犬猫爭珠型 설화의 유형결합양상과 그 의미

강진옥 이화여자대학교 한국문화연구원 1987 韓國文化硏究院 論叢 Vol.52 No.-

This study is aimed to consider the changes of views on the world of the people through the examination of the type-combination of Gyun-myo-jang-ju((犬猫爭珠) type tale. The main points discussed in this study can be summarized as followings. 1. Gyun-myo-jang-ju((犬猫爭珠) story belongs to complex type folktale and has both types of Bangidukbo(放鯉得寶) type (type A) and pheasant-anaconda type(꿩과 이시미, type B). Folktale has certain narrative stages; Ⅰ. Stage of pearl-gaining, Ⅱ. Stage of pearl-losing, Ⅲ. Stage of pearl-regaining. Type A and Type B belong to the stage Ⅰ, but Gyun-myo-jang-ju((犬猫爭珠) type is on the stage Ⅲ. 2. Both types of A and B show metamorphosis of characters in the story and the structures develop to the epic form according to the character transformation. Type A puts emphases on metamorphosis of the characters drawn from the Dragon King's Palace, which is supernatural world. Type B reveals the courses of the metamorphosis from the natural being to the human. Thus, it is not static characters but actively transforming ones that play main role in the story process and the acts of later ones achieve much more subject of the story than those of the former do. 3. To consider the world view, type A reflects the Zeitgeist of an age characterized as the aspiration for the co-essence of human and supernatural beings. Type B shows the steps from the natural condition to the cultural one, that is, the courses which culture conquers nature. Because the respect for the supernatural power underlies the type a it is not easy to change the story, thus, it has little variation in each versions of type A story. But in the case of type B it has much variations because it reflects the changes of world view of the people who began to recognize the varieties of human life. Gyun-myo-jang-ju type is based on requital structure, but in the relationship between a dog and a cat, it has a double structure of consistent conflicts between them and the superiority of the culture to the nature. 4. The complex type, which each of the above types combines one another, suggests following meanings. A+Ⅲ type constructs a double requital plot and has a strong point on the retrieval of the co-essential relationship between man and nature, which was lost in the stage Ⅱ. In the course of retrieval of the opposing power is punished as evil. B+Ⅲ type describes a continuing opposites and conflicts, which reflect the serious situation of hard struggle for existence. This type puts more emphases on the human will to overcome the hardship and his active ability to solve the problems than on the concept of good and evil. From the above discussions it is revealed that the type of A+Ⅲ precedes the B+Ⅲ type. The transformation of treasure, which changes the story process, fortifies the precedence of the former type over the latter. The pearl in A type story is a natural one, but that of B type story has a specific function in its each edge. This point reflects the folktale developing stages, in which the changes of world view parallel with those of material. Folktale includes the world views of participants and thus, the change of the world views causes the new type structures in folktale. The study of performance based on the filed survey will help this study of type-combination in folktale and lead to the solution of the principles of folktale plot in relation with the type combination as well as the changes of world view.

구전설화의 이물교혼 모티브 연구

강진옥 이화여자대학교 이화어문학회 1990 이화어문논집 Vol.11 No.-

동아시아 농경기원신화와 문화영웅의 존재양상

강진옥 이화여자대학교 인문학연구원 2005 인문학연구원 학술대회 : 비교학적 관점에서 본 동아시아 신화의 정체성 Vol.2005 No.

