2014년 한민족어문학회 겨울 전국학술대회 : 3인칭 대명사 "그/그녀"의 형성에 대하여

박재희 한민족어문학회 2014 한민족어문학회 학술대회 자료집 Vol.2014 No.1

향가 대중화의 기반에 대한 소고

박재민 ( Jae Min Park ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

This paper investigated from various perspectives the foundations on which hyangga could have been popularized. It examined in what literary aspects the people of the Silla dynasty were charmed by hyannga and on what cultural grounds they could commonly enjoy it. I focused on the three aspects of hyangga, which attracted the people of the Silla dynasty. The first one is its wondrous power, which was described in Samgukyusa as the power that could move holly spirits as well as human beings. The second one is its plain expressions, which could lead to the abstruse doctrine of Buddhism. The third one is its profound and pure lyricism. I also investigated the three cultural backgrounds of the popularization of hyannga. Firstly, hyaanga could be spread through the Buddhist ceremonies, which were often held in Silla. Secondly, it could penetrate people``s minds by the monks, who propagated Buddhism on the streets, sometimes singing and dancing. Thirdly, the activities of hwarangdo also helped it become popular. To come to this conclusion, I scrutinized a literary material by a Japanese monk in the eighth century, Wonin. It presents the process of Buddhist ceremonies which were often held in Boephwawon, a temple of Silla. Accor ding to it, the people in the Silla dynasty praised Buddha with songs and words during the ceremonies. It is the concrete evidence that hyannga was used during the official ceremonies of the Silla dynasty, suggesting many things in the study of the reception of hyangga.

『삼국유사(三國遺事)』, 혜통항룡(惠通降龍) 설화의 공간과 인물 관계

박다원 ( Da Won Park ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

In “Hyetong Hangryong,” a folk tale in Samguk Yusa, the main characters Hyetong and a dragon leave their places in order to resolve their problems. While Hyetong``s problems are resolved well, the dragon``s problems are not easily resolved. They move in different directions, but they sometimes happen to meet. In the same space, they confront each other, pushing and being pushed. The one who pushes his opponent solves his problems, and the other one being pushed does not solve his problems. In order to resolve the problems of each of the characters, the spaces presented in the folk tale are classified into three parts: A, B and C. In A, the characters overpower the space. In this space, the status of one character rises while that of the other is downgraded. In B, where characters secure their power, the space overpowers the characters. The statuses of the two characters are secured, but fail to make harmony. However, in C, the two characters achieve harmony without their statuses being downgraded. The C space, after all, has turned out to be ideal through “Hyetong Hangryong” from Samguk Yusa. When this is applied to all the tales of dragons in Samguk Yusa, it is found that Ilyeon presents the C space, the space where high and low classes naturally achieve harmony based on Buddhism, through folk tales of dragons in Samguk Yusa.

<봉산탈춤>과 양주별산대놀이, 노장과장 연구 -인물의 몸짓을 중심으로-

김영학 ( Young Hak Kim ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

This study speculated on the bodies represented in <Bongsan Talchum> and <Yangjoo Byeolsandae Nori> which take typical positions in the Korean mask drama. This study focused on the bodies realized in the texts, especially the characters(Chibari and Miyal) whose bodies played an important role while they produced important meaning through their bodies even though they did not speak any lines in the dramas. The four characters examined in this study had a common element in that they did not hide their instinct. They practiced their desires with their bodies. If there were obstacles when they took the subjects they desired, they behaved bravely in taking them. Following their senses, they reached for their goal and depended on the movement of their bodies. In other words, the players in mask dramas who led community culture were faithful to the needs of their bodies to show that any member can have freedom to enjoy their bodies. The dramas had a human perspective on the bodies presented, not a Confucian perspective. It is a modern perspective of leaders of mask dramas who wanted to be reborn as subjects of bodies beyond the taboos of Confucian feudal society. Probably the public who were oppressed under moral taboos would cheer and yell in delight. This is why our mask dramas have been popular and passed down for such a long time.

서평 : 시조(時調) 영역(英譯)의 길을 찾는 여정

신경숙 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

한용운의 『 님의 침묵 』 에서 “님”의 의미 연구 - 레비나스의 타자철학을 중심으로-

배호남 ( Ho Nam Bae ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

This thesis tried to interpret the meaning of “Nim” in Han Yong-un”s 『 The Silence of Nim 』 . This thesis suggest a interpretation that the “Otherness” which Emmanuel Levinas”s philosophy essence can explain the ambiguity of “Nim” in 『 The Silence of Nim 』. We can interpret the meaning of “Nim” more accurately when we focused on the ethical aspect in Han Yong-un”s works. Han Yong-un died in 1944, and Levinas published his first important book in 1947. Therefore between Han Yong-un and Levinas, there was no influence or effect each other. However, they both had a tragic experience from Fascism. Han Yong-un had suffered under Japan Imperialism, Levinas also had suffred from German Nazism. Such experience made them to introspect to modern totalism. The value of 『 The Silence of Nim 』 is such introspection was achieved before Levias in literary way in East Asia. We can explain the meaning of “Nim” based on Buddhism or Christianity. Either way we find that “Nim” means “suffering others” that Levinas told. 『 The Silence of Nim 』 shows spontaneous respond to the command of suffering others. Therefore, this thesis suggest that Levinas”s “otherness” can expain efficiently the ambiguity of “Nim” in Han Yong-un”s [1]『 The Silence of Nim 』.

