계모형 가정소설의 서사구조적 원리와 존재양상 연구

이윤경 한국고소설학회 2003 古小說 硏究 Vol.16 No.-

계모형 가정소설에 대한 기존의 연구 성과와 한계를 아우르는 가운데, 계모형 가정소설을 거시적 관점에서 조망하고 새로운 작품에 대한 적극적 발굴과 고찰을 통해 계모형 가정소설의 온전한 양상을 드러내고자 하는 것이 본고의 목적이다. 이에 따라 계모형 가종소설의 서사구조적 원리와 존재양상에 중점을 두어 논의를 진행함으로써, 위와 같은 목적을 위한 출발로 삼는다. 계모형 가정소설은 다양한 모티프를 동원하여 관습적이고 유형화된 서사구조를 형성하고 있는데, 동원되는 모티프의 양상과 가짓수 및 배열의 순서 등은 계모형 가정소설의 판도 안에서 나름의 독자성과 변별성을 지니는 작품군을 만들어 내는 동인이 되기도 한다. 계모형 가정소설은 계모설화와 서사를 공유하는 작품군과 고소설 유형 중 특히 영웅소설과 교섭하여 또 다른 계모형 가정소설의 모습을 드러내는 작품군으로 대별된다. 이러한 존재양상을 통해 계모형 가정소설이 다채로운 작품세계를 형성하는 과정을 추적할 수 있다. 이러한 일련의 논의는 계모형 가정소설에 대한 보다 본격적이고 온전한 고찰을 위한 전제 작업이자 문제제기로서, 후속 논의를 통해 계모형 가정소설에 대한 보다 온당한 위상 정립이 이루어질 것을 기대한다. Though the discussion for the domestic novel of step-mother type in the meantime produced much results, it has the limit that the trial to view the domestic novel of step-mother type wholly and to try to discover new work was incomplete. The issue on the establishment of category of domestic novel of step-mother type and the criticism for early work and later work gear into this limit. Thus, only in case that the full-scale study for new work should follow with the attitude to try to look at the domestic novel of step-mother type macroscopically, it will be revealed what are the issue and essence that the dometic novel of step-mother type raises. In this study, this researcher progressed discussion centering around the epic structural principle and existence style of domestic novel of step-mother type under above premise. Then, this researcher extracted main motive to form the domestic novel of step-mother type and the epic structure to be realized through it. In the domestic novel of step-mother type by epic structure A-D, introduced step-mother was eliminated from home, as she abused and harmed the children of former wife. The children of former wife alienated from home met family again by returning to home after overcoming distress and sufferings through various routes. And, it gest to show epic unfolding, 'Step-mother was eliminated'. As for this epic structure, the meaning may be understood by classifying it into A, B and C, D again. In the first harlf part, step-mother commits one-side tyranny for the children of former wife by being the subject of epic, and she becomes a winner by eliminating the children of former wife from home. On the other hand, the latter half shows the unfolding that the children of former wife who overcame sufferings meet family again and discipline or forgive step-mother by the occurrence of reversion of subject and victory. Thus, the dometic novel of step-mother type shows epic structure to be made by the reversion of subject and situation. Then, this may be regarded as the reaction and psychological action of enjoyment class for actuality. That is, it is one hypothesis that epic to reverrse such actuality situation was made through fictitious device to be novel as the reaction for abuse and victory of step-mo-ther toward the children of former wife that the enjoyment classes of domestic novel of step-mother type may contact in actuality, and another is that epic to be the defeat of step-mother and the victory of the children of former wife was made as the action more or less transcendal and psychological refusal sense for the existence to be step-mother. This researcher studied concrete works by premising that above aspect is the epic structural principle of domestic novel of step-mother type. Then, this researcher illuminated <Yeondang-jeon>, <Hwangwolsun-jeon>, <copy text, Josengwon-jeon> etc. which have not been handled on a full scale in existing study newly. In classifying the domestic novel of step-mother type into the work group to negotiate with narrative and the work group to negotiate with other novel type, while the former was sticking to the universal form of domestic novel of step-mother type relatively, sharing the narrative and epic of step-mother, the latter was diversifying the form of domestic novel of step-mother type through much negotiation with hero novel particularly. However, there were many cases that the latter got out of the essential and general form of domestic novel of step-mother type. Like this, though the domestic novel of step-mother type has diversified work world through the negotiation between the narrative of step-mother and the type of other novels, but the negotiation with other novel type including hero novel brought the result to damage the form of universal and essential domestic novel of step-mother type much. As the result that this researcher studied the epic structural principle of domestic novel of step-mother type and the work group of domestic novel of step-mother type to exist into diverse forms, the domestic novel of step-mother was revealing the keen opposition and conflict between the children of former wife and step-mother around patriarch. As desire that the children of former wife and step-mother seek was centering around patriarch but was seeking the homes of mutually different forms, it was making problematic home affairs. Like this, what reveals the collapse of home due to the conflict of family members to have mutually different desire and the will of restoration for collapsed home may be referred to as the domestic novel of step-mother type.

