<황천이본풀이>의 새로운 자료 발견과 의의 - 이찬엽 전승본을 중심으로(2021. 08. 21. 채록) -

이보용(Lee Bo Yong) 한국무속학회 2024 한국무속학 Vol.- No.48

<황천혼시>는 함경도 지역에서 전승되는 굿으로 횡수맥이 또는 혼수굿으로 불린다. 이 굿에서는 특별한 본풀이가 구연되는데 각편에 따라서 성인의 병을 낫게 하기 위한 굿과 어린아이의 병을 낫게 하는 굿으로 나뉘기도 한다. <황천혼시>는 함경도의 대표적인 집굿이지만 <황천혼시>의 의례적 기능과 본풀이가 갖는 의의에 대해서는 많은 논의가 이루어지지 않았다. 지금까지 채록된 <황천혼시> 본풀이는 김쌍돌이 구송의 <황천곡(黃泉혼시)>과 강춘옥 구송의 <혼쉬굿>에 한정되었다. 그러나 강원도 속초 청호동 아바이마을에서 함경도 굿을 전승한 이찬엽으로 인해 <황천혼시> 본풀이의 새로운 서사가 발견되었다. 본 연구자는 지난 2021년 8월 21일에 연행된 <황천혼시>의 실제 의례를 조사해 이찬엽 전승 <황천이본풀이>의 서사 내용, 본풀이와 의례의 관계, 본풀이가 지니는 의의와 성격 등을 살펴보고, 앞선 두 전승 각편과의 구체적인 비교를 위한 예비적 논의로 연구를 진행했다. 이찬엽 전승 <황천이본풀이>는 황천이 어머니, 황천이, 천지능통한 선생을 비롯한 인물 간의 대립과 갈등을 요체로 다면적인 성격을 보이고 있다. 황천이는 십오 세가 되어 홀연히 나타난 동자로부터 술 내기 시합, 무술 시합, 통정 등의 유혹을 받게되고, 이 내기에서 실패하여 죽음을 맞이한다. 황천이 어머니 또한 눈과 귀가 멀게되고 천지능통한 선생의 도움으로 귀가 트이고 남편과 아들의 혼령을 만난 뒤 눈을뜨며 신으로 좌정한다. 특히 어머니가 결정적 서사기능을 하고 있어 각별하다. 이러한 서사는 그동안 백년해골 유형이나 연명설화 유형으로 분류되었던 <황천혼시> 서사의 일탈로 아들의 죽음을 막으려는 어머니가 스스로 희생하여 남편과 아들을 구원한다는 것으로 <황천혼시>가 지닌 액막이, 횡수막이의 의례적 직능을 확대시키고 있다. 이찬엽 전승 <황천이본풀이>는 기존 각편과 달리 세 가지 측면에서 독자적인 서사 형태를 취하고 있다. 첫째, 아이의 성장에 끼어든 비가시적 존재와 불가사이한 존재의 연관, 둘째, 비가시적 존재의 장난에 대한 경험자와 문복 대상자의 처방, 세째, 제목과 달리 어머니가 결정적 서사기능을 한다는 것이다. 이로 인해 아이의 온전한 성장 과정과 요절로 인한 불완전한 성장 과정을 대립시키고 인간이 살아가면서 겪게 되는 예상치 못한 일들에 비가시적 힘이 개입되어 황천에 갈 횡수를 막아내는 것이 <황천혼시>의 중요한 의례적 기능임을 알 수 있다. Hwangcheonhonsi is a gut that is handed down in the Hamgyeong-do region and is called Hoengsumaeki or Dosagut. In this gut, a special main pool is narrated, and depending on each part, it is divided into a gut for curing adult diseases and a gut for curing childrens diseases. Hwangcheonhonsi is a representative house-gut in Hamgyeong-do, but there has not been much discussion about the ritual function of Hwangcheonhonsi and the significance of the main pool. The main pool of Hwangcheonhonsi, which has been recorded so far, has been limited to Hwangcheongok (黃泉 Honsi) by Kim Ssang-dol and Honshigut by Kang Chun-ok. However, a new narrative of Hwangcheonhonsi was discovered due to Lee Chan-yeop, who passed down Hamgyeongdo Exorcism in Abai Village, Cheongho-dong, Sokcho, Gangwon-do. The researcher investigated the actual ritual of Hwangcheonhonsi, which was held on August 21, 2021, to examine the narrative content of Hwangcheonibonpuri, the relationship between the main pool and the ritual, and the significance and character of the main pool. Lee Chan-yups tradition Hwangcheon Yi Bon-puri shows a multifaceted character with the main focus of confrontation and conflict between characters including Hwangcheons mother, Hwangcheon-i, and Cheonji-savvy teacher. Hwangcheon-i is tempted by his son, who turns 15 and appears alone, such as a drinking competition, martial arts competition, and Tongjeong, and fails to die in this bet. Hwangcheons mother also becomes blind to her eyes and ears with the help of a heavenly teacher, meets the spirit of her husband and son, opens her eyes, and sits as a god. In particular, it is special because the mother plays a decisive narrative function. This narrative expands the ritual function of Hwangcheonhonsi, which is a deviation from the Hwangcheonhonsi narrative, in which a mother who tries to prevent her sons death sacrifices herself to save her husband and son. Unlike the previous episodes, Lee Chan-yeops tradition Hwangcheon Yi Bon-puri takes its own narrative form in three aspects. First, the relationship between invisible and invisible beings that intervened in the childs growth, second, the prescription of the experienced and the subject of illiteracy about the play of invisible existence, and third, unlike the title, the mother functions as a decisive narrative function. As a result, it can be seen that it is an important ritual function of Hwangcheonhonsi to confront the childs complete growth process and the incomplete growth process caused by premature death, and to prevent the horizontal water to Hwangcheon by intervening in the unexpected things that humans experience in their lives.

