<나무꾼과 선녀> 설화에 나타난 결혼관의 유형과 그 사회적 의미

권애자 택민국학연구원 2018 국학연구론총 Vol.0 No.22

‘나무꾼’과 ‘선녀’의 결혼관은 이기심을 근간으로 한다. 나무꾼은 풍족한 가정 만들기의 이기심을, 선녀는 탁월한 자식 만들기의 이기심이 그것이다. 이 두 이기심은 나무꾼과 선녀의 이기적 결혼에 강하게 반영된다. 이기적 결혼에는 서로가 화목하며 어울리거나, 서로가 미워하며 헤어지거나 하는 두 가지 현상이 나타난다. 전자의 결혼생활을 ‘和合’이라 칭하고, 후자의 결혼생활을 ‘反目’이라 칭한다. 화합은 윤리적 효행보다는 물질중시의 원인으로 발현하게 되고, 반목은 물질중시보다는 윤리적 효행의 원인으로 발현하게 된다. 나무꾼과 선녀의 결혼관에는 물질중시와 윤리적 효행의 원인에 따라서 결혼생활이 유지되거나 그렇지 않거나 한다. 지속과 파탄 또한 그러하다. 지속은 물질중시와 윤리적 효행 둘 다 필요로 하는데, 나무꾼과 선녀는 서로 ‘相補的 關係’를 이룬다. 한편 파탄은 윤리적 효행에 대한 주장이 원인인데, 나무꾼과 선녀는 서로 ‘非相補的 關係’를 이룬다. 상보적 관계와 비상보적 관계는 나무꾼과 선녀의 결혼관에 많은 영향을 끼쳤다. Both the "Woodcutter" and "Fairy" base their views of marriage on selfishness. While the former is selfish about building an affluent family, the latter is selfish about raising distinguished children. Their selfishness is strongly reflected in their selfish marriages, which leads to two phenomena: one is the couple getting along happily, and the other is the couple hating each other and parting away. While the former type of marriage life is called "harmony," the latter type is called "antagonism." Harmony is manifested in an emphasis on wealth, rather than ethical filial behavior; whereas antagonism manifests in ethical filial behavior rather than emphasis on wealth. In the views of marriage in the Woodcutter and Fairy, married life would be maintained, or not, according to the reasons for the emphasis on wealth and ethical filial behavior. Continuance and breakup is the same. Continuance requires both emphasis on wealth and ethical filial behavior. The Woodcutter and Fairy form "complementary relationships." Breakup is caused by their insistence on the filial behavior of the Heaven and Earth, respectively. They form "non-complementary relationships." Both complementary and non-complementary relationships have a great deal of influence on the views of marriage in the Woodcutter and Fairy.

