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李昌植 世明大學校 1995 世明論叢 Vol.4 No.-
Kim So-woon was the first man who presented the funcamental data about Korean Folk Song and the scholar who showed the position of the oral tradition on the Korean folklore, which is the part of the modern folklore. We should eva;uate him not as a essayist but as a pioneer in the field of studying Korean folklore. His 《Unborn Chisun koojun nimyocip》 effects on the later scholar, i.e Ko jungock, Im wha, Choo wangsan etc. He was the first scholar emphasizing the importance of the study on the folklore story, and he stressed the nationalism in folklore which was the general tendency in the study of the folklore at that time. And it's similar to the contemporary tendency of finding the self-identification in the folklore. His translation of the Korean folklore into the Japanese language opened the roal th the trasp of the characteristics of the Korean folklore comparing with those of China, Japan, Mongo and many European nations. The concrete result, however, was not followed. In spite of this fact, his translation to the Japanese seems to show the characteristics and poetic mood of the Korean folklore. He was not the specialist for the Korean folklore but his the study on the Korean folklore became an opportunity to renaissance to the study of Korean folklore, and he presented the critical mind to the following scholars. At any rate, he must be the pioneer in the field of studying the Korean folklore.
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이창식 한국민요학회 2005 한국민요학 Vol.17 No.-
There was regional interest for raft for a long time in Inje[麟蹄]. Ancient raft ethnic customs have remained according to that in Inje[麟蹄]. Therefore, Inje[麟蹄] can speak that is center of raft. But, ethnic customs connected with raft, folk song is finished in Inje[麟蹄]. Need conservation before disappear more. Must form ‘Raft ethnic customs conservation Committee(provisional name)’ etc. to preserve raft in Inje[麟蹄]. And must become cultural asset that choose in Kangwon-do. Exhumation of ethnic customs and conservation connected with raft become basis of forward Kangwon-do culture industry. It is not simple that make by culture industry or contents with raft ethnic customs. Is not possible that showed past image unartificially. And do not give cultural emotion. It is important that cultural emotion appears naturally. Is possible when feel past beauty through raft ethnic customs. Area culture exhumation and practical use in Inje[麟蹄] radiate more when it is traditional material such as raft. Must have internal charm and external environment. Internal charm is ‘That is cool’ connected with water, and ‘That is pleasant’ connected with raft ethnic customs here. External environment changes past conveyance ethnic customs to leisure sports. And need to beclasp the two to signtseeing commodity.
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이창식 국제언어문학회 2021 國際言語文學 Vol.- No.50
The principle of storytelling could be indicated from traditional story narration that has been widely spread and done in traditional society of China, Japan and Korea. The story of Seobok(徐福)/ Seobul(徐市) is taken to examine as the ancient figure appeared in the oral narrative. Humbly speaking, given East Asia is moved by and passionate with mutually common aspect, the sentiment seems to be similar. In this respect, the talking point, Seobok could be faction type oral heritage of Korea, China and Japan. Existing writing named Seobul but considering commonality of the pronunciation with Seobok-guan(Xu Fu Guan), this research uses Seobok(徐福). Seobok itself expresses mystique of ancient exchanges along with the widely renowned longevity and elixir plant (herb of eternal youth) inheritance: his whereabouts and footsteps are explained in the literature while being covered by mysteriousness of the immortal of Taoism but the true substance is not confirmed in detail. At that time, China, the Korean peninsula and the Japanese Islands had an attractive spatiality. The research highlighted the logic that for storytelling creation on the character of Seobok and related narrative as well as cultural contents industry regarding Korea, China and Japan, the value of oral spatiality and marine exploration route on longevity should be analyzed thoroughly. Either at the level of regional culture or marine culture, the existence of the god of the sea could be utilized at a various forms. The marine archetype of mythology project is based on the category of story type, art type with materials like imagination/emotion and play and landscape/ecology type with dynamics and immersion. This thesis intensively covers the aspect of identity and exchanges through Seobok. 서복 스토리텔링의 원리는 중국 남부, 일본 구주, 한반도의 전통사회에 이미 널리 보급되어 실행해온 이야기 구연전통에서 시사 받을 수 있고 동아시아의 연대 가능성이 열려 있다. 고대 인물로 구연행위에 등장하는 서복(徐福)/서불(徐巿)전승의 사례로 살펴 본 바 그 타당성을 확인하였다. 문화콘텐츠 측면에서 동아시아가 서로 공통된 것에 감동받고 공유점에 열광하는 것으로 미루어 보아, 공감하는 정서가 있고 서복을 통해 가치 창조해야 한다. 이러한 점에서 서복 화두는 한중일 팩션형 소통 전승물이라고 할 수 있다. 기존 글에서는 서불(徐巿)로 썼지만, 서복관 등과 발음 공유점을 고려하여 이글에서는 서복(徐福)으로 쓰고 세 나라 균형 있게 다루었다. 서복 자체는 장수와 진시황 불로초 전승과 함께 널리 알려져 고대 교류(交流)의 신비감을 드러내고 있다. 서복은 실제 자취와 행방은 도교의 신성성에 쌓여 문헌에는 등장하나 실체가 구체적으로는 확인되지 않는다. 그 당시 중국 해안, 한반도와 일본열도에는 매력적인 장소성이 존재하고 있다. 서복의 캐릭터, 동아시아 서복 서사에 대한 최초 스토리텔링 창작, 한중일관련 문화콘텐츠산업 등을 위해 앞의 구비적 장소성, 해양 장수 탐색로에 대한 가치가 의미 있게 이루어져야 한다는 시각을 강조해 보았다. 동아시아 공유인문의 차원에서 서복의 존재양상은 앞으로 여러 가지 형태의 쓰임새가 가능하다고 진단한다. 동아시아 문화원형사업은 이야기형과 예술형 소재의 상상^ 감동, 놀이형과 경관생태형 소재의 역동^몰입이라는 카테고리에 기반한다. 이글에서는 서복전승을 통해 정체성과 교류성을 시놉시스형 스토리텔링 차원에서 집중적으로 거론해 보았다.
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