월명사 두율가 배경설화고

현용준 한국언어문학회 1973 한국언어문학 Vol.10 No.-

韓國傳承童謠에 드러난 靑少年의 意識

玄容駿,金榮敦 제주대학교 1980 논문집 Vol.12 No.1

1.0. 오늘날 靑少年들의 문제는 世界性을 띠고 있다. 한국의 경우에는 특히 요마적 2,30년 사이 近代化 기간의 단축으로 말미암은 逆機能이 크고 正體危機의 심각성이 따른다. 1.1. 그 正體危機를 극복하기 위해서는 韓國靑少年文化의 定立이 시급하며, 그 한 방법으로 文化遺産의 하나인 전승동요를 이용할 수 있을 것이다. 1.2. 다만, 그 수집연구가 여태껏 본격화되지 못했으므로, 이런 계제에 한국전승등요에 드러난 靑少年의 意識分析作業을 試圖함을 그 작업의 한계를 스스로 안게 마련이다. 1.3. 韓國傳承童謠에 드러난 靑少年의 의식을 밝히는 방법은 갖가지이겠지만, 그 가운데서 題材別 分析과 그 主題에 드러난 두드러진 의식을 밝히는 데 역점을 두려 한다. 2.0. 韓國傳承童謠에 담긴 意識을 살피기 위한 한 방법으로 몇 분의 전승동요 분류안을 참고 하면서, 그 題材分析을 試圖해 볼 수 있다. 2.1. 金素雲·任東權·박두진의 分類案을 참고하면서, 필자는 한국의 전승동요를 ① 動植物謠, ② 天體·氣象謠, ③ 遊戱謠, ④ 諷笑謠, ⑤ 語戱謠, ⑥ 자장가, ⑦ 其他謠로 나누는 게 우선 무난할 듯하다는 확신이 섰다. 2.2. 動植物謠와 天體氣象謠는 다같이 자연을 노래했다는 면에서 自然謠라 볼 수 있고, 어 린이들은 이 自然謠를 즐겨 부르며 노는 사이에 道와 德과 秩序를 배운다. 2.3. 또한 諷笑謠와 語戱謠는 일종의 말놀이이므로, 넓은 뜻으로는 遊戱謠에 포괄된다. 自然謠(動植物謠 天體氣象謠) 역시 어린이들의 靜的, 動的인 한갖 놀이로 불러지므로, 傳承童謠의 主宗은 遊戱謠라 말할 수 있다 2.4. 따라서, 한국의 전승등요는 자연을 무대로 하거나, 집단적 놀이 그 자체를 위한 遊戱謠라고 말할 수 있다. 3.0. 민요처럼 두렷하지는 않지마는, 몇몇 동요집등에 수록된 동요를 살피다 보면, 동요에서도 여러 패턴의 의식을 간추려낼 수 있다. 동요에 드러난 청소년의 의식 가운데 두드러진 바는 ① 隣助協同意識, ② 同類意識, ③樂天的 生活意慾, ④ 水平的 民主意識, ⑤ 秩序意識과 더불어, ⑥ 아름다운 꿈과 ⑦ 깊은 愛情등을 내세울 수 있다. 3.1. 어린이들은 傳來的 韓國社會에서의 친족과 이웃끼리의 協扶意識을 고스란히 받아들인 채 동요로 쏟고 있다. 서로 돕고 괴로움을 서로 나누는 내용의 사설을 즐겁게 노래하며 集團的인 놀이를 되풀이하는 가운데, 사회에 적응하는 능력을 기름으로써 寬容化, 協同化의 정신을 배운다. 3.2. 전승동요에 보면, 또한 同類意識이 꽤 드러난다. 많은 노래의 내용에서도 살필 수 있거니와, 四足獸를 제재하기보다, 자그만 동물을 노래하는 경향이 많음도 또한 同類意識에 근거함인 줄 안다. 3.3. 또한 한국의 전승동요에는 樂天的 快朗性이 두드러지게 드러난다 이 樂天性은 세게 모든 어린이들의 일반적 성향이겠지마는, 한국 전승동요의 경우에는 그 快朗催에 멋이 깃들어있다. 3.4. 어린이들은 民主主義의 信奉者다. 水平的 民主意識이 짙게 깔렸는가 하면, 「類同의 引力」(the attraction of likes)에 따른 交友 또한 민주주의에 터전한 것이다. 3.5. 한국의 어린이들은 벗들과 어울리며 뛰놀면서 道德的 規準과 集團的 思考를 배우며 익히는 가운데, 生活秩序를 짙게 터득해 간다. 3.6. 전승등요 가운데는 곱고 소담스러운 꿈이 흐른다. 어린이들에게 주어지는 꿈은 관념적이요, 허황한 게 아니라, 우선은 비록 자그맣더라도 일상적, 구체적인 것이다. 3.7. 또한 전승동요에는 父母兄第 특히 母情으로부터 출발하여 벗과 이웃으로 擴散되는 따스한 愛情이 넘친다. 1.0. Today, the problems of youth are a worldwide issue. In the case of Korea, its rapid modernization during the past 20 or 30 years has had harmful side effects, resulting in crises that are typical in a modernizing society. 1.1. To overcome the such crises, Korea's youth culture must be integrated into society as soon as possible. we can utilize orally-handed-down children's songs one of our cultural inheritances, as a method to overcome these crises. 1.2. Since orally-handed-down children's songs has not yet been collected and studied on a scale, there are limits to this attempt to analyze Korean youths' attitudes in the structure of Korean oral folktales. 1.3. There are various ways to analyzing youths's attitudes in Korean orally-handed down children's songs. This essay will put emphasis on analyzing folktale materials and on disclosing youths's attitudes in the themes of these tales. 2.0. By consulting several classification schemes of Korean orally-handed-down children's songs materials can be analyzed as one method of studying the structure of attitudes in Korean orally-handed-down children's songs. 