부정소 “안”의 문법 단위 설정에 대한 소고 - 접사적 성격을 지닌 의존형태소인 부정소 “안” -

박재희 ( Jae Hee Bak ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

The goal of this study enlightened the fact that the grammatical unit of the negation particle “an” in Korean, which builds “short-form negation construction” is not an “independent morpheme” but a “dependent morpheme”. Up until now, previous studies including many grammar textbooks or dictionaries have define “an” as a word and so it belongs to the part-of-speech “adverbs” in Korean. However, previous studies have not explain (i)the morphological and syntactic characteristics of “an” and (ii)the reason why certain verbs cannot combine with “an” and cannot create short-form negation construction. Thus, this study pointed out the main reason why previous studies cannot explain these two things is that they categorized “an” as an independent word and regarded it as an adverb in Korean. This study intended to exhibit the characteristics of “an” as a dependent morpheme. Firstly, in modern Korean, “an” behaves differently from an adverb “ani” which is regarded as the original form of “an”. Secondly, some characteristics of “an” does not match with those of adverbs in Korean. Based on the fact that “an” is an independent morpheme in Korean, this study examined what was the base of “an” and finally found that the base of “an” was “verbal root”. As the fact that “an” is an independent morpheme and its base is a verbal root, the study can explain why many verbs cannot combine with “an” and cannot build the short-form negation construction in Korean.

『三國遺事』 ,孝善篇 의 효윤리와 이념 지향

신태수 ( Tae Soo Shin ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

There are five tales of filial behavior in the Hyoseonpyeon of Samgukyusa. The dominant organizational principle of the five tales is to “pursue the aesthetics of Hyoseonssangmi with more emphasis on Seon.” The organizational principle signifies the combination of Confucian filial duty and Buddhist Seon and is manifested in the structure of “filial behavior-favorable change in fortune,” which states that one can see a favorable change in his or her fortune by performing filial behavior and presses him or her to perform filial duty without any conditions to see such a change. In a word, the structure is very ideological. When considered according to the content of tales, the ideology states “Perform filial duty with your utmost sincerity, and you will see a favorable change in your fortune someday!” What phenomena took place after the introduction of the ideology to the Hyoseonpyeon of Samgukyusa? First, the status of the lower class was raised through a “favorable change in fortune.” Secondly, the ideology got rid of humanity. The two represent significance and limitation, respectively. That is, the former represents the significance of “filial behavior-favorable change in fortune” ideology, whereas the latter does the limitation of the ideology.

동월(董越)과 공용경(공用卿)의 비교(比較)를 통해(痛駭) 본 中國 使臣의 朝鮮 認識

윤재환 ( Yoon Jae Hwan ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

The direct goal of this paper is to examine, through a comparison between Dong Weol and Gong Yong-gyeong, gaps between their understandings on Joseon and the meanings of the gaps, but the wider goal is to provide clues to examine the aspects of understandings on Joseon by literati of Ming dynasty of the time and the objectified and relative appearances of Joseon from the perspectives of others. Both Dong Weol and Gong Yong-gyeong in common were Ming dynasty’s envoys visiting Joseon, were literati-bureaucrats assigned to Hanrimweon(翰 林院), wrote on their envoy trips to Joseon, and praised Joseon as a nation of manners and culture. Also, the processes of their envoy trips and their writings on them look similar to each other. In those senses it can be said that their understandings on Joseon are similar, but it does not mean that they are the same. The records of Dong Weol and those of Gong Yong-gyeong in Joseon wangjorilrok(『 朝鮮王朝實錄 』 ) look similar but different as Gong Yong-gyeong has a broader amplitude than Dong Weol. Although it is hard to be confirmed that the difference was the difference among understandings of Joseon by Chinese literati of the time, the difference at least shows that there are gaps between those individuals’ understandings on Joseon; and the recognition about the gaps can be a method to show the various understandings on Joseon by Chinese literati of the time. This paper can have the meaning for suggesting a way to examine the various understandings on Joseon by Chinese literati of the time.

지역문학자원의 문화콘텐츠화 방안 -천안의 지역문학을 중심으로-

강민희 ( Min Hee Kang ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.68

In the world, more and more nations are recognizing culture and the cultural industry as a driving force of economic growth. Korea is not an exception to this trend. The Korean government has determined the administration`s direction: cultural enrichment based on the value of culture. It is making various efforts to lead the global trend. In spite of this interest, it actually needs to be more passionate about seeking a way to realize better national and regional competitiveness by using culture. Hence this thesis intended to extract the contemporary meanings of Cheonan-si, focusing on its regional literature and literary spaces, and discuss how we can use the city. The area is appropriate for this discussion since the area itself aims to become an attractive city as tourist destination where the citizens enjoy together and its residents genuinely want the city to be revitalized through the literature resources. In addition, as regional literature connotes writers`` connections, the backgrounds of literary works, and local feelings, it is something that can express both cultural universality and local identity. Through the discussion, the contemporary meanings of the literary spaces of Cheonan were extracted - first, the historic spaces where the past and the present meet; second, the spaces of traditional arts and love; third, the spaces of awakening patriotism. Based on these meanings, 3 things were suggested for realizing the creation of the street environment - first, suggestion of theme district where people can know how commoners in the past lived and the relevant merchandises (the district and merchandises that have possibilities of being tourism products); second, development of cultural heritage linked walking tour course, for promotion of the cultural enjoyment right of the local residents; third, management plan of traditional cultural arts education. I hope that this discussion will act as a stimulant to development of the regional literature as cultural contents.