《聊齋志異》 <偸桃>篇의 演藝史的 考察

안상복 한국중국어문학회 2008 中國文學 Vol.56 No.-

Liaozhaizhiyi(聊齋志異) is a famous collection of short stories in the Qing(淸) dynasty. So a story named Toutao(偸桃) in it can be accepted as a fiction. In fact, it is just a record about a magic performance. I made an investigation into the historical development of this magic program. The result is as follows. Toutao(偸桃) is a name of a performance program which includes two types of magic. One is a rope magic performance in which the rope is rising to the sky by itself. The other is a killing&resurrection magic performance in which the magician kills a person at first and then brings him back to life. According to the historical records, we can say that they originated from India. At the beginning, each magic act is performed indivisually. Afterwards, two magic acts constituted a program performing the so­called story of stealing heaven's peach. The change like this seems to occur in the 14th to 17th century. Toutao(偸桃) is a rare and important instance which describes the state of magic performance in the Qing(淸) dynasty. So I think it is desirable to put a high value on this record.

『宇治拾遺物語』における寺物私用の罪業と銅湯の罰

趙智英(Cho Ji Young) 일본어문학회 2017 일본어문학 Vol.78 No.-

The aim of this paper is the analysis and its consideration on the sin of stealing temple food and the punishment of drinking copperware hot water in Ujishui Monogatari Vol.9-7, compared with Konjaku Monogatarishu Vol.19-20. As a result of examining the thought of the Japan Buddhist hells described in Ojoyoshu, it is found out that even though Kurodo did not commit the sin of stealing temple food, the act of intersecting with the daughter of Betto(the priest supervisor) might be a sin and be a reason for the dream of receiving the punishment of the copper water. Also, in earlier research, both stories have been read as the same sentence and story. However, comparing the texts, it is sure that there are several differences between the two. It could be said that the ‘sense of shame’ of Kurodo after awaking from a dream is not described in Ujishui Monogatari Vol.9-7. Kurodo depicted in Ujishui Monogatari Vol.9-7 did not recognize himself as an object of the punishment of people impelled to drink copper hot water likewise, for he interrupted himself, which is an outsider, from Betto and his surrounding people engaging in a temple. It seemed to be reasonable to assume that the description intention of the editor of Ujishui Monogatari Vol.9-7 should be not leading to honoring Buddhist thought just as Konjaku Monogatarishu, but taking the interest of description as a vivid and grotesque dream and the fear and selfishness of snobbish people against warnings through dreams. 本稿では、『宇治拾遺物語』巻9第7話における寺物私用の罪業と銅湯の罰の関係性について考察し、『今昔物語集』巻19第20話との比較分析を試みた。『往生要集』などに見える地獄思想を検討した結果、蔵人が必ずしも寺物私用の罪を犯してなくても、僧侶の娘と交わる行為が罪となり、銅湯の罰を受ける夢を見た一つの要因になるのではないかという可能性を見出した。また、先行研究において、両話は同文的同話として読まれてきたが、本文対照による比較から、数ヵ所の異同が確認できた。『今昔物語集』巻19第20話に比べ、『宇治拾遺物語』巻9第7話では、夢に対して罪を心に恥じる蔵人の慙愧の念は描かれない。『宇治拾遺物語』巻9第7話に描かれた蔵人は、寺に従事する別当の僧侶とその周囲の人々が寺物を食した罪と、外部の者である自身を遮断し、銅の湯を飲まされる人々と自分自身を同様の罰の対象と認識しないのである。『宇治拾遺物語』の編者は巻9第7話を収載する際、『今昔物語集』のような仏教の教理へと導くための唱導的意識より、生々しく奇怪な夢の描写と、夢を通じた警告に対する俗人の恐怖心と利己心の表れに興味をもっていたのではないかという可能性が確認できた。

≪요재지이(聊齋志異)≫ <투도(偸桃)>편(篇)의 연예사적고찰(演藝史的考察)

안상복 한국중국어문학회 2008 中國文學 Vol.56 No.-

Liaozhaizhiyi(聊齋志異) is a famous collection of short stories in the Qing(淸) dynasty. So a story named Toutao(偸桃) in it can be accepted as a fiction. In fact, it is just a record about a magic performance. I made an investigation into the historical development of this magic program. The result is as follows. Toutao(偸桃) is a name of a performance program which includes two types of magic. One is a rope magic performance in which the rope is rising to the sky by itself. The other is a killing&resurrection magic performance in which the magician kills a person at first and then brings him back to life. According to the historical records, we can say that they originated from India. At the beginning, each magic act is performed indivisually. Afterwards, two magic acts constituted a program performing the socalled story of stealing heaven`s peach. The change like this seems to occur in the 14th to 17th century. Toutao(偸桃) is a rare and important instance which describes the state of magic performance in the Qing(淸) dynasty. So I think it is desirable to put a high value on this record.