2.1. In regard to Kim So-woon' s, Im Dong-kwon's and Park Doo-jin's classification schemes, Korean orally-handed-down children's songs are divided into seven parts, including the following: 1. Songs of animal & plants, 2. songs of the celestial sphere & atmospheric phenomena, 3. songs of merrymaking, 4. songs of satire, 5, songs of language, 6, cradlesongs, 7. others. 2.2. songs of animal & plants, and of the celestial sphere & atmospheric phenomena, can be said to be "songs of nature" since the two songs celebrate nature. Children learn morality, virtue and public order in the course of enjoying themselves while singing the "songs of nature". 2.3. The songs of satire and language are "language songs" of a sort. Therefore, broadly speaking, they refer to merrymaking. Since songs of nature (songs of animal & plants, and of the celestial sphere) are dynamic and static song·s for children, the main songs of Korean orally-handed-down can be said to be songs of satire. 2.4. Therefore, most of Korean orally·-handed-down children's songs are songs of nature, or songs of merrymaking 3.0. Though orally-handed-down children's in the category of nursery rhymes are not as clear as songs, youths's attitudes in orally-handed-down children's can to divided into several patterns. The most striking patterns of youths' attitudes are here: 1. attitudes of cooperation, 2. attitudes of same sort, 3. attitudes of optimistic life, 4. attitudes of liberal democracy. 5. attitudes of public order, 6. attitudes of beautiful dreams, 7 attitudes of deep love. 3.1. Children learn and enjoy their songs while learning attitudes of cooperation front their family and from neighbors. They also learn the sprit of generosity by developing their contribution to society in the course of singing songs of joys and sorrows, and while living ill a group. 3.2. Attitudes of same sort are often presented in the orally-handed-down children's songs and in the many songs. Notably, regarding attitudes of same sort, most of the songs were not about big, four-legged animals, but about small animals. 3.3. An optimistic cheerfulness is remarkly present in Korean orally-handed-down children's songs The cheerfulness is typical of a child's inclination toward the world. In addition, Korean orally-handed-down children's songs characteristically reflects zest in addition to cheerfulness. 3.4. Children are devotees of democracy. They are attracted to equality as well as the haying attitudes of liberal democracy. 3.5. Korean children learn the conventions of social life in the course of familiarizing themselves with the moral canons and the thought manners of their peer group. 3.6. There are beautiful and attractive dreams in the orally-handed-down children's songs Children's dreams are not ideological and unreliable, but substantial and actual even when they are small in scale. 3.7. Finally, in Korean orally-handed-down children's songs, there is evidence of affection spreading to friends and neighbor from parents, affection between brothers and sisters, and especially of a mother's devotion.