<선녀와 나무꾼> 설화의 욕망층위와 꿈의 위상

권애자 ( Kwon Ae-ja ) 택민국학연구원 2016 국학연구론총 Vol.0 No.18

<선녀와 나무꾼> 설화는 욕망과 꿈을 동시에 다루고 있다. 꿈은 인물층위를 점검하는 데 중요하다. 인물층위란 인물과 연관된 서사 전체의 정보인데, 선녀와 나무꾼의 꿈이 서로 어긋나면서 인물층위를 폭넓고 깊이 있게 전달한다. 선녀의 꿈은 자아실현의 의미를 담고 있고, 나무꾼의 꿈은 신분상승의 의미를 담고 있다. 선녀는 자아실현을 목적으로 하기 때문에 의지만으로도 가능하지만, 나무꾼은 신분상승을 목적으로 하기 때문에 꿈을 반드시 필요로 한다. 꿈은 강한 욕망을 수반한다는 점에서, <선녀와 나무꾼> 설화의 중심은 나무꾼서사라고 할 수 있다. 나무꾼서 사에서는 욕망과 현실의 간극이 크게 나타난다. 간극이 크기 때문에 서사 본질의 측면에서 보면 나무꾼서사는 선녀서사를 흡입할 수밖에 없다. 그 증거는 서사무가와 민요에 있다. 이러한 과정 속에 나무꾼서사가 선녀서사를 흡입해서 나무꾼의 욕망을 실현시킨다. 나무꾼은 자신의 욕망을 실현시키기 위해서는 선녀서사를 흡입할 때, `소통`이 전제가 된다. 소통이 조화로 가면 우주적 욕망이 되고, 소통이 단절로 가면 이기적 욕망이 된다. The tale of "The Heavenly Maiden and the Wood Cutter" deals with both desire and dream. Dreams are important to check the character layer, which offers information about the entire narrative related to the characters. In the tale, the dreams of Heavenly Maiden and those of Wood Cutter take different paths, thus conveying the character layer in a broad and profound manner. While the dream of Heavenly Maiden contains the significance of self-realization, that of Wood Cutter does the significance of rise of status. Since the Heavenly Maiden sets a goal of self-realization, her dream is achievable only with her determination. The Wood Cutter, on the other hand, seeks after the rise of status and requires a dream necessarily. Given that dreams are accompanied by strong desire, the tale of "The Heavenly Maiden and the Wood Cutter" is said to have the Wood Cutter`s narrative at its center. There is a huge gap between desire and reality in his narrative. Since the gap is huge, his narrative cannot help embracing the narrative of Heavenly Maiden due to the nature of narrative. The proof can be found in narrative shaman songs and folk songs. It is in such a process that the narrative of Wood Cutter embraces that of Heavenly Maiden and realizes his desire. "Communication" becomes a premise when the Wood Cutter embraces the narrative of Heavenly Maiden to fulfill his desire. When communication leads to harmony, it will result in cosmic desire. When it leads to severance, it will result in selfish desire.

< 선녀와 나무꾼 > 설화에 나타난 꿈과 대칭적 세계관

권애자 ( Ae Ja Kwon ) 한민족어문학회 2016 韓民族語文學 Vol.0 No.72

< 선녀와 나무꾼 > 설화는 꿈의 비중이 상당히 크다. 선녀와 나무꾼은 각기 꿈을 꾸고, 그 꿈속에는 초월적 예언이 들어 있다. 초월적 예언은 대칭적 세계관과 관련이 깊다. 대칭적 세계관이란 주체와 객체가 독자성을 지니되 대등하면서도 내밀하다고 여기는 문화적 시각으로서, 신화시대로부터 여러 문학 장르에 걸쳐 전승되어 오고 있다. 물론, 대칭적 세계관이 반영된 양상은 일정하지 않다. 크게 보아 두 가지로 대별된다. 한 가지는 대칭적 세계관이 완전하게 반영된 경우이고, 또 다른 한 가지는 대칭적 세계관이 불완전하게 반영된 경우이다. 대칭적 세계관이 두 가지로 대별되는 원인은 욕망에서 기인한다. 욕망에는 한 쪽만 이익이 되는 편리공생과 양쪽 다 이익이 되는 상리공생이 있다. 편리공생과 상리공생에 따라서 대칭적 세계관은 세 가지 형태로 나타나며, 각기 신화적 성격, 전설적 성격, 민담적 성격을 지닌다. 꿈속에 대칭적 세계관이 다양한 형태로 나타나서 여러 갈래를 내포한다는 점에서 < 선녀와 나무꾼 >설화의 꿈을 주목하지 않을 수 없다. Dream is regarded as important motif in Korean folktale〈 Woodcutter and Nymph >. Woodcutter and nymph had their respective dream, and their dream involved transcendental prophecy. The transcendental prophecy are closely related to symmetrical world view. The symmetrical world view refers to cultural perspective that the subject and the object have independence respectively and they are equal and confidential, and it has been handed down to various literary genres since the age of the Myths. Of course, the symmetrical world view is irregularly applied to literary genres. Largely, literary works are divided into two cases. In the first case, the symmetrical world view is completely applied to literary work. In the second case, the symmetrical world view is incompletely applied to literary work. Desire is the reason why the symmetrical world view is applied to literary works as the above two cases. As for the desire, there are commensalism for the benefit of one side and mutualism for the benefit of both sides. The symmetrical world view is applied as three types like mythical featured type, legendary featured type, folktale featured type according to commensalism or mutualism. The symmetrical world view is applied as various types and has significance in various parts in the dream of woodcutter and nymph, thus this study can not help paying attention to the dream in folktale〈 Woodcutter and Nymph >.

