宋元話本小說的「鬼魂空間」?究

金明求(Kim Myung-Goo) 대한중국학회 2004 중국학 Vol.22 No.-

본 논문은 ‘人文空間’ 개념을 기초로 宋元話本小說 중에서 ‘鬼魂空間’, 의 내용 및 특징을 살펴보았다. 공간의 다원적인 구조를 작품에 적용하는 과정에서 다시 ‘鬼魂現身’ㆍ‘人鬼通夢’ㆍ‘鬼魂附身’ 의 세 가지 주요한 특징으로 나눌 수 있다. 宋元話本小說의 주요한 공간적 특징인 變化와 流動과정을 통해서 ‘鬼魂空間’ 을 고찰해보면, 공간간의 變換과 對應ㆍ接近 등의 현상이 분명히 나타난다. 소설 속의 ‘鬼魂空間’ 은 현실(實在)과 허상(虛構)공간의 결합과 분리과정을 지속적으로 반복하며, 그가운데 소설 속의 인물이 어떻게 공간의 제약과 현상에 적응하고, 어떻게 사회와 문화를 수용하고 변화시키는지 잘 보여주고 있다. 소설공간의 변화는 공간과 인물ㆍ사회 간의 관계를 충분히 드러낼 뿐만 아니라, 그 속의 대립과 수용 등의 여러 과정을 통해서 심층적이며 다양한 문화적 특징을 쉽게 파악할 수 있다. 이러한 문화현상은 소설내용과 주제사상을 구성하는 중요한 요소이며, 나아가 인간과 문화의 특징을 이해하는 가장 적절한 방법이 될 것이다.

《三言》中「生死之交」主題探究

김명구 ( Myung Goo Kim ) 中國語文硏究會 2004 中國語文論叢 Vol.0 No.27

논문(論文) : 송원명화본소설(宋元明話本小說)에 나타난 인간관 귀혼의 "지속 결합" 연구

김명구 ( Myung Goo Kim ) 중국어문연구회 2010 中國語文論叢 Vol.0 No.46

明話本小說入話體制的典雅化現象硏究

김명구 ( Myung Goo Kim ) 중국어문연구회 2007 中國語文論叢 Vol.0 No.34

복수의 전환과 다원화 -명청화본소설(明淸話本小說)의 "귀혼복수고사(鬼魂復讐故事)"유형 연구

김명구 ( Myung Goo Kim ),윤애선 ( Ae Sun Yoon ) 中國語文硏究會 2007 中國語文論叢 Vol.0 No.35

詩文兼用的規範定型與有機調和 -明話本小說入話敍事的典雅化硏究-

김명구 ( Myung Goo Kim ) 중국어문연구회 2008 中國語文論叢 Vol.0 No.37

原用(원용)과 變用(변용) -≪聊齋誌異(요재지이)≫ <姉妹易嫁(자매역가)>의 改編(개편) 연구

김명구 ( Myung Goo Kim ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.71

This research concretely investigated how the literal novel(文言) works of the same period were reformed as baihua(白話) novel works through Zimeiyijia(<姉妹易嫁>) of Yaozaizhiyi(≪聊齋誌異≫) and Weifumingnieyoujizuo daizijiafuzitianlai(<違父 命孼由己作 代姉嫁福自天來>)(hereafter Weifuming) and Maoshangshuxiaomeihuandazi (<毛尙書小妹換大姉>)(hereafter Maoshangshu) of Xingmengpianyan(≪醒夢騈言≫) who reformed this. In this process, this research concretely considered how the narrative form and narrative structure, narrative content, and subject consciousness of the work were ``originally used(原用)`` and ``transformed(變用)``. First, when investigating change in narrative form and narrative structure, three works showed difference in the introduction and conclusion form of work even excluding difference in style of writing of ``menyanmen(文言文)`` and ``baihuawen(白話文)`` in narrative form. Whether of ``ruhua(入話)`` appeared differently in the introduction, and participation method of narrator appeared differently in the conclusion. Developing method of three works was similar in respect of narrative structure, however regarding detailed content order and procedure, ``displacement(前置)`` and ``separation(分離)`` phenomena appeared, and in respect of word element(話素) set-up and movement per composition, ``inversion(倒置)`` phenomenon appeared. Next, when investigating change of narrative content, Weifuming had strong characteristic of amplifying by newly reforming or expanding lots of Zimeiyijia additionally, and Maoshangsu was reformed within the range that does not deviate from the content of original work, also, the part considered unnecessary was deleted. In respect of subject consciousness that appeared in the reformation process of Zimeiyijia, a certain degree of change appeared. In Zimeiyijia and Weifuming, the concept of acknowledgement(認定) and acceptance of fatalism(宿命論) appeared in common. However, the degree thereof was different each, if Zimeiyijia highlighted relatively strong fatalistic characteristic, Weifuming emphasized importance of personal personality and virtue above all, while it showed acknowledgement(認定) and acceptance of fatalism. Maoshangshu concentrated on showing the virtue and duty of a woman. This way, considering the process of reforming the original work does not stop at merely investigating the change of narrative content, but has a significance in illuminating relation and association between works. Also, it can provide important material to determine association between the ``writer``, ``work``, and ``reader`` and response, cognition and demand of readers on the work, and tendency and trend, etc. of reformation of novel works during that time. This exploration can concretely investigate how the works could be reborn through change of writing style and content in the development process of novel history, also, be the opportunity to diversely consider the progress process and change type such as content and cognition, reaction of acceptance and refusal, etc. of work that is inherent therein.