濟州島 巫俗의 比較硏究(Ⅰ)

玄容駿 제주대학교 1973 논문집 Vol.5 No.-

This study brought light on shamanistic post of Korean shamanism, through which tried to approach on hypothesis as to the cultural system of Korean people. To do this, I compared the characteristic elements of shamanism which are shamanistic functions, rituals, initiative process, costumes, instruments, cosmology etc with each other; I did those elements of Jeju Island with those of neighboring peoples, and examined the type of shamanism of various peoples, educed the spread process. As the result of which, I concluded as follows; 1) Considered from a fundamental type of shaman, that of Jeju Isiand is the dancing type of shaman with that of Siberia, Central Asia, Manchuria shamanism and Jinja Miko of Japan; meanwhile shaman of Okinawa and popular shaman of Japan are included in the sitting type of shaman. 2) Considered from cosmology of faith interior, a level cosmology which is remarkable in Okinawa spread to Korea pass through Japan. 3) Consequently, the outward, technical side of Korean shamanism came in from the northward, growing gradually, going out to Japan; on the other hand, a part of the faith interiors was set up by the influence of Okinawa southward. 4) What shamanism of Korea was formed by the compound of the both southern and nothern systems suggests that the original stream of the national culture of Korea should also flowed in from them and has been compounded by the culture of them too.

고대 한국민족의 해양타계

현용준 한국문화인류학회 1972 韓國文化人類學 Vol.5 No.1

제주도(濟州道) 무 당굿 놀이 개관(槪觀)

현용준,Hyeon, Yong-Jun 국립문화재연구원 1966 헤리티지:역사와 과학 Vol.2 No.-

躍馬戱考

玄容駿 한국민속학회 1980 韓國民俗學 Vol.12 No.1

處容說話考

玄容駿 국어국문학회 1968 국어국문학 Vol.- No.39-40

[특집 : 국제화시대의 제주도연구(인문사회과학분야)] 제주도 개관신화의 계통

현용준 제주학회 1988 濟州島硏究 Vol.5 No.-

濟州方言에서의「ㆁ」考

玄容駿 濟州大學 國語國文學會 1956 國文學報 Vol.1 No.-

濟州島 巫俗의 比較 硏究(Ⅲ)

玄容駿 제주대학교 1974 논문집 Vol.6 No.-

This study brought light on shamanistic post of Korean shamanism, through which I tried to approach on hypothesis as to the cultural system of Korean people. To do this, I compared the characteristic elements of shamanism which are shamanistic functions, ritual initiative process, costumes, instruments, cosmology etc, with each other; I did those elements of Jeju Island with those of neighboring peoples, and examined the type of shamanism of various peoples, educed the spreed process. As the result of which, I concluded as follows; 1) Considered from a fundamental type of shaman, that of Jeju Island is the dancing type of shaman with that of Siberia, Central Asia, Manchuria shamanism and Jinja Miko of Japan; meanwhile shaman of Okinawa and popular shaman of Japan are included in the sitting type of shaman. 2) Considered from cosmology of faith interior, a level cosmology which is remarkable in Okinawa spread to Korea pass through Japan. 3) Consequently, the outward, technical side of Korean shamanism came in from the northward, growing gradually, going out to Japan; on the other hand, a ppart of the faith interiors was set up by the influence of Okinawa southward. 4) What shamanism of Korea was formed by the compound of the both southern and nothern systems suggests that the original stream of the national culture of Korea should also flowed in from them and has been compounded by the culture of them, too.