한국 현대시 존재탐구의 변모양상

최창현(Choi Chang-hyeon) 중앙어문학회 2003 語文論集 Vol.31 No.-

We can, as we have seen, infer some changed inquiry patterns, when we discussed 50’s poetry and 80-90’s poetry in the sequent perspective of ontology. We can, first of all, address a change in an attitude to pure idea. Poets in the 1950s sought for pure being realized in the image of heaven, but poets in the 1980-90s change it into the image of the earth. In the 1950s, the invisible world, which has no substance but exists in idea and imagination was described in sacred language. Poets in the 80-90s vulgarize it in secular words and have a cynical attitude to the absolute world in which the former sacredly dreamed of unity, for reasons of artificiality. It means that the objects investigated in modern poems shift into existence, in other words, human and the secular world, from being. The form of poems in the 1950s is comparatively short, graceful and noble, but that of poems in 1980-90s is entirely composed of slang, curses, ridicule, a superficial poetic words and a diffuse parody. The introduction of filthiness, disgust and obscenity is considered affirmative and causes ugliness to trespass on poetry breaking up a dichotomous framework of holiness and secularity, and beauty and ugliness. By doing so, the amplitude of formal esthetics is being broadened and the possibility to use ugliness in aesthetics is being opened. It can be regarded as the expansion of approaches and objects, which are to be inquired. Poets in the 80-90s devote all their energies to the declination and annulment of existential hypocrisy and urban life in their poetry, The fights with existential hypocrisy are seen in Gi Hyeong-do’s fantastic substance, Choi Seung-ho’s annulment of being, Hwang Ji-woo’s contradiction of ideology, Yu ha’s urban hypocrisy, Ham Sung-ho’s ideal and artificial world, and Kim Un-hee’s false image of sexuality. The recent research, as we have seen, addresses the esthetics of negation, while still sojourning at the level of discovery. It is only one pattern of showing, not searching for a solution. Choi Seung-ho sings existential life with a free will in ‘ant’ but it doesn’t reach his excellent esthetics of negation, with Nitch’s superman not being seen. Though there is Hwang Ji-woo’s saying in his recent poem titled as ‘signal between people’ that poetry is not a message and result and ‘literature is a symptom, not diagnosis’, it can be concluded that the phase beyond existentialism to overcome the deconstruction and existential death has not yet come. The present time is at the stage of ‘lion’ meaning negation. It seems so remote that we can arrive at the level of ‘little child’ to accept and reconcile the miserable condition of being. Affirmative existence resulting from synthesis through the developing process of negations by thesis and antithesis isn’t seen in their poems, yet.

현월(玄月)의 이물(異物)론 - 다문화사회 속의 재일조선인의 자화상 -

소명선 대한일어일문학회 2019 일어일문학 Vol.83 No.-

This paper is a study of “Foreign Objects(IBUTSU)” by Zainichi writer Gen getsu, and examines the self-images of Zainichi in a multicultural society. The space of the novel which can be presumed to be around Ikuno-ku in Osaka City, is a region where different cultures have coexisted since the 1920s when he group place of residence of Zainichi was formed. Foreign workers have flowed into this region under the influence of globalization. The novel is structured as if the antagonism between old comers and new comers appeared as a series of incidents. However, what is highlighted throughout the incident is the local space in which the incident occurred and the local entity living within it. The writer depicts the region as a ‘cursed land’ and the local entity as a as a human group who is cursed the earth's power of the ‘cursed land’. The reason why the self-images of old comers Zainichi are depicted as ‘foreign objects’ is because they have become invisible existence in Japanese society that has multicultural society. Old comers Zainichi have lived as invisible minorities due to the assimilation pressure from the ruling society. On the other hand, new comers have a solid national identity and exude their ethnicity. The anger and hatred to the new comers of Ikeyama are the one that the cultural crisis consideration of old comers was shown. Although Japan has entered into a multicultural society, the host society does not consider the historical specificity of former colonial people, but equates old comers and new comers, and the consciousness of exclusion to the ethnic group is still not disappearing. Under these circumstances, the old comers Zainichi have become increasingly invisible. By writing the old comers like Ikeyama as ‘foreign objects’ in “Foreign Objects(IBUTSU)”, the writer tries to evoke the history of the colonial rule which is forgotten and the existence of Zainichi. It can be said that “Foreign Objects(IBUTSU)” is a work which sharply depicts the he real situation of the Japanese society which faced the multicultural society in the standpoint of old comers. However, it is obvious that it only exposes the problems that multicultural society has, and can not deny the limitation that it has not presented a solution.