박태원의 1940년대 연작형 "사소설"의 의미

방민호 ( Min Ho Bang ) 서울대학교 인문학연구원 2007 人文論叢 Vol.58 No.-

일제 말기 박태원 소설의 장르 전이 양상 연구 - 소년탐정소설과 사소설을 중심으로 -

오현숙 서울대학교 규장각한국학연구원 2011 한국문화 Vol.55 No.-

This study prescribes the last Japanese imperialism as the time when genre change gets noticeable and attempts to examine relevant aspects of I-novel creation and children’s literature of Park, Tae-won in this perspective. The last Japanese imperialism was the time when replacement between literature genres was activated,responding to the rapid transformation of the norm system. Park, Tae-won created existing minor genres, children's literature and I-novel, responding to the rapid change of the literature system. Park, Tae-won comprehensively dealt with the problems of danger, anxiety, death incorporated into the realm of everyday life under the special context of colony Joseon, acceleration of the war basis through boy’s detective novel. He created more active characters than those in adult literature, properly using the genre norm of children's literature in 「Boy detective group」. Through this, he tried to expand the possibility that can overcome fear of the day. And as the genre was translated from children's literature to I-novel, he reviewed the aspect transforming and expanding the same topic and motif despite the different genre norm. Going through 1940, Park, Tae-won dealt with the topics of fear and anxiety in the introspective way through I-novel style. In particular, 「Tudo (stealing)」, 「Chaega」, I-novels of Park, Tae-won has the characteristic that aesthetically compressed symbol and allegory, implied aphorism are inserted into the text very abundantly. At the same time, they can be evaluated as I-novels with very stratified and complex meaning through genre-translation of fairy tale works. This is different from that Japanese I-novel is mainly focused on exposing ego of an transparent writer. His I-novel tried to shape contemporary realities in the indirect form. This is the creative result of I-novel of Park, Tae-won.

박태원 소설에 나타난 개체성의 인식과 표현

방민호(Bang, Min-ho) 구보학회 2012 구보학보 Vol.8 No.-

기존의 한국현대문학사 인식 속에서 박태원은 종종 소설적 기교를 가장 중시한 작가로서, 사상을 결여한 작가로서 폄하되곤 한다. 그러나 박태원이 기교를 중시한 것은 그 언어적 기교가 문학의 처음이자 마지막임을 정확히 인식하고 있었기 때문이다. 그는 문학적 언어야말로 사상 그 자체임을 인식한 작가였다. 그는 이러한 인식의 바탕 위에서,「해하의 일야」,「수염」,「적멸」등 초기 삼부작에서「소설가가구보 씨의 일일」 과「애욕」을 거쳐「음우」,「투도」,「채가」,「재운」등으로 나아가는 일련의 창작과정을 통해, 현대적 개인의 그 개체적인 특성을 풍부하게 드러내고자 했다. 이러한 그의 소설의 인물들은 니체나 들뢰즈 등의 논리의 힘에 기대어 충분히 긍정될 수 있다. In the history of Korean Modern Literature, Park Taewon was often depreciated as a writer who valued narrative technique rather than the presentation of thought. But he was fully aware of that such narrativetechnique was both the beginning and the end of literature. He recognized that literary language itself represented thought. Based on such understanding, he attempted to demonstrate modern individuals' characteristics through the works from a trilogy of The Night of Hae Ha, Mustache, and Annihilation to a series of novels such as A Day in the Life of Kubo the Novelist, Love and Lust, Diary Rain, Stealing, Family Indebted, and Luck with Money. Underpinned by reasoning of Nietzsche or Deleuze, the characters in his novels can be well understood.

한국 한문학 속의 동방삭 담론 : 선비의 복잡한 내면, 인간의 평범한 감정

田娟 동양고전학회 2022 東洋古典硏究 Vol.- No.88

Dongfang Shuo is a legendary figure that is both real and illusory. His deeds and works were spread eastward to the Korean Peninsula as far back as during the Silla period. So far, the story of " Dongfang Shuo had lived a long life of 3,000 years" continues to be well known to the Korean people. The paper focuses on the interpretation of Dongfang Shuo in Korean literature in Chinese classics. It makes it clear at the beginning that texts related to Dongfang Shuo are spread far and wide with an extensive audience in Korea, followed by a specific investigation with three keywords including "funny", "self-effacing courtier" and "stealing peaches of immortality in Chinese mythology". The interpretation of the first two keywords is closely related to the identity and survival strategy of the scholar group which upholds Confucianism and is committed to social progress. The interpretation of "funny" mainly focuses on the judgment of pantomime-related intellectuals; that of the "self-effacing courtier" reflects the deliberation on "elevated to a higher position" and "reclusion" of scholars and the rationalization of their own way of life;while that of "stealing peaches of immortality in Chinese mythology" expresses a person's daily life, desires and feelings.