실과 생활 기술 영역에서의 프로젝트 학습 운영

정모근,권애자 부산교육대학교 교육대학원 2003 논문집 Vol.5 No.-

This study is aimed at presenting actual management guide about the project of practical art, in order to improve the effect of learning practical art through this study. by choosing, by applying the project and by investigating the method of direction in learning practical art. To achieve the goal of the study, here we suggest the method of selecting the project and the type of project conformed to the part of the living art and its background of selection and the actual plan about learning the project by selecting the section most appropriate for team project and home project among the projects applied to the individual section of part of the living art in practical art of 6th grade. The study results are as follows. First. the methods of selecting the project are selection by the teachers, selection by the children, and selection by both. Selection by the children is most desirable reflecting the principle of the project learning, "the learners have the initiative in all the courses of learning". However. selection by both parties is most recommended because of the problems and limitations in the elementary school. Second, the classification of the type of the project in the part of the living art is made according to the number of the constituents and to the place where the learning is being done. By the number of constituents, the projects are classified into the individual projects and team projects. And by the place, classified into projects in the school and projects out of it, in other words, holme projects. But the method of application of this classification can vary because of different points of view. So in this study, the background of the selection of the project applied to the individual section is also presented. Third, in designing various types of method of learning direction, we present the practical method of direction in project learning by choosing the most appropriate sections for team and home projects among every sections. The accomplishment of the project is done within the limit of current educational course. And the subject is also determined within the sections in the textbooks. The course of accomplishment of the project learning follows 6 steps, suggested by Kim Dae-Hyun (1999). They are preparation, the subject determination, activity planning, investigation, expression, completion, and evaluation. And subordinate parts of activity are also suggested. Through accomplishment of the learning of the part of living art in practical art based on the method of learning direction according to the type of project suggested in this study, learners can cultivate their responsibility, the spirit of cooperation, and the power of investigation and of expression and are provided with the chance of experience-based learning and also the teachers are provided with anew experience of teaching. We expect such educational value.

Does siwonhan-mat represent delicious in Korean foods?

장대자,이애자,강순아,이승민,권대영 한국식품연구원 2016 Journal of Ethnic Foods Vol.3 No.2

Background: Koreans believe that there is another sense experienced throughout the body when eating, in addition to smell and taste. This taste, siwonhan-mat, describes a sensation within the body, including the tongue, stomach, and intestines, when consuming food. Siwonhan-mat is often considered to be synonymous with deliciousness among Koreans. In this paper, determining factors of siwonhan-mat are explored in terms of kan (levels of salinity) and taste. Two representative dishes of siwonhan-mat, kongnamul-kuk (bean sprout soup) and hwangtaebuko-kuk (pollock soup), are used in this study. Sensory evaluation tests were performed in order to understand the relationship between siwonhan-mat and levels of salinity and taste. Methods: Different versions of kongnamul-kuk and hwangtaebuko-kuk were created with either of two types of seasoning (salt or soy sauce) and varying levels of salinity (1%, 2%, 3%, and 4%). The temperature of the kuk was set to 80C, and varieties of kuk were randomly assigned to participants. The first group of participants rated siwonhan-mat in the kuk. The participants were 30 individuals in their 40s and 50s, as it is presumed that this age group would be more familiar with siwonhan-mat. 9 pt hedonic scale was used in the experiment. Another group of 30 participants was composed of people in their 20s and 30s, who were assumed to be less familiar with siwonhan-mat as compared to the first group. This group also rated deliciousness of the kuk using a similar procedure. Results: This research was conducted to allow better understanding of siwonhan-mat, a sensation of taste experienced by Koreans, in relation to levels of salinity and taste. The results suggest that types of seasoning and levels of salinity are determining factors of siwonhan-mat. For kongnamul-kuk, 2% salinity earned the highest score in both the salt and soy sauce seasoning conditions. As for buko-kuk, 3% salinity with soy sauce was preferred. Ratings of deliciousness were correlated with ratings of siwonhan-mat, suggesting that siwonhan-mat may be a core element of pleasant taste in kuk and tang. Conclusion: Balancing kan is a determining factor of siwonhan-mat in Korean cuisine. Particularly, a strong association between siwonhan-mat and deliciousness was found in kuk and tang, suggesting the importance of siwonhan-mat in experiencing the best flavor in Korean food.