지하국대적제치계 설화의 성인식과 기자의례적 성격

현승환(Hyun Seung hwan) 한국언어문학회 2017 한국언어문학 Vol.102 No.-

The folktales of Eliminating the monster of underground nation are classified into two types ( kidnapping an unmarried woman type, kidnapping wife type). The content of kidnapping an unmarried woman type is as follows: An unmarried woman is kidnapped by monster into underground nation. And then, an unmarried man cultivates his ability to rescue the woman. After that, man and woman get rid of the monster in the underground nation together. Finally, they get married. In this story, on the ground world, the man is the main character, and it means, male principle dominates on the ground But in the underground nation, the woman is the main character. That is, female principle dominates in the underground nation. The monster which man and woman have to overcome is the symbolic expression of hardships that will happen after marriage. Getting rid of the monster together is considered marriage ceremony expressed orally. Meanwhile, the content of kidnapping wife type is as follows: Wife is kidnapped by monster into underground nation. After that, wife and husband get rid of the monster together. In this type, getting rid of the monster together can be comprehended not only marriage ceremony but also parent s hope for child. When a wife who has got married is infertile, by getting rid of the monster, wife wish to be changed from infertility to fertility. The monster who kidnaps woman to underground is divine presence. But, as the monster kidnapped woman without any consent from parents or husband, it becomes the being which should be elimanated. If a man has the ability to get rid of this monster, he can get married to the woman or can get child from the woman. In this folktale, woman plays an important role when woman and man together kill the monster. It shows that woman also can exercise her ability where she plays a leading role. Man and woman have his or her own space where he or she can do leading role can be comprehended as classification of sexual role.

