虛婚에 관한 硏究

康龍權 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1980 民俗文化 Vol.2 No.1

"Huhon" is a posthumous marriage of a young couple who couldnot realize their wish to be united in marriage while they were alive. Ghosts of great variety is said to teem with universe, and "mongtalgyi" or the ghost of a dead bachelor and "sagyi" or the ghost of a dead maiden fall into the category of the spiteful ghost of the dead. The ghosts of a dead couple cannot, it is believed, ascend to heaven because of their failure in love in this world. They are loaming in the air, appealing to the bereaved families for the fulfilment of their desire for union. Therefore the best way to console them is to settle them down in heaven by conducting a posthumous marriage for them instead of giving them some offerings. Thus comes the practice of "huhon." A posthumous marriage is effected either by the persistent demands of the unhappy ghost or mostly by the initiative of the surviving family, They are often prompted by the manifestations in their dream or mishaps befalling them or various diseases visiting them. Faced by the ill omens, they go to the fortune teller for advice, who, judging this to be a good chance to make money, urges them to conduct a posthumous marriage for the dead spirit. The wedding ceremony is presided by an exorcist following the traditional procedure with a little variation according to the presider, This custom is significant in that it had a kind of mental hygienic effect on the the trouble mind of bereaved family.

심메마니의 生活俗

배도식 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1980 民俗文化 Vol.2 No.1

"Simmaemany" is dig for a wild ginseng. "Simmaemany" must always live clean and conscientious. Because, the god of a mountain get angry, they can't a wild ginseng. They dig for wild ginseng about from spring to autumn. Autumn is the best season for a wild ginseng. "Simmaemany's" boss is "Euinmany". "Euinmany" command "Simmaemany" in the mounain. They construct the "Modoom" which called house of the mountain, when enter in the mountain. They perform a religous service which called entering religious service when they entered in the mountain. They think that can get a wild ginseng from the god of the mountain when have a dream. There are many particular cants among them. They divid two different ways if discovered a wild ginseng. We called "Weonangmae" and "Dogmae" A wild ginseong is very expenive price They say that older, weighten, good for health and womanish a wild ginseng are very expensive.

傳承 工藝 技術 用語에 관한 小考 : 慶南 咸陽郡의 징과 목기를 중심으로

정상박 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1980 民俗文化 Vol.2 No.1

The sociolinguistic factors of the technical terms of traditional craft are as follows: Speaker: Professional thchnicians Listener: Co-workers, apprentices, and orderers of product Place: Workshop Purpose: Instruction of working, cooperation of working, transmission of technical skills and explanation on works produced The careful analysis of 69 technical terms in the manufacture of gong and 46 terms in wood-craft in Kyungsang-uamdo province revealed the follows: 1. Most of the trems were native to Korea. 2. Many new terms were formed to copewith the new tools and their production process. 3. Social implication was taken into consideration in word-formation.

申在孝의 創作판소리 硏究

姜信球 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1981 民俗文化 Vol.3 No.1

'Pansori' is a unique sad traditional jenre of Korean literature that should be studied through various ways, such as narrative literature, music or drama. Sin Jae-Hyo is known the most eminent writer of pansori, who accomplished his original pansori, with his unique and creative techniques. The aim of this study is to inquire and expand the true facts of his pansori, and futher more succeed to great artical state of forefathers before making a study of the backgrounds and the thought of Sin Jac-Hye, and also tile structure, techniques of expression and the content of his 14 pansori play scripts. Chapter Ⅰ is the introduction and Chapter Ⅱ is the study of the writer's backgrounds and thought. In the Chapter Ⅲ the present author is making a study and analysis of Sia Jae-Hyo's pansori through the rearrangemt of his six-act pansori, form and contents. His original fansori is in 3-4 mete verse, or mostly 4-4 meter in around one thousand syllables, except Osumga of eight thousand syllables, Sin Jae Jae-Hyo's pansori is so full of humor and reality, along with expressional dexterity and obscenity that his authorial characterstics are conspicuous. As a result of this study, this author come to believe that the deeper researches into this field should be encouraged to continue future is view of the unique value of pansori, also hoping that this study will be some help to those who want to follow the similiar studies.

