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<진록사전> 배경설화 연구 -"용자칠총(龍子七塚)"설화를 중심(中心)으로
임철호 ( Chul Ho Lim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2007 世界文學比較硏究 Vol.18 No.-
When I introduced <Jilloksajeon(陳錄巳傳)> for the first time, I analyzed, Yongnyu Sulwha(龍女說話), Najungmibu Sulwha(螺中美婦說話), Namukkun gwa Sunnyu Sulwha(나무꾼과 仙女說話), Kyunu-Jiknyu Sulwha (牽牛織女說話), yoksinkumgi Sulwha(浴身禁忌說話), Bulsinhyunsin Sulwha (佛身現身說話), Kiu Sulwha(祈雨說話) etc. as the background Sulwhas of <Jilloksajeon>. But later I came to the conclusion that it was implausible and impossible for all those stories to be included and restructured into one story with totally new content and structure. Sulwha has been handed down as a type, but more commonly as a form of a motif disconnected from the type by oral tradition. Therefore, similar motifs found in two different stories do not guarantee the mutual connection of these two stories. I recently collected and analysed Yongjachilchong(龍子七塚) Sulwha, in which I found very similar structures and contents to those of <Jilloksajeon>. In this paper I try to find the affecting relations between <Jilloksajeon> and Yongjachilchong Sulwha under the assumption that the latter is the background Sulwha of the former. The motifs which are commonly included both in <Jilloksajeon> and Yongjachilchong Sulwha are not simple motifs but independent typical stories with complete structures. It is not because fragmental separate motifs in one story affects the other story, but because total types are adopted. <Jilloksajeon> includes some content which are not found in Yongjachilchong Sulwha, while the whole content of Yongjachilchong Sulwha are found in <Jilloksajeon>. So we assume that Yongjachilchong Sulwha had been adopted by <Jilloksajeon>, not vise versa and that Yongjachilchong Sulwha is the background Sulwha of <Jilloksajeon>. Further evidence can be found in the fact that these two stories show differences in novelistic complexity, logical development, human-oriented story development, and organic connections among stories.
임철호(Lim chul ho) 국어문학회 2004 국어문학 Vol.39 No.-
Since a folk song is a self-pleasing ballad which can be sung alone, it has come to reflect the frank sentiment of folk singers. The enmity that a concubine has against the lawful wife was unpardonable in terms of a moral code in the Choseon Dynasty era. Thus the first wives could not show their feelings with open hostility. That is the reason why abundant discourses of polygamy have developed affirmatively and in Gososeul implied the classics of Korea. A folk song, however, shows hostility of the lawful wife toward a concubine. It can be explained through the above mentioned character of a folk song. In the content of a folk song, if a lawful wife failed in an assassination plot against a concubine, she would commit suicide in general. This is because she believes that it is better than living with her husband having concubines. This notion sounds a warning to her husband.
고소설의 男裝女人들(2) : <음양삼태성>과 <정비전>의 남장 성공
임철호(Lim Chul Ho) 국어문학회 2003 국어문학 Vol.38 No.-
This paper aims to study on the women in man's disguise in Gososul. The points of the research are on why some female characters disguised themselves in man's figure, what reactions among their contemporaries they earned, and whether their purposes were successful. In Chosun period, female children couldn't have any chance to make contributions to their family's prosperity. Only male members were allowed to do so. So female children who wanted to do good for their parents and family could not help being in man's disguise. This is the reason why female characters disguised themselves ill man's figures. All female characters in man's disguise were typically the only child in the family. They joined to the male-dominant society and achieved a great success. This facet of the stories seemed to reflect the desire of the female members in Chosun period. Being successful in male's domain, they could feel themselves as the useful beings for their parents and family. But the fact that they had to disguise in spite of their abilities to obtain fames and success seems to be interpreted as a reflection of the male-dominant value system.
손민우 ( Min-woo Son ),임철호 ( Chul-ho Lim ),박병철 ( Byung-chul Park ),신동일 ( Dong-il Shin ),신동규 ( Dong-kyoo Shin ) 한국정보처리학회 2004 한국정보처리학회 학술대회논문집 Vol.11 No.1
인터넷 사용인구가 전 국민의 3분의 2가 넘었고, 초고속 인터넷 설치가구가 벌써 1,100만 이상에 이르게 되었다. 점점 더 사람들은 디지털 생활에 익숙해져 가고 있고, 디지털을 떠나서 살아갈 수 없게 되고 있다. 이러한 분위기에 더하여 가정내의 가전기기들도 디지털화 되고 있고, 이것들을 네트워크로 연결하여 원격지에서 제어하는 홈 네트워크 관련 기술들이 현실화 되고 있다. 그러나, 여러 가전회사들이 각자의 미들웨어를 만들고 이것을 이용해서 제품들을 만들고 있다. 따라서 스마트 홈(Smart Home)[1]을 구성하기 위한 여러 가지 미들웨어 제안들이 나오게 되었고, 이것들은 계속 혼재할 것으로 예상되어 실제로 홈 네트워크를 구성하는데 많은 혼란이 예상되고 있다. 본 논문에서는 여러 가지 미들웨어를 통합하는 OSGi(Open Service Gateway Initiative)[2,3]를 기반으로 구성된 스마트 홈 시스템 아키텍처를 제안하여 홈 네트워크 구성에 대한 위험 부담이 적고 신뢰할 수 있는 방법을 제시하고자 한다.
장편설화의 형성배경과 전승양상 : 임진왜란 설화를 중심으로 in analyzing lmjinwaeran narratives
임철호 洌上古典硏究會 2001 열상고전연구 Vol.14 No.-
This study is on how the long narratives have been formed and handed down by analysing Imjinwaeran narratives. The long narratives are the stories which several types of narratives are combined into one long story. So there must be some combining devices in these kinds of narratives. The most common devices found are either same agents(subjects) or smae patients(objects) through the narratives. The former case, which the story is combined by same agents, made story unified than the latter case. Since the story about same patients can make the story weakly connected, so there are more possibilities the story can be separated easily. There are some stories which play a role of connective functions in the whole stories. These stories typically show that the patients of the former story are same as the agents of the latter story. Most of the long narratives have its origin from the novel called Imjinrok. In these stories the order and contents of the stories are exactly same as the nove. This means the frame of the stories are more important factors that the connective divices. The structure of long narratives are existing frame of the stories are related by their agents and patients. None of the long narratives are exactly same in their types. This is because the long narratives have transmitted not by their types but by the personal style of the narrators or story-tellers.