활자본 고전소설의 유형에 대한 연구

최호석(Choi, Ho-suk) 우리문학회 2013 우리文學硏究 Vol.0 No.38

본고에서는 활자본 고전소설의 유형을 분류하는 데에 목적을 두었다. 이를 위하여 활자본 고전소설의 개념을 다시 살펴보고 시간과 공간이라는 두 개의 축에 ‘젼근대/근대’, ‘한국/외국’의 지표를 가지고 활자본 고전소설의 유형을 분류한 뒤 각각의 특징을 살펴보았다. 먼저 활자본 고전소설은 20세기 초에 연활자 인쇄를 활용하여 단행본으로 출판된 것으로, 그 내용은 국내외의 고전소설과 그것의 개작, 고전이나 역사에서 유래한 서사적 이야기를 담고 있는 책이라고 정의하였다. 그리고 활자본 고전소설의 유형을 가름하는 기준으로 시간과 공간을 설정하였다. 이때 시간의 축은 전근대와 근대로 구성하고, 공간의 축은 한국과 외국으로 구성하였다. 이와 같은 시간과 공간의 축에 전근대와 근대, 한국과 외국으로 나눈 좌표에 활자본 고전소설을 배치하여 다음과 같은 4개의 유형으로 나누었다. 제1유형은 ‘전근대’ 시기에 ‘한국’에서 창작된 작품을 말한다. 즉 제1유형의 작품은 전근대 시기에 우리 민족이 창작한 작품으로, 여기에 속하는 작품으로는 〈구운몽〉, 〈홍길동전〉등을 들 수 있다. 제2유형은 ‘근대’에 들어 ‘한국’에서 창작된 작품을 말한다. 제2유형의 작품으로는 전래의 고전소설의 개작이나 파생작, 이 시기 들어 새롭게 등장할 역사 전기물과 실기류, 의고적 취향으로 고전소설을 모방하여 창작된 신작 구소설 등을 들 수 있다. 제3유형은 ‘전근대’ 시기에 국내로 들어온 ‘외국’의 작품을 말한다. 이에 속하는 작품으로는 〈삼국지연의〉나 〈수호지〉와 같이 외국에서 창작되어 전근대 시기부터 국내에서 번역, 번안된 작품을 들 수 있다. 제4유형은 ‘근대’에 국내로 들어온 ‘외국’의 작품을 말한다. 이에 속하는 작품으로는 〈쌍미기봉〉이나 〈제갈량전〉과 같이 외국에서 창작되어 국내에서 번역, 번안된 작품을 들 수 있다. This study reexamined the concept of ‘print-edited classical novels’ that could encompass various natures of each novel. And the study looked into characteristics by types after classifying the print-edited classical novels focusing on the internal order related to their formations. First of all, this study defined that the printed-edited classical novels were published in book form by utilizing lead letterpress in the beginning of the 20th century, and contents contained domestic and foreign classical novels, their adaptations together with narrative stories transmitted from classics or history. And the study set up time and space as standards of dividing types of print-edited classical novels. At that time, the axis of time composed of premodern and modern times, and special axis home and foreign countries. When arranging print-edited novels to coordinates in which premodern and modern times, in and out of the countly to the time and special axis, following 4 types became to appear. The first type indicates the work that were created ‘at home’ in ‘premodern period.’ That is, the first type work are corresponded to created artworks created by our nation at premodern period, and 〈The cloud dream of the nine/九雲夢〉 and 〈Hong gildong biography/洪吉童傳〉 are belonged to these forms. The second type stands for the created work ‘at home’ from ‘modern times.’ The second type were related to created works after adapting transmitted classical novels or imitating them with pseudoclassical tastes, and 〈Gang Nam-hong/江南紅〉 and 〈Good Kongiui and Bad Patjui〉 can be applicable to such forms. The third type points out the work came from foreign countries in ‘premodern period.’ Regarding to belonged artworks, there are translated or adapted works in the country from premodern period after having been created in foreign countries like 〈The Romance of the Three Kingdoms/三國志演義〉 and 〈All Men Are Brothers/水滸誌〉. The fourth type designates ‘the overseas work’ that entered to Korea in ‘modern times.’ In relation with the corresponding work, translated or adapted artworks after being created in foreign countries can be uttered like 〈Sang-mi-gi-bong/雙美奇逢〉 and 〈Jegallyang-jeon/諸葛亮傳〉.

