being decorated five vivid colors(obangsaek). This study aimed to catalogue empirical data of such shiyeon-whaljabon(new-lead printed) old novel's empirical data and to research its culture assimilation. The Shinyeon-whalja(new-lead printed) old novel's catalogue picture is the term referring the pictures in the old books printed with Shinyeon-whalja(new-lead print) during the period from 1910s to 1930s. The Shinyeon-whaljabon(new-lead printed) old novel's catalogue pictures were found out about 135 pieces until now, and their production space was Seoul, the center of complex culture desires. In 1910s, many good-quality pictures were described for the Shinyeon-whaljabon(new-lead printed) old novel's catalogue pictures, but until 1930s after passing through 1920s, this type of pictures were rarely found. In this study, the types of Shinyeon-whaljabon(new-lead printed) old novel's catalogue pictures were limited to the cover pictures, and the cover pictures could be divided into four directions of both artists groups and the figure direction, the event direction, the symbol direction and the phrase direction for more convenience. Finally, this study investigated the speech ways of old novels and those of Shinyeon-whajabon(new-lead printed) old novel's catalogue picture.

軍談小說의 家族談論的 性格 硏究-『馬斗榮傳』에 보이는 繼母를 中心으로-

간호윤(Kan Ho-yun) 우리문학회 2003 우리文學硏究 Vol.16 No.-

In this article, I considered the character of family argument in the army novel, centering the stepmother to appear in r Ma-du-young-jeonJ' Ma-du-young-jeon is a army novel to include fantasy, but it has a main constituent of family novel of a stepmother style. The social perception of the stepmother is a tragic metaphor and a old Korean purple letters. Though a stepmother is the same as a former mother, we made her a weak person and regarded her son as a child by a concubine, which is passed on to us. In 「Ma-du-young-jeon」, however, 「Ma-du-young-jeon」, who is a child by a concubine, and Hwang, hong-yeon got married. Later, 「Ma-du-young-jeon」, who is a main character and brother by a different mother, and Hwang, chow-eol got married as well. In the relative doubly related by marriage of 「Ma-du-young-jeon」, the writer tried to remove the tragedy caused by special competitive culture, which derived from the oppressive society which a stepmother should bear like a yoke and the ambition of success in life. The writer had a warm heart to reconstruct the distorted family. In addition, we can see a breakdown of the patriarch in 「Ma-du-young-jeon」 which means that the vertical order of old Korean society is reorganized into the relationship one.<br/>

「최현전(崔灦傳)」 연구 -17세기 전기소설(傳奇小說)과 국문소설(國文小說)과의 관계를 중심(中心)으로-

간호윤 ( Kan Ho-yun ) 한국어문교육연구회 2003 어문연구(語文硏究) Vol.31 No.2

이 논문은 先賢遺音에 필사된 「崔灦傳」에서 17세기 愛情傳奇小說의 변화와 함께 說話, 國文小說과의 연관성을 고찰하고 아울러 우리의 古小說史에서 의의를 자리매김하고자 하는 데 목적을 두었다. 「최현전」은 기본적으로 傳奇小說이라는 날줄에 설화가 촘촘히 씨줄로 얽혔으며, 전기소설로는 「崔仙傳」, 국문소설로는 「비군전」, 「서해무릉기」, 설화로는 「설씨녀」가 交織되어 있다. 따라서 우리 고소설사에서는 전기소설, 「최현전」, 국문소설이 결코 다른 영역이 아니라 同一한 線上에 나란히 흐르는 선율로 인식하여야 한다. 한문전기소설과 국문소설은 결코 對立的이지도 排他的이지도 않다. 漢文小說의 經驗的 土臺 위에 국문소설이 이어졌을 것임은 당연한 귀결이기 때문이다. 예리한 斷層이 존재하지만, 「최현전」은 그러한 17세기 古小說史의 장르 運動을 충분히 보여주고 있는 작품이다. This treatise investigates a relation between a folktale and national script novel, along with change of affection romance of the 17th century in Choi-hyeon-jeon[崔灦傳] copied to “Gim, Gi-hyeon professor's Chinese novel copying work, Seon-hyeon-yu-eum[先賢遺音]”, and aims at looking for the significance in our old novel history. Choi-hyeon-jeon is basically mixed the vertical lines called romance with the horizontal lines called a folktale. In addition, Choi-seon-jeon as a romance, Bi-gun-jeon and Seo-hae-mu-reung-gi as a national script novel, and Seol-ssi-nyeo as a folktale are mixed. And such a overlapped quality is the response to the novel phenomenon of the 17th century which is popularization, citizenship acquisition of novel basically. Accordingly, in our old novel history, romance, Choi- hyeon-jeon, and national script novel are not involved in other areas but they should be recognized as a melody flowing side by side in the same line. Chinese romance and national script novel do not stand in opposition, nor are exclusive. Because it is natural conclusion that national script novel might be connected over foundation of Chinese novel. Although a sharp difference exists between them, Choi-hyeon-jeon is a work that shows enough genre movement of the old novel history in the 17th century.