宋元話本小說 ‘篇尾’의 ‘修辭格’ 운용 방식 연구

김명구(Kim, Myung-Goo) 한국중어중문학회 2016 中語中文學 Vol.0 No.63

This research considered Rhetorical Syle(修辭格) of Sung Yuan’s Hua-Ben Novels(宋元話本小說) Pyunmi(篇尾) in the aspect of ‘content’ and ‘form’. In the ‘aspect of content’, this research focused on rhetoric of meaning, and paid attention to the method of regulating and changing the content of narration to express the intrinsic implication. To investigate the rhetoric(修辭格) that concretely appeared in Sung Yuan’s Hua-Ben Novels(宋元話本小說) Pyunmi(篇尾), there are ‘Yeongchin(映襯)’, ‘Seolmun(設問)’, ‘Yinyong(引用)’, etc. Such rhetoric(修辭格) calls the reader(listener)’s attention and progresses concentration and meditation on the event intentionally, also, amplifies immersion in work by creating tension in the event progress. Also, not merely delivering the abstract concept or instructive message that conventionally appear at the end of the work, it emphasizes amusement and popularity of story by showing the popular and elegant finish process. In respect of ‘formal aspect’, this research intensively investigated how the esthetic emotion and excitement could be effectively aroused by focusing on the composition of vocabulary that appeared outside and the esthetic expression and method. To investigate rhetoric(修辭格) of formal expression utilized in Sung Yuan’s Hua-Ben Novels(宋元話本小說) Pyunmi(篇尾), ‘Daewoo(對偶)’, ‘Yucheob(類疊)’, ‘Yeolgeum(列錦)’, etc. are frequently used. Sung Yuan’s Hua-Ben Novels(宋元話本小說) Pyunmi(篇尾) are mostly composed of ‘Sisa(詩詞)’ or ‘poetry prose(詩詞)’ and ‘critique(評論)’, which frequently have ‘concluding word(結末語)’ with ‘poetry prose(詩詞)’ or ‘short phrase(短句)’, accordingly, typical rhetoric(修辭格) frequently appears which often appears in ‘poetry prose(詩詞)’. Generally, it emphasizes the content or theme of work, intention and method of the writer, and enhances the readers’ impression through repetition or listing mode. Sung Yuan’s Hua-Ben Novels(宋元話本小說) Pyunmi(篇尾), this way, complexly operates various rhetorical techniques. In the rhetoric(修辭格) operated in Pyunmi(篇尾) is expressed with the narrator(writer)’s emotion and opinion intensively, through this, the writer enhances persuasive power and influence on ‘the original intention(本義)’ by expressing the writer’s opinion on the work simply as well as clearly. Besides, it properly realized artistic distribution and adjustment of the content, form, theme, and meaning of work through ‘Pyunmi(篇尾)’, which delivers to the reader by concluding and arranging the content and the theme of the work effectively and accurately.

詩論〈杜十娘怒沈百寶箱〉之 "水"意象

김명구 ( Myung Goo Kim ) 중국어문연구회 2004 中國語文論叢 Vol.0 No.26

惡性(악성)과 善性(선성) 사이 ―≪三言(삼언)≫ 속에 나타난 "善惡竝存(선악병존)"인물 연구

김명구 ( Myung Goo Kim ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.69

This research considered ``Seonabyeongjon(善惡竝存)`` character in San-Yan(≪ 三言≫)by dividing into three types according to ‘time stream and change’, ‘expression method of behavior and emotion’, ‘reaction of ideology and action’. First, in case that ‘Seonakbyeongjon’ phenomenon is outstanding according to the order of time, characteristic of ‘deviation’ and ‘return’ appears in common, where the characters show different personality and behavior each other before and after success. Next, this research investigated the characters where ‘goodness’ and ‘evil’ coexist according to practical situation. There ‘Seonakbyeongjon’ aspect appears successively with ‘evil’ and ‘goodness’, however, they sometimes appear at the same time. Their ‘evil’ appears definitely, however ‘goodness’ does not appear so definitely as ‘evil’. Their ambiguous and fluid personality is two-faced, differently from the characters which show clear and fixed personality, also has self-centered and selfish personality. Lastly, there‘s a character who shows contradictory behavior before and after the event, they show the characteristic to move from ‘goodness’ to ‘evil’, or ‘evil’ to ‘goodness’. In this behavior change, it can be said that change of belief that the character has influenced most greatly, actual difference of behavior is drawn due to change of thought. Through the above consideration, character of ‘Seonakbyeongjon’ not only reveals uniform personality of character, but also shows more various and changeable figure. This process of revealing parallel and resist action of ‘goodness and evil’ has an important meaning in the aspect of investigating multi-aspect personality of character by escaping from the sight of concentrating on the conflict that is frequently shown in general novel. In the rhetorical aspect of character drawing, also, fluid and characterful character``s personality is realized through the shape that conflicts and changes internallyㆍexternally, rather than simple and fixed character shape, these characters enrich the content and meaning more by giving activity and liveliness in the work. Through this series of analysis process, this research could have an opportunity to consider the character again that did not receive attention meantime, also, through investigating the characteristic of various characters, and could more widely understand personality of characters. Also, this research has an important role of generally understanding the work by organically connecting description structure and content, subject idea and artistic achievement of the work.