1920-1930년대 고소설 향유 양상과 비평 연구

이민희(Min-Heui Lee) 순천향대학교 인문학연구소 2011 순천향 인문과학논총 Vol.28 No.-

본 연구는 1920-1930년대의 고소설 비평 및 인식의 문제를 짚어보는 데 목적이 있다. 1920-1930년대에 특별히 주목한 이유는 독서물로서의 고소설 향유 양상과 고소설 인식의 문제가 비교적 선명히 포착되는 마지막 시기이면서 근대적 독자와 지식인의 눈에 비친 고소설 인식의 문제와 위상을 들여다 본 기존 연구가 부족하다고 보았기 때문이다. 고소설 비평 및 인식의 내용이 그 시기 고소설 향유 양상과 향유 주체와 맞물려 있는 관계로 고소설의 향유 양상과 비평 문제를 함께 다루고자 했다. 1920-1930년대에도 고소설 작품들이 여전히 필사와 세책, 출판물(방각본과 구활자본), 그리고 낭독(음독) 등의 형태로 유통ㆍ향유되었다. 이 시기에 나타난 고소설 긍정론은 새로운 이론적 논거랄 것이 없는 관념적 평가에 그쳤다. 부정론 역시 큰 틀에서는 이전 시기의 그것과 크게 다르지 않으나, 고소설 비평을 가한 이들이 신학문을 접한 근대소설가나 문학평론가, 국문학자 등의 지식인이었기에, 서양의 문학 이론과 사상적 영향 하에서 고소설에 대한 부정적 시각을 개진했다. 특별히 그들은 심미론적 관점에서, 기존에 고소설에 관해 언급되던 도덕적ㆍ교훈적 효용론을 무마시키고 고전문학 자체, 소설 장르 자체의 차별적 특성을 부각시키는 데 중점을 두었다. 그 결과, 고소설이 지닌 서사상의 특징과 향유 방식을 거론하며 부정적 담론을 공고화하고 일반화했다. 그러나 이태준을 비롯해 고소설을 부정적으로 비평한 지식인들이 고소설의 단점이라며 내세운 제반 특징들은 실은 고소설 작품 전체를 염두에 둔 것이 아닌, 당시에 성행했던 구활자본 소설에 국한한 평가의 결과였다. 제한된 소설(특히 국문 영웅소설과 신소설) 작품을 볼모로 고소설의 일반적 특징이라며 운운한 비평의 결과는 그 이후로 오늘날까지 고소설에 대한 부정적 인식을 생산해 내는 단초가 되었음을 지적하고 넘어가야 할 것이다. 고소설 전반의 특성을 제대로 평가함으로써, 교육 현장과 일반인 사이에 잘못 인식되기 쉬운 이 문제를 바로 잡기 위한 실천적 노력이 요구된다. This study is purposed to search for the understanding and criticism on old novel in the 1920's-1930's. In these periods, new readers who learned new knowledge and modern sciences appeared in a mass and old novel was criticised in a various perspective by them. Though modern novel was written in a mass, and new reader read it widely, there were still so much readers who wanted to read and hear old novel. A circulation and enjoyment of old novels in the 1920's~1930's were as follows: Copying oneself and lending old novels from lending bookstore, recitation of old novel, publishing of old-type printed novel (舊活字本) and of wood-print old novel for commercial profit(坊刻本), and etc. It was almost same in a way of enjoying old novel, when it was compared with previous period. But one thing was different. That is, old-type printed novel became readable novel, since old-type printed novel had published at the first time in 1912. In those period, there were both viewpoints for the old novel. One was related to the affirmation that old novel give a moral, educational lesson and fun to the readers. But the other was negative view, which is connected with a special quality of old novel, eg., reading aloud instead of silent reading, or fixed and typical character, happy ending, a chance meeting, a exaggerated expression, nonrealistic description, a typical life story of hero and etc. But these negative comments of critics about old novel is just applicable to the old-type printed novel, not to all old novels. It means that negative understanding for a special quality of old novel was caused by the partial and limited criticism of modern-educated critics. We need to undeceive contemporaries of their misconception for old novel's original trait.