제주도의 본풀이와 민담의 교섭양상 -삼두구미본을 중심으로

현승환 ( Seung Hwan Hyun ) 제주대학교 탐라문화연구소 2009 탐라문화 Vol.0 No.35

오늘날 전승되는 설화들을 신화, 전설, 민담으로 나누고 있지만 그 각편이 처음에는 어떤 성격의 설화에서 출발하였을까는 확언하기 어렵다. 신화에서 출발하여 신성성이 사라지면서 전설로, 민담으로 변화하게 되었다고 하거나, 민담에서 출발하여 신화로 굳어진다고도 한다. 어느 한 방향으로 종합하여 설명할 수 있는 것이 아니므로 설화의 특성에 따라 다르다. 제주도에서 구연되는 일반신본풀이는 12개가 있지만, 채록자에 따르면 그 외로 몇 가지가 노래불려지지 않는 신화로 남아있다. 그 중 하나인 삼두구미본풀이를 보면, 이것의 전반부는 괴물이 혼인을 하고자 하는 이야기이고, 괴물이 주인공이다. 후반부는 지상의 여성이 괴물과 혼인을 하기 위해 타계로 간 후 벌어지는 이야기로 여성의 위기 극복 과정이 중심내용이며, 여성이 주인공이다. 이 설화의 공간은 산으로 건국신화에서 보이는 공간배경과 그 성격이 같다. 산위는 선계요, 산 아래는 악계인 셈이다. 아버지와 세 딸, 괴물이 등장하여 사람의 다리를 먹어야 할지 말아야 할지에 대한 갈등이 중심 사건이다. 이 어려운 문제를 해결하는 사람은 막내딸이다. 이것의 의미는 성인으로서의 자격을 확인하는 입사식 의례로 볼 수 있다. 현실세계의 고난을 극복할 수 있는 능력을 부여하기 위해 고난의 상징인 괴물과의 투쟁을 통해 여성의 승리를 보여주고 있다. 여성의 능력만으로는 괴물을 퇴치할 수 없다. 그래서 이묘의례에서 달걀, 버드나무, 무쇠덩어리의 주술적인 힘을 통해 괴물을 퇴치한다. 이러한 주술성은 난생설화, 버드나무의 주술성, 야장의 영웅성 등의 힘을 통해 드러나고 있다. 설화 속 혼인은 구매혼, 외혼제, 부계제 사회의 혼인방식을 반영하고 있다. 또한, 장례방식은 이중장제를 취하고 있고, 그 흔적은 티벳의 천장(天葬)과 유사하며, 이는 몽골의 제주 강점기 때의 영향으로 보인다. 한국본토와 제주에는 위와 같은 내용의 설화가 민담과 신화로 전승하고 있다. 이들은 통과의례에서의 성인식의 성격을 지닌다. 특히 여성의 성인식은 풍요와 재생의 속성을 지닌다. 이러한 속성은 풍수지리사상이 유입되어 조상과 후손과의 사이를 이어주는 역할을 한다. 후손은 조상의 덕택으로 현실에서의 삶의 풍요를 기원하고 있기 때문이다. Nowadays, we classify tales into three groups, myth, legend and folktale. But no one can affirm the starting of these three things. Some says that myth has been changed into legend or folktale as the divinity of myth disappearing, others say folktale change into myth as the divinity is added to folktale. As you see, it is impossible to state firmly the relationship of these three things. In Jeju island, exorcists narrate and hand down twelve Ilbansin-Bonpuri. But according to the past material recorded, there are myths that are not being narrated nowadays. One of them is Samdugumi-Bonpuri The first part of Samdugumi-Bonpuri is about monster hoping to marry, and the hero of first part is monster. The second part is about the story of a woman on earth who goes to the other world to marry monster, and the hero of second part is the woman. The rough outline is the process of woman`s overcoming hardships. The space of Samdugumi-Bonpuri is mountain, and every event take place in mountain. All of these events have the same divinity of myth of founding of a country. Up the mountain is world of goodness, down the mountain is mundane world while world of evil. There are three characters in main event. Father, monster, and three daughters. And the main event of Samdugumi-Bonpuri is about conflict having to eat man`s leg or not. The last born daughter solves this difficult trouble. We can presume that woman`s solving the most difficult trouble is a coming-of-age ceremony. And in this Samdugumi-Bonpuri, to give woman an ability to overcome hardships in the real world, it shows the victory of a woman fighting with monster symbolizing hardship. Generally, we think that woman can not kill a monster. But, the last born daughter settles the problem using divine objects. These objects are egg, willow, and iron. And these objects are nowadays used in ceremony of shifting a tomb performed after funeral. That is, woman overcomes obstacles by power of incantation. And we can find this power of incantation in tale of oviparity, incantatory property of a willow, heroic property of a smith etc. In Samdugumi-Bonpuri, there are way of purchase marriage, way of exogamy, and way of marriage performed in the society of patrilineage. Besides, way of funeral appeared in Samdugumi-Bonpuri is way of performing funeral two times. And this is similar to that of sky burial of Tibet. I presume that this is because of the influence of Mongolia`s occupying Jeju island. In Korea proper and Jeju island, tales are handed down by way of folktale and myth as above mentioned. These have character of a coming-of-age ceremony of a rite of passage. Especially, a coming-of-age ceremony of woman has property of abundance and rebirth. These properties function promoting friendly relations between ancestor and descendant with inflow of the theory of divination based on topography. It is because descendant thinks that they enjoy abundance of life in real world thanks to ancestors.

설문대할망 설화 재고 -설문대할망과 오백장군 설화를 중심으로

현승환 ( Seung Hwan Hyun ) 영주어문학회 2012 영주어문 Vol.24 No.-

The giant woman, Seolmundae Halmang, is the god who made Halla mountain and parasitic volcanoes. If a person is involved in forming the ground, the person is regarded as god. But the character of Seolmundae Halmang of jejudo as god is not clear. Generally, Seolmundae Halmang is a leading character of legend. But one time, she was a leading character of myth. It is because Saemyungju (who is a character of Songdangbonpuri which is a myth) and Seolmundae Halmang are recognized to be same character. That is, before the written word age, Seolmundae Halmang story had been handed down as myth. As time goes by, it was transformed to legend. Now, Seolmundae Harbang appears in Seolmundae Halmang story, and recreational contents are also added to Seolmundae Halmang story. For this reason, Seolmundae Halmang story has also the character of folktale. People`s thought about natural objects is reflected on folktale. So, in this writing, I tried to interpret the character of god which Seolmundae Halmang has from the death motif of Seolmundae Halmang and the motif of Seolmundae Halmang`s having given birth to Obaekjanggun. According to my interpretation, jejudo`s residents had the thought that land floats. So Seolmundae Halmang had to be drowned to death though she was tall. Obaekjanggun folktale and Seolmundae Halmang folktale are two different things. Obaekjanggun folktale has been handed down owing to Imjae`s having added legend of china to Youngsil fantastic rocks. There was a Buddhist temple which was called “Jonjaam” in korea era. So, now, at private sector, Obaekjanggun folktale is being handed down as “Obaekjanggun”, while, it is being handed down as “Obaeknahan” by Buddhists. Some of researchers transformed plots of Seolmundae Halmang story and Obaekjanggun story to draw the interest of readers. So, today, the early shape of stories disappeared, and only interesting contents are being handed down.

