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임재해(Lim Jae-hae),송효섭(토론자) 비교민속학회 2002 비교민속학 Vol.23 No.-
This article intends to consolidate the pattern of existence of folkart by product ego and communicational scheme, and to remark on the revolutional content and releasable function of folkart. Through this discussion we recognize the rights of folk art-production and look for the way of cultural democratization by critical recognition about art-production scheme and communicative structure. If high class art is art of artists, then folkart is expression of the folk. The most important specific property of folkart is that it exists in the culture of the ordinary. The folk liberally produce and enjoy folkart in ordinary life. High class art and popular art are both usually produced by the artist, the masses are usually in the position of accepting. Moreover the process of production and acceptance is separated from ordinary life. It is not only separated from producer and accepter, but also, the daily practice and activation of art. Therefore the works of art is abundant but there is no real art-culture. Healthy art-culture is located in democratic system of an-production meaning not a monopoly system restricted to art and artist, but to whoever becomes a chief creator of art-production and acceptance. In healthy society art is produced by common people, and accepted and enjoyed by everybody democratically. The folkart that exists in this system of undifferentiation makes possible the human releasable function. Folkart has the nature of revolution toward human liberty. 1his represents folk life in a local situation in which the folk become a chief creator. Therefore this includes critical recognition about the complications of class and the self-contradictory social organization. While the function of performance appears to be based on entertainment and celebrating of life, the substantial function included in the content of folkart looks forward to pursuit of life worthy of man. Korean traditional mask dance, that symbolized folkart, represents the complication of class, religious conflict, and complication between male and female. These are connected with folk liberty, religious liberty and gender equality. In the view of the folk the most pressing thing is the complication of class and of gender. For folk who live within religious folk communities, Buddhism has tended to be an overwhelming influence. Accordingly folkart depicts and present this religious oppression in order to pursue revolution and human release. As all political power is created by people, all cultural power is also caused by people. Just as people build system of exercising political power, people also need to have an appropriate system of art-production in order to maintain a healthy society. Those in the field of humanities(The artists, scholars, philosophers and so on among the people) need to work towards this cultural democratization. Without this kind of effort, the people cannot be released from the current state of cultural monopoly.
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조희웅(Cho Hee-woong),송효섭(토론자) 계명대학교 한국학연구원 2003 한국학논집 Vol.30 No.-
In the first part of this article I concentrate on defining the notion of kwisin, through the meaning of its characters and by ascertaining how kwisin appears in documentary records; I also deal with synonyms of kwisin. Then, I attempt to give a rough sketch of the true identity of kwisin through a review of how previous Korean scholars have approached the kwisin. In the middle part, I explain that the meaning of 'kwisin' became narrower over time; originally, '鬼神 kwisin' was the integrated meaning of '鬼 kwi' and '神 sin', but 'sin' became a separate concept while 'kwi' became identical with 'kwisin'. Finally, I studied the true identity of kwisin by focusing on the characteristic features of kwisin as they appear in folk belief.
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