<옥주호연(玉珠好緣)>의 특징과 소설사적 의미

이지하 ( Jee Ha Lee ) 한국고전문학회 2013 古典文學硏究 Vol.43 No.-

<옥주호연(玉珠好緣)>은 19세기에 창작된 것으로 보이는 작품으로서 여성영웅소설로 분류되어 왔다. 그러나 여러 가지 측면에서 단일한 유형성으로 규정짓기 어려운 특징들을 드러내고 있기에 그 특징들을 살피고 이를 통해 이 작품이 산출된 19세기 소설사의 양상을 검토해 보고자 한다. 우선 이 작품은 다음과 같은 특징들을 보인다. 첫째, <옥주호연(玉珠好緣)>이라는 표제명은 남녀 주인공의 결합을 암시하는 내용을 담고 있는 것으로서 장편국문소설의 관습에 가깝다. 이 소설이 속한 단편군담 영웅소설 유형에서는 주인공의 이름을 빌어 ‘-전’ 형식의 제명을 붙이는 것이 일반적이다. 둘째, 세 명의 쌍둥이 여주인공과 이들의 천정배필로서 세 명의 남주인공을 설정하여 복수주인공 구조를 택하고 있다. 이 역시 장편국문소설의 서사 관행에 해당하는 것으로서 단일한 주인공을 중심으로 서사를 전개하는 단편군담영웅소설의 관습과는 차별화된다. 셋째, 인물의 형상화에 있어서 내면을 포착하고 상대적인 관점을 드러낸다. 세 명의 복수주인공을 통해 인물의 내면 심리를 복합적으로 그리는 가운데 선악의 이분법이나 출세지향의 사고가 약화되고 절대주의적 사고에 대한 반성이 그려진다. 넷째, 시련의 제거나 혼사과정의 확대, 후기나 서찰의 활용 등을 통해 구조적 차원에서 장편국문소설의 요소들을 차용함으로써 유형적 습합 현상을 보이고 있다. 이러한 특징들을 통해 유형 간 혼효 양상이 빈번해진 19세기 소설사의 양상을 고찰할 수 있다. 대중적, 상업적 맥락에서 주로 단편군담영웅소설이 장편국문소설을 모방하면서 이루어진 이러한 착종 현상은 관습적 틀을 벗어나는 새로운 시도로서 긍정적으로 평가할 만하지만 한편으로는 통속적 경도로 인해 19세기의 진지한 문제의식을 온전히 반영하지는 못했다는 한계 역시 드러내는 것으로 평가된다. <Okjuhoyeon(玉珠好緣)>, which seems to be created in the 19th century, has been classified as a heroine novels. However, in the various aspects it appears characteristics that are not easy to be characterized as a just single type. Therefore, I will examine the characteristics of <Okjuhoyeon(玉珠好緣)> and study on the aspects of the history of the 19th century novels through it. This novel has several characteristics. First, ``Okjuhoyeon(玉珠好 緣)``, as a title, which contains the story implying getting together between a hero and a heroine, is close to the custom of a long novel. In the type of hero novels that this novel belongs to, it is general that the form of ``-Jeon(傳)`` in the name of hero is entitled. Second, creating 3 heroes as the spouse of 3 twin heroines, this novel adopts a structure of plural heroes. In accordance with epic tradition it is also comparable to the custom of hero novels which develops narration based in single hero. Third, embodying character, this novel captures the inside and shows the relative standpoint. Through 3 plural heroines, on the compounding description of inner mental state, it weakens the idea of intention of success in life and the dichotomy of the good and bad. It also expresses criticism about the thinking of absolutism. Forth, through removing ordeal, expanding process of marriage and applying postscript or letter, this novel shows the mixing phenomenon of the type as it applies the elements of long novels written in Korean language in the structural sphere. Through these characteristics, this paper can investigate the aspects of the history of the 19th century novels, which had been shown frequent mixture among the various types. As hero novels had mainly imitated long novels written in Korean language in the popular commercial context, this mixing phenonenon is positively evaluated as a new attempt to dismantle the frame of custom. However, on the other hand, it is evaluated that this mixing phenonenon has the limit not to reflect serious critical mind of 19th century completely because of popular tendency.

근대 초 고소설의 전변과 담론화 양상 근대 초기 고소설의 전변(轉變) 양상과 담론화(談論化)

