異國,異界としての琉球

김학순 ( Hark Soon Kim ) 고려대학교 일본학연구센터 2014 일본연구 Vol.22 No.-

本論文では, 異國·異界として表象された『椿說弓張月』の琉球について檢證した。琉球は日本から距離の離れた, 獨自の言語や制度を持つ異國であること, 몽雲が王朝を倒し, 國の支配者を握る話には, 怪物的表現が溢れていることなどを考察した。『椿說弓張月』の筑紫下向物語群と伊豆八丈島配流物語群の異界表象を考察し, その後, 爲朝が琉球に渡ったあとの琉球王朝興亡物語群を對象とするようになって, それまでの異界表象とはまったく異なる完全な國家組織を有する異國表象が見られることを考察してきた。琉球王朝興亡物語群における讀本の物語世界の構成とそこに出現する惡人像に言及して異國表象にどうして몽雲のごとき中世的邪惡靈の面影を秘めた惡人が登場してくるのか, 特に讀本としての趣向性がその表象をどのように豊かにしているのかを檢討した。物語の構成からすると, 筑紫下向物語群と八丈島配流物語群にはひとつの主題がつらぬいていることが見てとれた。たとえば, 筑紫下向物語群では筑紫の生國に下向する爲朝はその地への旅の途次, さまざまな地方の在地を通過するのだが, 異界から出現し, それぞれの土地を混亂に陷れていた怪物の妨害を退治·平定して行くことになる。その物語群を規定する世界構成はまさに〈中心/周緣〉という構造的差別に據っている。したがって爲朝はいわば〈中心〉の都から下向してきた爲政者像をもっていて, その力をもって〈周緣〉の地に棲息する邪惡靈を次-に打倒し, 混亂と野만·暴力が支配していた土地を解放し, 〈中心〉の文明をもたらすことで正統な支配·統治を押し廣げていったのである。八丈島配流物語群でも, 配流された爲朝が海を渡って八丈島へと落着くのだが, その島の混沌を收めたあと, 今度は積極的に八丈島の彼方にある未知の島-へと移動し, それらの島-を征服して行くというものである。その爲朝の行動もさまざまな異界的な混沌と野만に覆われてきた大島, 女護島, 男の島に支配者爲朝は牧畜と農業の技術などを傳播してその地を文明化させている。文明化に當っては女護島, 男の島に見られたような男女が一緖に住めないという迷信などを打破することも含まれる。こうしてまた異界的島-を支配·統治することで, それまで夷狄の領域とされてきた島-を平定·支配することで, 爲朝が體現する〈中心〉へと領土支配を實現していくというものである。このように, 二つの物語群において爲朝は, 京都から遣わされた國守, あるいはその目代のごとく, 島-の混沌·未開·野만を打倒し, 〈中心〉の秩序·文化·技術をもたらすことで, 支配·統治する爲政者のようにふるまっている。この造型の一貫性が次の琉球王朝興亡物語群へと引き繼がれることになる。しかしそれまでの物語群では爲朝の平定は日本內部の地方であり, 周邊の島-であったが, 次の琉球は, 虛構がないまぜになってはいるものの, しかし現實の獨自な存在である異國として表象するのではなく, 完全にこの世ではない異界と結びつけるという物語になっている。 Bakin recycles the legend of Tametomo in his Chinsetsu-Yumiharizuki· Legend has it that Tametomo colonized Ryukyu in the 12th century, and his son, Shunten, became the founding father of the Ryukyu Royal family· At the time of Bakin, Ryukyu was an independent kingdom, paying tributes both to China and Satsuma of Japan· But just 30 years after Bakin`s death, Ryukyu was forced to become part of the Empire of Japan· Seen with this historical perspective, it would not be too extravagant to say that Bakin tried to justify the possible Japanese colonization of Ryukyu, basing his arguments on the legend of Tametomo· After all, Bakin seems to imply that Ryukyu had been a Japanese colony ever since the 12th century· In this sense, Bakin`s fiction shows an emergent form of Japanese colonial desire for Ryukyu· It must also be noted that there are some ambiguities about the representation of Ryukyu in Bakin`s work· Ryukyu is partly an imaginary land of the strange and the marvelous like the land of the long-legged tribe, and partly a real land to be occupied and colonized· Bakin`s Chinsetsu-Yumiharizuki seems to be divided within itself between the innocent wondering for the strange and the expansionist desire· The contradiction itself might be understood as a symptomatic case of Japanese desire and anxiety for the "Other·"