공무도하가 배경설화와 무혼굿

현승환(Hyun Seung-hwan) 한국민속학회 2010 韓國民俗學 Vol.52 No.-

『금조』와 『고금주』의 내용은 3부분으로 나뉜다. 첫째는 백수광부 부부의 이야기로 내부이야기라 할 만하다. 이것은 익사자의 영혼을 진혼하는 무혼굿의 서술이다. 둘째는 외부이야기로 곽리자고가 이 굿을 관찰한 내용이며, 셋째는 『금조』와 『고금주』의 기록자가 남긴 해설 부분이다. 스토리의 표면적인 의미와 제의적 의미를 분석한 결과, 백수광부의 죽음 단락 내용은 그가 어떻게 익사하게 되었는지를 설명하는 부분이다. 이것은 익사자의 죽은 영혼이 이승에 원한을 남기지 않고, 저승에 고이 갈 수 있도록 가족들이 주관하여 행하는 무혼굿과 같다. 여기서 백수광부는 익사자 역할을 하는 무당이며, 익사자가 죽은 과정을 연극적으로 공연하고 있다. 곽리자고는 이러한 무혼굿의 공연 내용을 보고, 남편에 대한 아내의 사랑을 새롭게 인식하였고, 『금조』와 『고금주』의 기록자는 자신의 해설을 덧붙였다고 생각한다. 무혼굿은 사람이 물속에 빠져 죽었을 때, 죽은자의 영혼을 불러 저승으로 고이 보내고 이승에 원한을 남기지 않게 하려는 의도에서 가족이 행하는 의례(ritural)이다. 따라서 익사사고가 있으면 언제든 이 굿을 할 수 있다. 이처럼 익사자를 위한 굿은 한반도 전 지역에서 행해진다. 중요한 점은 익사자가 죽게 된 연유는 말로 하는 것이 아니라 노래로 한다는 것이다. 즉, 공무도하가 배경설화는 이야기된 것이 아니라, 노래로 불려졌다는 말이다. 이 점이 공무도하가가 전승되는 중요한 요인이다. 공무도하 노래는 남편이 강을 건너가려 할 때, 아내가 남편의 안전을 기원하며 부른 노래이다. 따라서 이것은 안전을 기원하는 주술성을 지닌 노래이다. 『고금주』에서는 여옥과 여용이라는 여성이 그 노래를 부르고 전승시키고 있는데, 이것으로 보아 공무도하가는 아내가 남편을 위해 부르는 노래로, 주로 ‘여성들이 부르는 민요’로서의 성격을 지닌다. 그 노래가 4억 4구체로 기록된 이유는 기록자인 채옹과 최표가 당시에 유행하던 詩經의 기술 체계에 맞게 정착시킨 것이라 할 수 있다. Geumjo and Gogeumju's contents is divided into three parts. The first part is the story of Baeksugwangbu and his wife. And this part can be called 'internal story'. This part is the description of Muhongut which repose of souls of the drowned. The second part is the contents of Gwakrijago's observing Muhongut. And this part can be called 'external story'. The third part is the explanation which Geumjo and Gogeumju's recorder left. According to my analysis about story's exterior meaning and meaning related to sacrificial rites, the contents of Baeksugwangbu's death is explaining part how he was drowned to death. The contents is Muhongut which is done by family to let soul of the drowned go to the ocher world without leaving any grudge on this world. At this contents, Baeksugwangbu is an exorcist, and he performs publicly the process of death of the drowned. I think that in the 'external story', Gwakrijago watched this performance (Muhongut), and he described his pitiful mind which took place by feeling the love and yearning of wife to husband. And I also think that when Geumjo and Gogeumju's recorder investigated and recorded, he added his thought. Muhongut is ritual which is done by family when someone is drowned to death. And this Muhongut intends to call the soul of the dead, and let the soul go to the other world without leaving any grudge on this world. For this reason, when drowning accident happens, Muhongut can be done at any time. Therefore, Muhongut (which is for the drowned) is done in the all parts of Korean peninsula. At the Muhongut, it is important that 'the reason why the drowned is dead' isn't talked, and is sung. That is, the background story of Gongmudohaga wasn't talked, and was sung. This is the important reason why Gongmudohaga has been handed down. Gongmudohaga is the song which is sung by wife who prayed husband's safety when husband tried to cross river. Therefore, Gongmudohaga has incantatory property which prays safety. In Gogeumju, girls(Yeook and Yeoyong) sing Gongmudohaga, and hand down it. According to this, Gongmudohaga is song which wife sang for husband, and Gongmudohaga can be said that it is a folk song sung mainly by women. And this Gongmudohaga was recorded as the form of 'four words, four sentents'. This is because recorders(Chaeong and Choepyo) recorded Gongmudohaga as a way of description system of Sigyeong which was widespread in those days.