권순긍 ( Sun Keung Kwon ) 한국고소설학회 2013 古小說 硏究 Vol.36 No.-

Early classical novels of the modern period, while experiencing self-reformation as they moved into the modern era, began to show some transformations. It was a kind of existence style in its reaction to social changes encountered. Typed classical novels of 1910s could be considered as transformations into public publications in the forms of newspapers and single prints. Those typed novels, in about 100-pages-long novels typed in 4 size plus colorful covers, appeared to receive much welcome from the people. It was not only because they showed some features of the public media of those days, but because their content well fitted the taste of public narrations. Including stories of ``a witful man and beautiful woman``, ``wealth and fame``, ``an erotic man and woman``, and ``a loyal servant and a virtuous wife``, those conventional stories were greatly appreciated by almost any readers who wanted to enjoy proxy satisfaction. As Imwha pointed out, new novels were merely ``the works of expressing new spirits in the frame of classical novels``. Although they had new surroundings and groups of people, they only represented the old structures of classical novels by projecting the contrast between the good and the evil, and rarely changed the ideas of ``rewarding good and punishing evil``. Among those, particularly domestic narrations were greatly transformed. Many narrations of that time were to naturally focus on ``family`` because it was regarded as the center of conflicts arising from wrong ideas of the feudal system. They simply took the same structures of classical novels but replaced the main characters. Conventional fairy tales also went through transformations with major features of popular narrations and transcendency of classical novels. Bang Jeongwhan, at his early days of settling fairy tales, felt unhappy when they were treated as reading materials for adults. By defining the core of fairly tales as ``eternal childness``, he also projected the touchstone of those tales. As a result, the transformations of classical novels into conventional narrations tended to focus on transcendental aspects of children`s stories rather than realistic aspects of human life. The transformations of classical novels into popular films were based on popular narrations and dramatic elements that are found in classical novels. It was relatively easy to transform classical novel because they usually put more stress on actions rather than keen descriptions of human psychology. In the early film history of those works <Chunhyang Jeon>, <Jangwha Hongryen Jeon>, <Honggildong Jeon>, <Shimcheong Jeon>, and <Heungbu Jeon>, one could easily find similar narrative structures. That is to say, the main characters reached ultimate successes after great sufferings which might include disastrous love or persecutions from step parents and the like. Because of dramatic shifts occurring in those stories, it was relatively easy to directly transform them into films. The lack of creative scenarios brought about the prevalence of classical novels which had good popular narrations, among which <Chunghyang Jeon> was produced as many as 23 times.