韓國假面劇 臺詞의 表現法 考

柳鐘穆 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1981 民俗文化 Vol.3 No.1

The study of Korean Folk Masque has emphasized folklore to excess until now. so it seems to neglect the literary characteristics of drama. as light literature, which are shown in the of words of the drama. By the reason in this stuff, I try to find the characteristics which are shown in the contents of the words in Korean Folk Masque Drama, by extracting the syntactical and expressional characteristics of the extant dramas which are left to us. The followings are these: 1. The kinds of Korean Folk Masque are Tel chum-Gun (Gun means group) Sandae-Nori-Gun, Yaryu-Gun. Ogwangdae-Gun, Byolshin gut-Gun, Kwanno-Tal-Nori Gun, Saja-Norum Gun etc. Among these dramas. I study tile drama of Bongsan-Talchum which belongs to Talchun-Gun (Collected by ImSukJae), the drama of Yangju- byol Sandae-Nori which bolongs to Sandae-Nori gun (by Lee du Hyen), the drama of Suyoung-Yaryu which belongs to Yaryu-Gun (by Gang-Gwon), and the drama of Kosung-Ogwangdae which belongs to Ogwangdae gun (by Jung Sang Bak) 2. It is rhetorical repetition that is used most frequently in the words written in Korean Folk Masque all through the dramas. 3. And rhetorical onomatopoeia, mimicry and simile are second to the rhetorical repetition. Besides, rhetorial irony, hyperbole, comparion, 4. It is unique in explosion of Korean Folk Masque tat many slang words and obscene words are written an that many chinese traditions and witty remarks are footed in the dramas. 5. Korean Folk Masque has not the plot which is composed in modern dramas. But it has fragmentary plot that forms Omnibus style by using various situations to express the same one theme. And I think the systematic expression of the rhetorical repetition makes up the fragmentary plot. 6. The reason why rhetorical onomolopoela and mimicry are used repeatedly is, I think, that they function as music effect and stage settings in modern drama to increase the dramatic effect or sense. 7. The reasons why simile is used mere frequently than metaphor are that only simile can express the strong resistance of people directly and effectively and tai the expression at that time is not much developed. 8. The reasons why many slang words are used in that dramas are that common people are eager to find their own "selves" more important thing among the people using slang words in contrast with the class using traditional terms of respect to give a good impression to others, and that they try to get away from traditional conservative spirit, authoritarianism and formalism so as to approach the new culture. 9 Many obscene words and slang words are used in the drama of Yang-ju-Sandae-Nori. On the other side, many chinese traditions and witty remarks are quoted in the drama of Bongsan-Talchum and Suyoung-Yar-yu. But Bongsan is situated far away from Suyoung and they have much different hestory of the development of masque. So. the Pact that there is something in common between Bougsan-Talc-hum and Suyoung-Yayu makes us to guess that they have had direct influence on each other since man years ago. The above is my study about characteristics of the words in Korean Folk Masque. To sum up, the words of Korean Folk Masque is the most excellent light literature (common peoples literature) which expresses "selves" of common people and resistance of people in opposition to traditional conservative spirit, authoritarianism and, formalism. And to express these features effectively, various expression and the free use of words are used in Korean Folk Masque. These characteristics makes the words of Korean Folk Masque much valuable in its creation.