헌화가 배경설화의 기자의례적 성격

현승환(Seung Hwan Hyun) 한국시가학회 2002 韓國 詩歌硏究 Vol.12 No.-

N/A

복어 중독의 임상적 분석

현승환 ( Seung Hwan Hyun ),손창환 ( Chang Hwan Sohn ),유승목 ( Seung Mok Ryoo ),오범진 ( Bum Jin Oh ),임경수 ( Kyung Soo Lim ) 대한임상독성학회 2011 대한임상독성학회지 Vol.9 No.2

Purpose: Ingestion of puffer fish can be poisonous due to the presence of potent neurotoxins such as tetrodotoxin (TTX) found in its tissues. There are few clinical reports related to TTX. We performed this study to evaluate the clinical characteristics of TTX poisoning. Methods: We conducted a retrospective study of the 41 patients diagnosed with TTX poisoning who visited the Seoul Asan medical center from July 2004 and December 2010. A review of patients’electronic medical records and patient telephone interviews were conducted. Diagnosis of TTX poisoning was confirmed by observing the casual link between puffer fish consumption and the development of typical TTX intoxication symptoms. Results: The mean age of the patients included in the study was 46.6 years. The highest incidence of intoxication was observed in patients in their 50s (10 patients). Seasonal distribution of intoxication events included 10 in spring, 7 in summer, 10 in fall, and 14 in winter. In most cases, symptoms occurred within 1 hour of ingestion. A wide range of symptoms were associated with puffer fish ingestion affecting multiple body systems including neuromuscular (27 patients), gastrointestinal (19 patients), and cardiopulmonary/vascular (19 patients). All patients were treated with symptomatic and supportive therapy and recovered completely, without sequelae, within 48 hours. In three cases, ventilator support was required. Conclusion: TTX poisoning is not seasonally related, and patients admitted to the emergency room were observed with a wide range of symptoms. Where TTX poisoning is diagnosed, supportive therapy should be performed. Early intubation and ventilation is important, especially is cases of respiratory failure.

기획특집 : <탐라문화> 연구의 발전 방향 ; 탐라문화의 성격과 발전 방향

현승환 ( Seung Hwan Hyun ) 제주대학교 탐라문화연구소 2008 탐라문화 Vol.0 No.32

비양도(飛揚島) 설화(說話)의 양상(樣相)과 국토부동관(國土浮動觀)

현승환 ( Seung Hwan Hyun ) 제주대학교 탐라문화연구소 1991 탐라문화 Vol.0 No.11

제주도(濟州島) 뱀신화(神話)와 신앙(信仰) 연구(硏究)

현용준 ( Yong Jun Hyun ),현승환 ( Seung Hwan Hyun ) 제주대학교 탐라문화연구소 1995 탐라문화 Vol.0 No.15

三國遺事 武王條 檢討

현승환 제주대학교 사범대학 2001 백록논총 Vol.3 No.1

It revealed that a hero Seo Dong was a real person in the legend of king Mu. Actually king Mu could not become a king at that time. However, because of the fact that he became a king, the person who handed down folk tales regarded him as a lucky person. As a result of it, they believed that it was natural for his enthronement. In this background, it was based on the fate. The story of living in accordance with ones own fate was the fate story. Therefore, the transmitter identified a hero of this folk tale with king Mu. Il Yeon put together a story about the life of king Mu handed down among the people and connected it with Mi Ruk Sa. It aimed to unify the race with the power of Buddhism. In conclusion, a folk tale of king Mu was formed of a story of a hero birth, a story of living in accordance with ones own fate, and a story of Mi Ruk Sa.