근대 초기 고소설의 轉變 양상과 談論化

권순긍 한국고소설학회 2013 古小說 硏究 Vol.36 No.-

Early classical novels of the modern period, while experiencing self-reformation as they moved into the modern era, began to show some transformations. It was a kind of existence style in its reaction to social changes encountered. Typed classical novels of 1910s could be considered as transformations into public publications in the forms of newspapers and single prints. Those typed novels, in about 100-pages-long novels typed in 4 size plus colorful covers, appeared to receive much welcome from the people. It was not only because they showed some features of the public media of those days, but because their content well fitted the taste of public narrations. Including stories of 'a witful man and beautiful woman', 'wealth and fame', 'an erotic man and woman', and 'a loyal servant and a virtuous wife', those conventional stories were greatly appreciated by almost any readers who wanted to enjoy proxy satisfaction. As Imwha pointed out, new novels were merely 'the works of expressing new spirits in the frame of classical novels'. Although they had new surroundings and groups of people, they only represented the old structures of classical novels by projecting the contrast between the good and the evil, and rarely changed the ideas of 'rewarding good and punishing evil'. Among those, particularly domestic narrations were greatly transformed. Many narrations of that time were to naturally focus on 'family' because it was regarded as the center of conflicts arising from wrong ideas of the feudal system. They simply took the same structures of classical novels but replaced the main characters. Conventional fairy tales also went through transformations with major features of popular narrations and transcendency of classical novels. Bang Jeongwhan, at his early days of settling fairy tales, felt unhappy when they were treated as reading materials for adults. By defining the core of fairly tales as 'eternal childness', he also projected the touchstone of those tales. As a result, the transformations of classical novels into conventional narrations tended to focus on transcendental aspects of children's stories rather than realistic aspects of human life. The transformations of classical novels into popular films were based on popular narrations and dramatic elements that are found in classical novels. It was relatively easy to transform classical novel because they usually put more stress on actions rather than keen descriptions of human psychology. In the early film history of those works <Chunhyang Jeon>, <Jangwha Hongryen Jeon>, <Honggildong Jeon>, <Shimcheong Jeon>, and <Heungbu Jeon>, one could easily find similar narrative structures. That is to say, the main characters reached ultimate successes after great sufferings which might include disastrous love or persecutions from step parents and the like. Because of dramatic shifts occurring in those stories, it was relatively easy to directly transform them into films. The lack of creative scenarios brought about the prevalence of classical novels which had good popular narrations, among which <Chunghyang Jeon> was produced as many as 23 times. 근대 초기 고소설은 근대라는 낯설고 충격적인 타자와 조우하면서 자기갱신도 있었지만 전혀 다른 새로운 형태로의 전이와 전변이 일어났다. 이는 근대의 충격에 대응한 고소설 자체의 생존방식인 셈이다. 1910년대부터 등장한 활자본 고소설은 신문과 단행본 등 활자매체를 통한 대중출판물로의 轉移라고 할 수 있다. ‘울긋불긋한 표지에 4호 활자로 인쇄한 백면 내외의 소설’인 활자본 고소설들은 당시 대중독서매체로서의 특성을 지니고 있을뿐더러 그 내용 또한 대중서사로 적합하기에 당시 사람들에게 전폭적으로 수용된 것으로 보인다. 즉 ‘才子佳人의 이야기’, ‘富貴功名의 이야기’, ‘好色男女의 이야기’, ‘忠臣烈女의 이야기’ 등 사랑과 출세에 관한 통속적인 이야기로 이는 독자들이 자신을 주인공과 동질화시킴으로써 대리만족하는 것이다. 신소설은 임화의 지적처럼 “낡은 소설양식에 새로운 정신을 담은 작품”에 불과하며 “새로운 배경과 새로운 인물군을 가졌음에도 불구하고 천편일률로 선인, 악인의 유형을 대치하는 구소설의 구조를 거의 그대로 습답하고 권선징악이란 구소설의 운용법을 별로 개조하지 않고 사용한” 소설인 것이다. 고소설 중에서도 특히 가정서사를 많이 변개하여 활용했다. 당시 청산해야할 봉건적 문제들을 실제적으로 느낄 수 있는 지점이 가정이기에 서사는 가정과 가족관계에 집중될 수밖에 없었다. 가정소설의 구조를 그대로 가져와 인물만 당시의 인물로 바꾸었다. 전래동화는 고소설이 지니고 있는 민담적 사유 혹은 초월적인 특성이 중심이 되어 전변이 이루어졌다. 동화정착의 초기에 방정환은 고소설의 이런 동화적 특성에 주목하여 성인 대중물로 읽히는 것을 아쉬워하면서 동화의 생명을 ‘영원한 아동성’으로 규정함으로써 전래동화 재화의 시금석을 제시한 바 있다. 그러기에 그 뒤 고소설의 전래동화로의 전변은 현실적인 측면보다는 아동성에 기인한 초월적인 측면이 중심이 되어 이루어졌고 그 과정에서 다양한 지향을 보이게 된다. 고소설의 대중영화로의 전변은 고소설이 지니고 있는 대중서사와 극적 요소에 기인한다. 고소설은 세부 심리묘사보다는 행동 위주의 사건을 중시하기에 영화로의 전변이 수월했다. 초기 영화사에서 <춘향전>, <장화홍련전>, <홍길동전>, <심청전>, <흥부전> 등의 작품들은 신분이 다른 남녀의 험난한 사랑이나 서자 혹은 계모의 박해나 가난 등 여러 결핍을 지닌 주인공이 고난을 극복하고 결국에는 성공하는 서사를 갖추고 있다. 그만큼 굴곡이 많고 극적 요소를 많이 지녔다고 할 수 있겠는데 바로 이 때문에 직접 영화로 전변될 수 있었다. 당시 창작 시나리오가 부족했기에 초기 영화의 대부분을 대중서사를 잘 갖춘 고소설이 장악했으며 그 중심에는 무려 23편의 영화로 만들어진 <춘향전>이 있다.