심청가의 常套的 表現單位에 대하여

李憲洪 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1981 民俗文化 Vol.3 No.1

The aim of this study is to make clear of pansori transmission structure. The study of transmission structure should be performed on the spot of oral rehearsal. because Pansori is a form of oral epic song. From such a viewpoint. I tried to excavate us structure by putting the extract script of pansori SIMCHUNGGA as a main text 1. The outline of story and invertion songs become chains of linguistic structure that enables transmission, developing by putting formulaic expression units as an axis. 2. Formulaic expression units has considerable borrowing from pre-exiting literature (of Chinese letter arid folklore) and to some extent coincide with cliche´-the fixed word group as pre-existing customary and familiar expression 3. It should be reconsidered to understand the authors of pansori as the literate or a single person on the basis of difficult Chinese letter and idiom of old affairs and poetic phrase. 4. Formulaic expression units consist in paralleled structure. The paralleled structure of formulaic expression units can be devided into form parellel by sound, word, phrase and and line an meaning parellel by repetition development ad opposition. 5. The parellel by sound and word makes oral statement natural and contributes to rhythm formulation, the parellel by syntax and stanza prevents self-innovation and helps not to be away from archetype, meaning parallel by repetition development, opposition etc presents the emphasis and transition and contributes to the development of events;all of these contain its particular structure each in itself, enable transmission with self-correction and super organic function.

창녕지방 부락명칭의 됨됨이

홍양추 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1980 民俗文化 Vol.2 No.1

1. Word-formation of village names in Chang-yeong region is more compound words than simple word and derived word. The compound words consist mainly of syntactic compounds. 2. Post-constituent has many meanings; for example 'gol' 'sil' 'ma' and 'ttam' mean a village, and 'mi' 'te' 'jea' and 'goge' mean the topography or the thing of the earth. 3. A place-name mainly show the characteristic of the physical aspect of mountain the topography, the name of a location things or a situation.

民俗藝能의 變遷에 관한 考察 : In the Case of Soo-yeong Ya-ryoo 수영야류<水營野遊>의 경우

康龍權 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1981 民俗文化 Vol.3 No.1

This paper has sought to find the process of the development of Soo-yeong Ya-ryoo. In the present writer's opinion, it has been developed in three stages; and each stages has its own social-background with diversed styles and varied amounts of people's interest in it. From the results of this research, the following conclusions were obtained; 1) Soo-yeong district had been a typical farmers community up to 1945. After sixties, however, it began to experience urbanization and as the result, most of agricultural field had been transfered into residential areas and has been under obligation of modernization. 2) In this circumstances, the Ya-ryoo had been destined to meet various changes. Until sixties, it had been fairly well supported and attracted by the villagers as a religious riot, however, this mask flay was getting to be ignored as time passed, and lost its religious role and only marry- making function has been maintained. 3) The Ya-ryoo has experienced many changes including deformation of mask shapes, process of its performance etc., In view of this, the present author sets forth some suggestions for the appropriate means of preservation and restoration of this play. 4) The Soo-yeong Ya-ryoo has been handed down with its origin on farming community up to new suffering from being nearly on the brink of decease, Nevertheless, the ardent aspiration of some natives to restore their own cultural heritage gives hope to rehabiliate it.

우리 民謠에 나타난 母性愛

具然軾 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1980 民俗文化 Vol.2 No.1

Maternal affection depicted in ancient Silla songs shows strong influences from Buddhistic ideas, while that in Yi dynasty is prominantly Confucian in characters. This appears in every form of folk songs, ranging from early nursery songs to the more refined later ones. The contents of maternal affection in them may be summarized as follows: 1. Mother's desire for her sons and daughters' achieving wealth, power, fame and longevity as well as their livng up to the codes of loyalty, piety, trust and manners. 2. Mothers had stronger and more sacrificial affections towards their daughters than their sons. 3. In whatever extreme circumstances, mothers had constant affectious. 4. Affectious are found particularly spontaneous. This may be because mothers regarded reproduction as their noble duty. In short, these contents also represent the traditional image of the Korean mother.

解産俗攷 : 慶南 梁山郡 院洞面 中里와 永浦里를 中心으로

권우행 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1980 民俗文化 Vol.2 No.1

Most of the manners and customs of the two villages, Choong-ri and Yeongpo-ri are intended for the future welfare of the baby. Taboos prescribed by the two communities are determined according to the association by similarity and considerations of hygienics. We can find an apparent difference in the manner of disposing of the navel cord between the two villages which are separated from each other at a distance of two kilometers. In Choong-ri, which is located in the mountains, women have them reduced to ashes. This shows that manners and customs owe their establishment to regional environments. It is imperative that we should continue collecting these regional man nears and customs, which areon the verge of extinction, in order to com prehend the spirit of our people more thoroughly.