열녀전승의 역사적 전개를 통해 본 여성적 대응양상과 그 의미

강진옥 이화여대 한국여성연구소 1995 여성학논집 Vol.12 No.-

This thesis is an attempt to study the historical developments of the idea of virtue(열)in examplary women in the tradition of Korean Narrative by reviewing how women were characterized and what responses those women characters showed. The idea of virtue was imposed with consistent power upon women as an ideology and was functioned not only as ethical values but also as a mechanism of oppressing and confining women's lives. It had its origin in the patriarchy which had been from ancient times, but it didn't come to be a real norm for women regulating women's lives until Choson Dynasty which was dominated by the order of Neo-Confucianism(性理學). Neo-Confucianism systemized the idea of virtue, presenting it at extreme level, thinking virtue above men's life and prescribing the relationship between men and women as that between the ruler and the ruled. This phenomenon was found in the late Koryo(高麗) which was dominated by newly risen elites who accepted Neo-Confucianism. In the biographies of an anthology by these elites, women who sacrificed their lives for virtue were highly praised. This tendency was shown with more rich examples in the stories of virtuous women in Koryo Sa Yol'jon(高麗史列傳). The story of the wife of Domi(都彌) and of the daugher of Mr.Sul(薛氏) were similar to the chapters of virtuous women in Sam'guk Sa-Ki YolJon(三國史記列傳) and two stories had something in common in being included in a series of biographies of official history. But they showed some differances of narrative methods in these two books, Sam'guk Sa-Ki YolJon and Koryo Sa Yoljon.Sam'guk Sa-Ki YolJon gave importance to the narrative method by focussing on the psychology of women characters and making characters' personalities be organically known rather through a series of episodes than through a direct eveluation by authors. On the other side, Koryo Sa Yoljon simply tried to describe the lives of women who devoted themselves to type ideal values, so that it might present a model person to be imitated. Henceforth this tendency used as an example of the tradition of virtuous women. On the basis of the idealistic tendency in Koryo Sa Yoljon the government developed the tradition of virtuous women. On the contrary, the witten tales of the late Choson Dynasty in which the various aspects of transitional society of the late Choson Dynasty were reflected provided the critical alternative of the idealistic tendency. These written tales which included many records arguing against the prohibition of remarriage represented women characters who tried to solve their problems beyond the norm, although in secret, unlike the well-known virtuous women who lived up to the ideal of virtue and even chose death for it, and whose lives paradoxically showed the phenomenon of reversal of value that reduce men to a means of the idea. Those aspects of the written tales could be considered as an alternative of the idea of virtue which criticized the inhuman aspects of the idea of virtue. The lives of virtuous women in Sam'guk Sa-Ki YolJon showed the natural, independent and humanistic awakening, free from the ideology of that period. Then the idea of virtue was forced to be practiced at the extreme level under the order of Neo-Confucianism and it was changed once more in the late choson Dynasty, which was reflected in the narrative of that period. Ch'un'lyang-jon(春香傳) was a representative work showing the humanistic awakening. In the teadition of virtuous women, we can supose that there existed some desires for social achievements in the heart of virtuous women who had Institution of rewards for the virtuous women could be accepted by women themselves as a means by which they who were forced to live in confined experiences got their significanse as a social being. Nevertheless, no matter how the sacrifices of virtuous women might be praised, the tragic lives of them were found to be an accusation for the oppressive structure of the ideology of patriarchy, which forced women to live their lives as others. In fact, the tradition of virtuous women ask us to see objectively what we, women are, to find what we ought to be and to reflect how much efforts were made to realize our ideals. The tradition of virtuous women make us to think seriously whether the medieval bondage of women's oppression is found not only in the outside but in our minds. Ⅰ. 서 론 Ⅱ. 열녀전승의 초기적 양상과 정착과정 1. 列傳 所載 열녀전승의 양상 2. 인물 형상화 방식의 비교 3. 서술방식과 서술시각의 비교 Ⅲ. 조선새대의 열녀전승과 열관념의 변모양상 1. 조선전기와 규범적 열녀 2. 조선후기와 열관념의 변모 3. 구전설화의 양상 Ⅳ. 열녀전승의 역사적 전개과정을 통해본 여성 문학적 의의 Ⅴ. 결 론 참고문헌 영문초록