딥러닝을 활용한 경판 방각본 소설의 유형 고찰 -영웅소설과 애정소설 유형을 중심으로-

강우규 ( Kang Woo-kyu ),김바로 ( Kim Ba-ro ) 국제어문학회(구 국제어문학연구회) 2020 국제어문 Vol.0 No.84

본 연구는 딥러닝을 활용하여 경판 방각본 소설 중 영웅소설과 애정소설로 파악되는 작품들의 유형성을 분석하였다. <조웅전>, <소대성전>, <임장군전>의 영웅소설과 <숙향전>, <숙영낭자전>의 애정소설을 토대로 영웅소설과 애정소설을 분류하는 딥러닝 유형 학습 모델을 구축했다. 이를 토대로, 영웅소설로 분류되는 <금방울전>, <장백전>, <장풍운전>, <정수정전>, <현수문전>, <황운전> 6작품과 애정소설로 분류되는 <백학선전>, <쌍주기연>, <양산백전>, <옥주호연> 4작품의 유형성을 검증하였다. 결과적으로 애정소설과 영웅소설 사이에서 이견이 존재했던 <백학선전>, <쌍주기연>, <양산백전> 등은 애정소설로 파악되었고, 영웅소설로 분류되던 <금방울전>, <장백전>, <장풍운전>, <현수문전> 등도 애정소설로 파악되었다. 영웅소설로 분류되던 <정수정전>, <황운전> 그리고 애정소설로 분류되던 <옥주호연>만이 영웅소설로 파악되었는데, 이 작품들은 모두 여성영웅소설이었다. 이러한 결과는 문체적으로 <조웅전>, <소대성전> 등의 일반적인 영웅소설과 <정수정전>, <황운전> 등 여성영웅소설이 유형성을 공유하고 있고, <장백전>, <현수문전> 등 왕조교체형이라고 불리는 영웅소설이 이들과는 상이한 특징을 지니고 있음을 나타낸다. This study analyzed the typology of works identified as hero novels and romantic novels using artificial intelligence deep learning. First, we built a deep learning type learning model based on hero novels such as Jowoongjeon, Sodaesungjeon, and Imjanggunjeon, and romantic novels such as Sukhyangjeon and Sookyoungnangjajeon. Through this, we verified six works of hero novels(Geumbanguljeon, Jangbaekjeon, Jangpungunjeon, Jungsujeongjeon, Hyunsumunjeon, and Hwangunjeon) and four works of romantic novels(Baekhaksunjeun, Ssangjugiyeon, YangsanBaekjeon, and Okjuhoyeon). As a result, Baekhaksunjeun, Ssangjugiyeon, and YangsanBaekjeon, which had a difference opinion between romantic novels and hero novels, were identified as romantic novels. Geumbanguljeon, Jangbaekjeon, Jangpungunjeon, and Hyunsumunjeon were also identified as romantic novels. Only Jungsujeongjeon, Hwangunjeon and Okjuhoyeon were classified as hero novels, all of which were female hero novels. In other words, the general hero novel and female hero novels such as Jungsujeongjeon, Hwangunjeon share the stylistic tangibility. Novels, such as Jangbaekjeon and Hyunsumunjeon, which feature heroes who cause the downfall of a dynasty, have different stylistic features.

명대(明代) "신화(新話)"류(類) 소설의 소설사적 의미

이시찬 ( Si Chan Lee ) 동방한문학회 2008 東方漢文學 Vol.0 No.36

본 논문은 『전등신화』를 비롯하여 명대에 유행한 `新話`類 소설들의 소설사적 의미를 되짚어보는 것을 주요한 내용으로 삼고 있다. `新話`類 소설은 대체로 전기소설의 전통을 계승한 것으로 백화소설의 발전과는 분명 다른 궤적을 밟고 있다. 즉 소위 문언소설을 주로 향유하는 계층인 사대부 문인들의 글쓰기 방식과 문학작품 속에 구현된 주제의식은 통속적인 것을 지향하는 백화소설과 비교해 보았을 때, 해당 시기의 전반적인 사회상을 표현하기보다는 사대부 문인들의 소일거리가 될 만한 기이한 내용들이 주가 되었다고 할 수 있다. 그러나 명대의 `新話`類 소설들은 이러한 주제의식을 탈피하여 당시 사회에 벌어지고 있는 다양한 문제들에 관심을 기울이고 있다는 공통점을 지니고 있다. 조금 더 시대를 거슬러 올라가면 元代의 「嬌紅記」가 작품을 통해 시대의 아픈 단면을 보여주려는 시도가 있었다. 瞿佑를 비롯한 일련의 명대 소설가들은 개별 작품으로서가 아니라 다수의 창작물을 책으로 엮어 `新話`類 소설의 전통을 계승해 나갔다. 또한 이러한 소설쓰기 방식은 조선의 소설계에도 지대한 영향을 미쳤다고 할 수 있는데, 김시습의 깊은 철학적 사고와 더불어 『金鰲新話』에 구현된 사회비판적인 주제의식은 소설이 단순히 오락적인 기능을 뛰어 넘어 그 사회에 문제의식을 던지고 반향을 불러일으킬 정도로 성숙했다는 것을 의미한다고 할 수 있다. 唐宋 傳奇小說의 관심이 주로 `기이한 것을 전한다`라는 것에 집중되어 있었다면 명대에 본격적으로 유행한 `神話`類 소설들은 `기이함`에서 한 발 더 나아가 사회와 현실의 문제점을 함께 지적하고 있다는 점에서 그 의의가 실로 크다고 하겠다. This thesis is for the emphasizing of significance of `XinHua` in Chinese novel history. `XinHua` type novels include Luchuangxinhua(綠窓新話)·Jiandengxinhua(剪燈新話)·Jiandengyuhua(剪燈餘話)·Jinaoxinhua(金鰲新話)etc. `XinHua` type novels had been published the middle and later period of Ming Dynasty, and they are very important material showing a transitional stage of novels forms from romance in the Dang Dynasty to the classical tales of East-Asia in the 15-17 century. We can see not only every period `XinHua` type novels has new paradigm but also aspects of East-Asia novel system. Especially, in the social mood of rejection of novels in Chosun, the publishment of a glossary for a novel really was an accident in the history of novels. Considering the fact that along with Kin Si-seup`s Jinaoxinhua(金鰲新話), Chuanqimanlu(傳奇漫錄) in Vietnam and Jiabeizi(伽婢子) in Japan were influenced by Jiandengxinhua, its influence should not be regarded as a peculiarity of Chosun. However, Jiandengxinhua received such interest and affection even in Chosun scholars and officials` trend to reject novels that it was very special on the sides of literature and theme.