< 광한루기 > 의 소설 비평론 연구 : ' 문장여화법론(文章如畵法論) ' 을 중심으로

간호윤 한국고소설학회 1999 古小說 硏究 Vol.8 No.1

This thesis makes the target of the novel titled <kwang-han-ru-ki (廣寒樓記)>,in which we can look for kaleidoscopic criticism terms of a novel among our 19th novels. Form criticism in the novel titled <kwanghanruki>, we can find out enough novel theories to call a treasure house of our criticism literature such as the condition of a novel, readers reading the text, the structure of a description, using freely styles, various criticism terms, and so on. In particular, Su-san(水山), the author of the novel, states 'Mun-jang-yeo-hwa-beob-ron' ('文章如畵法論' : It means that writing is like painting) utilizing the landscape painting as a technique of a novel. This theory, which is a special novel criticism term in the history of criticism on our old novels, is the heart of understanding this novel as a composition principle of the novel titled <kwanghanruki>. Accordingly, this thesis prescribes it as a theory of a novel criticism called 'Mun-jang-yeo-hwa-beob-ron' and tris to arrange an aspect of our 19th old novel criticism. To sum up the studied results, it is as follows. 1) 'Mun-jang-yeo-hwa-beob-ron' Su-san's novel theory, is a visual criticism of a novel theory, which makes use of the landscape painting of an Oriental painting called Kum-gang-san-do(金剛山圖). But his painting theory does not correspond to the general landscape of an Oriental painting. The reason is that his landscape painting theory is deliberate, keeping an elaborate plot of a novel in his mind. If we read the criticism of Un-rim-cho-kaek(雲林樵客), we can understand precisely Kum-gang-san-do which he insisted as a principle of a novel writing. That is, he invented the landscape painting technique called Kum-gang-san-do in order to develop plot called the introduction, the development of the theme, conversion, and summing up. Accordingly, painting the East sea at first is to emphasize the background, and painting Bi-ro-bong(毘盧峰) high at the end is to stress the subject, contrary to the previous Oriental painting theory. We can grasp intent of 'Mun-jang-yeo-hwa-beob-ron' in comparing life to a novel at So-eum-ju-in's(소엄주인) introductory criticism of the fifth chapter. The introductory criticism of the fifth chapter deals with the plot of a novel, too. These plot theories of a novel connect the blooming ecological principle with a novel and describe it as the four steps in composition. In the end, the fact that Su-san develops the intentional painting theory of Kum-gang-san-do in 'Mun-jang-yeo-hwa-beob-ron' backs up cause and effect relations logically in a novel. Besides, so as to appeal to readers, it changes the fictional story called a novel into the epic style which is made up of probability. 2) Another theory is to emphasize the setting. The setting in Su-san's 'Mun-jang-yeo-hwa-beob' is the sea. The reason he began to paint Kum-gang-san-do from the sea was that he kept the setting of a novel in his mind. Su-san who considered elaborate plot of a novel started from describing the real setting at length called kwang-han-ru(廣寒樓) a situation of the novel. 3) Contrary to the general painting theory, Su-san painted the most important Bi-ro-bong at the end, which intended to emphasize Chun-hyang's(春香) beautiful figure and righteous fidelity, the subject of the novel called kwang-han-ru-ki. 4) Su-san's Kum-gang-san-do is a landscape painting. It starts by nature from searching for author's infinite consciousness boundary reflected in the eternal world of Mother Nature. If a novel is substituted for it, it means studying author's inside thoughts. Accordingly, Soeum-ju-in tried to grasp the intention of 'Mun-jan-yeo-hwa- beob-ron' with Chun-hwa-do-beob-ron(春畵圖法論)emphasizing the inside language, so did Un-rim-cho-kaek with Buddhistic term called Jung-beod-an-jang-ron.(政法眼藏論) 5) Su-san tried to compare kwang-han-ru-ki to a painting, for he emphasized writing equal to painting and Kwang-han-ru-ki and ennobled a novel equal to literature. In the end, in the course of studying this thesis, their novel theories are much the same, and are connected with one another. In addition, their pen names are related to nature. So it is probable that they are a same person of the different name. It is likely that Su-san set up different fictitious author and editor and critic and used the intentional false names in order to minimize his responsibility for suggesting his special theory of a novel.