설화에 나타난 진리인식 : 「거울을 보고 놀란 사람들」형과 「아이의 지혜」형을 중심으로

강진옥 이화여자대학교 이화어문학회 1983 이화어문논집 Vol.6 No.-

무속신화와 일상의례를 통해서 본 여성의 종교성

강진옥 이화여자대학교여성신학연구소 1995 여성신학논집 Vol.1 No.-

변신설화에 나타난 세계인식양상[I] - 짐승원귀 환생을 중심으로 -

강진옥 이화어문학회 1989 이화어문논집 Vol.10 No.-

변신설화에 나타난 세계인식양상[I] : 짐승원귀 환생을 중심으로

강진옥 이화여자대학교 이화어문학회 1988 이화어문논집 Vol.10 No.-

김치(金緻) 인물형상화 방식에 나타난 <차사본풀이> 서술시각 : [해동이적·보] 소재 <김치설화>와의 비교를 중심으로

강진옥 한국구비문학회 2010 口碑文學硏究 Vol.0 No.31

제주도 무속신화 <차사본풀이>와 &#985172;해동이적·보&#985173; 소재 <김치설화>에는 공통적으로 김 치(金緻)라는 역사적 실재인물이 등장하고 있다. <김치설화>는 <차사본풀이>의 근원설화이 지만, 김치라는 인물의 형상방식은 두 장르 간에 상당한 차이를 보여주고 있어 주목된다. 양자를 대상으로 김치 인물형상화 방식을 비교하는 작업은 <차사본풀이>의 서술시각과 제 주도 무속집단의 세계인식의 일단을 살펴볼 수 있다는 점에서 의의가 있다. 양자는 핵심 서사단락을 공유하고 있으나, 해당 대목을 서술하는 방식에서는 일정한 차 이를 보여주고 있다. <김치설화>가 신이한 능력과 선정을 베푸는 명관으로서의 면모를 부 각하는 반면, <차사본풀이>는 김치의 어리석음과 무능함을 부각하는데 집중하고 있다. 이 를 위해 <김치설화>의 서술자는 논평을 통해 인물의 비범성을 직접적으로 진술한다. 이와 달리, <차사본풀이>는 다수의 인물을 등장시켜 인물들의 관계양상을 통해 확장된 서사세계 와 심화된 문제의식을 부각하는데, 주변인물들은 다양한 방식으로 김치와 관계를 맺으면서 인물의 열등성 부각에 일조하고 있다. <차사본풀이>의 인물형상은 김치에 대한 역사적 평가와도 일정한 거리를 보여주고, 근원설화인 <김치설화>와는 현격한 차이를 보여주고 있다. 이러한 차이는 일차적으로 <김치 설화>의 채록자가 흥덕지역 ‘선비’였고, <차사본풀이> 전승집단이 제주도 무속집단이라는 사실에서 비롯되지만, 구전되는 <흥덕현감설화>에도 현감의 신이성이 부각되고 있음을 고 려하면, <차사본풀이>의 인물형상화 방향이 김치라는 역사적 개인에 대한 평가를 보여주는 것으로 보기 어렵다. 이는 제주도 무속집단에게 김치‘원님’이 역사적 개인이 아니라 중앙권 력을 대변하는 존재로서 이해되었음을 시사한다. 따라서 <차사본풀이> 김치원님의 인물형 상은 통치의 기반을 유가적 가치관에 두고 있는 중앙관리에 대한 제주도 무속집단의 시선 을 대변하는 것으로, 제주도 무속집단과 유가적 통치관을 지닌 중앙관리 사이에서 빚어졌 던 지속적인 갈등의 역사적인 반증으로 이해할 수 있다.

욕구형 원혼설화의 형성과정과 변모양상

강진옥 이화여자대학교 한국문화연구원 2003 한국문화연구 Vol.4 No.-

'Desiring types of the unfulfilled-wish-stories' are representative oral stories. They interpret the conflict between the individual want and the limitations imposed by the outer world and thereby provide room for social discourse from the standpoint of the people. This paper examines the formation and change phases of the stories of 'desiring types' within the oral tradition and follow how the meaning was being formed. The stories dealing with the expectations and limitations of love show the following characteristics as they come down to later phases. 1. limitations become more apparent as the subjects become aware of their want more specificly. 2. The conflicts between the want and limitations form structures and categories. 3. The story of 'unfulfilled wish' as a method for expressing the frustrated want is within epic tradition. 4. The unfulfilled wishes' are told in terms of those of the lower class people. Two of the main factors causing the conflict in the stories are "class limitation" and "the way the wishes are expressed". These factors change and are specified throughout the history. They are integrated and form another type of oral stories dealing with new issues and problems in late Chosun era. The story of the love-sick serpent dealing with many facets of problems represents excellently the popular awareness on historical lity of the time. 'The unfulfilled-wish-stories' became a customary method to represent specific conditions of people whose level of awareness on reality was raised to match the social change of the time. The people who had existed marginally before was not free from the call for self-awareness in the changing society. The findings of this study will provide a basis to investigate how the people constructed their discourse in the form of unfulfilled-wish-stories' in further studies.