突入生活ㆍ开拓叙事ㆍ深掘人性—2013年江苏长篇小说综评

张光芒 한국중국언어문화연구회 2014 한중언어문화연구 Vol.- No.35

As an important literary province across China, Jiangsu novels in recent years have made rapid development. Not only the number of works is very large, and high-quality works are also increasing. 2013 is the harvest year of Jiangsu novels. In this year, Jiangsu writers published nearly one hundred novels. Overall, whether they choose to take on the theme of the story, or digging in bold ideological theme, whether in the form of innovative structure, or a breakthrough in terms of characterization, have a distinctive performance. Throughout Jiangsu novel creation in 2013, we find them in the selection layout, almost formed from anc ient times to the present one, from the historical continuity of the subject matter to the realsystem, clearly showing broad and lofty conception of Jiangsu writers’ horizon. We are excited that Jiangsu novels’ narrative passion for contemporary life and the spirit of exploration is quite prominent. While some works focus on the rediscovery of history, more works comprehensive in-depth contemporary life, or in the intertwined aesthetic space and time between the history and reality, to write the changing times and complex landscape of contemporary culture. From the novel types of view, marriage fiction, urban fiction, local novels, officialdom novels, youth writing, children’s literature, and even popular literature, fiction network, etc., are very well developed, clearly showing a high degree of enthusiasm and a strong aesthetic ideas of Jiangsu Writers’ creativity. Jiangsu novel also exhibit a unique aesthetic qualities. They are good at using the profound implication of imagery or imagery group to form the story of the process, but also more inclined to condense some life experience to expand the complex relationship between the characters. Thus, many of the works are difficult to be analyzed from the ordinary type of framework. Many works have already overrun certain stylistic boundaries and type of mode, and different from the general realism, or romanticism, or other writing methods, but showed a spirit of individualism, in order to achieve a strong combination of aesthetics and exploration of human nature.

〈수당연의(隋唐演義)〉계열 구활자본 고소설 연구

김정은(Kim, Jeong-eun) 중앙어문학회 2013 語文論集 Vol.55 No.-

Since Ming dynasty historical novel 〈SuDangYeonYi〉 is introduced into Joseon dynasty, a different version has created by the korean printed type old novel. 〈SuYangJeHeangLakGi〉, 〈SuDangYanYi〉, 〈YangGwiBi〉 is the korean printed type old novel that is published in the beginning of the 20th. 〈SuYangJeaHeangLakGi〉 is adaptation novel excerpt from Ming dynasty historical novel 〈SuDangYeonYi(隋唐演義)〉 story which related with SuYangJe(隋煬帝). This work is focus on royal life of SuYangJe who is pursue luxury and enjoyment, he was build a palace in NakYang(洛陽) and chose a beautiful women for harem. So Su(隋) dynasty is ended because of SuYangJe is addicted to excessive luxury and pleasure with harem. 〈SuDangYanYi〉 is written by GoYuSang who is korean writer, it is a adaptation novel of Ming dynasty historycal novel 〈SuYangJeYeamSa(隋煬帝艶史)〉. The main character is same with 〈SuYangJeaHeang LakGi〉 but this work focus on grand canal construction of SuYangJe. People suffer damage from the cross-country waterway construction, because they need to provide free labor to their country. The result is same with 〈SuYangJeaHeangLakGi〉, but the reason of the dynasty fell is construction of grand canal which makes he became the object of public resentment. 〈YangGwiBi〉 is the adaptation novel of 〈SuDangYeonYi(隋唐演義)〉, this work focus on Dang(唐) dynasty love story of DangHyeon Jong(唐玄宗) with YangGwiBi(楊貴妃). This love story is in 〈SuDang YeonYi(隋唐演義)〉 chapter 79 to 91, but 〈Yanggwibi〉 is a novel full of dialogue and description. The most part of the novel her evil appears but she accepted death with devotion in the last scene. It seems like contradictory situation but the writer knew that people loves propitiative ending.