曲亭馬琴の「懲悪」と読本の世界

金學淳(Kim Hark soon) 고려대학교 글로벌일본연구원 2017 일본연구 Vol.27 No.-

本論文では、椿説弓春月と南総里見八犬伝の長編構成及び構想を勧善ではな く、懲悪に注目して分析した。勧善懲悪を江戸時代を代表する思想の観点ではな く、一つの構想の要素として捉えたわけである。また、勧善懲悪をモチーフとする 小物語の反復と連鎖が八犬伝をつらぬく構成原理になっていることについて考察し た。江戸後期では、理解水準が低い読者層のため、物語の単純化、定型化、読み切り の完結性などが求められた。馬琴の長編読本は、その完結した小さな筋立てが反復連 鎖することによって長編物となっているが、その完結した小物語のモチーフとして本 作品で注目されるのが勧善懲悪のテーマである。また、その勧善懲悪の懲悪に注 目し、悪人を中心にして考察した。 さらに、絶対的善悪論とは、弓張月の物語が内包している話型を構成する二元論 的世界観であった。その世界観に善悪の価値が結びついていた。それでは、なぜ馬琴 は二元論的世界観に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの伝統的世界観(中華思想にもとづく華夷的世界観)に対立するかたちで西洋伝来の地図的世界観が現実感をもって台頭してきたことを指摘した。そして世界観の衝突と対立があり、並行現象が見られて、<知>の転換があったことを主張した。多元的世界観の衝突への驚きが見られ、そのような<知>の拡大が馬琴読本に多元的世界観(弓張月では二元論的)を意識させていったと考える。<知>の転換期といわれる時代にあって、この歴史的規定の枠組の中に、関係構造と物語内容の関連があることに着目したのである。 本論文で対象とする八犬伝には、多元論的世界観はもはや見られない。あくまでも南房総安房国という領国を物語世界とする、一元論的世界が枠組をなしている。しかし二元論的世界観と善悪の結びつきは、実は八犬伝の人物造型、すなわち善人と悪人、とりわけ悪人造型に集約されている。八犬伝においても、絶対的善悪論に支えられた勧善懲悪はつらぬかれているのであって、善人は善人、悪人は悪人として物語構成を分割する。悪人は父子、母娘といった血筋関係の間を、そして悪の霊魂(玉)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界観の縮図継承とみてよく、この悪人造型こそが馬琴に独自なものなのである。 In Bakin’s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin’s Yomihon is the description of evil. The writer also thinks that the evil in Bakin’s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin’s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin’s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

曲亭馬琴の 「懲惡」 と讀本の世界『椿說弓春月』と『南總里見八犬傳』における<惡>の問題

김학순 ( Kim Hark-soon ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2017 일본연구 Vol.27 No.-

本論文では、『椿說弓春月』と『南總里見八犬傳』の長編構成及び構想を「勸善」ではなく、「懲惡」に注目して分析した。「勸善懲惡」を江戶時代を代表する思想の觀点ではなく、一つの構想の要素として捉えたわけである。また、「勸善懲惡」をモチ一フとする小物語の反復と連鎖が『八犬傳』をつらぬく構成原理になっていることについて考察した。江戶後期では、理解水準が低い讀者層のため、物語の單純化、定型化、讀み切りの完結性などが求められた。馬琴の長編讀本は、その完結した小さな筋立てが反復·連鎖することによって長編物となっているが、その完結した小物語のモチ一フとして本作品で注目されるのが「勸善懲惡」のテ一マである。また、その勸善懲惡の「懲惡」に注目し、「惡人」を中心にして考察した。 さらに、絶對的善惡論とは、『弓張月』の物語が內包している話型を構成する二元論的世界觀であった。その世界觀に善惡の價値が結びついていた。それでは、なぜ馬琴は二元論的世界觀に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの傳統的世界觀(中華思想にもとづく華夷的世界觀)に對立するかたちで西洋傳來の地圖的世界觀が現實感をもって台頭してきたことを指摘した。そして世界觀の衝突と對立があり、幷行現象が見られて、<知>の轉換があったことを主張した。多元的世界觀の衝突への驚きが見られ、そのような<知>の擴大が馬琴讀本に多元的世界觀(『弓張月』では二元論的)を意識させていったと考える。<知>の轉換期といわれる時代にあって、この歷史的規定の樺組の中に、關係構造と物語內容の關連があることに着目したのである。 本論文で對象とする『八犬傳』には、多元論的世界觀はもはや見られない。あくまでも南房總安房國という領國を物語世界とする、一元論的世界が樺組をなしている。しかし二元論的世界觀と善惡の結びつきは、實は『八犬傳』の人物造型、すなわち善人と惡人、とりわけ惡人造型に集約されている。『八犬傳』においても、絶對的善惡論に支えられた「勸善懲惡」はつらぬかれているのであって、善人は善人、惡人は惡人として物語構成を分割する。惡人は父子、母娘といった血筋關係の間を、そして惡の靈魂(「玉」)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界觀の縮圖繼承とみてよく、この惡人造型こそが馬琴に獨自なものなのである。 In Bakin`s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin`s Yomihon is the description of evil. The writer also thinks that the evil in Bakin`s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin`s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin`s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

近代的な女性思想家の戦い -只野真葛の経世観と世界観を中心に-

金學淳(Kim, Hark-Soon) 한국일본문화학회 2019 日本文化學報 Vol.0 No.83

While many suggest that a nation’s merits and demerits are directly linked to its ruler, Takizawa Bakin’s theory of ethics directly connects the merits and demerits of a nation to life and death itself. Theories that try to confirm the dominance of Japan through its merits and demerits suggest that Japan is simply a foreign nation that is in the background, while the Chinese empire is at the center of the world. Some even suggest that Japan is a nation of uncivilized barbarians. Bakin, however, uses the term “barbarians” to describe the great Western powers, suggesting that the quality of being barbaric lies in the limbs. Despite having a similar cultural background as China, Japan is often considered to be a foreign, barbaric nation. Bakin recognized the discriminating structure of Western powers as their core, and implied that civilized societies were also discriminated against by the superior consciousness of the Chinese, who discarded them as inferior barbarians. Upon re-examining this notion, Bakin frees Japan from this structural discrimination by attaching significance to the Sinosphere of Japan, his homeland, which shares a rich culture with China, particularly in terms of kanji, the traditional script. If being uncivilized stems from the limbs, Bakin views Japan at par with China, or focused detachment-in this case, from the traditional concept of China. In this way, Bakin describes China as an abstract, intellectual, and cultural concept, and by this logic, places Japan at par with China, conquering the traditional worldview.

전근대 일본 상업 출판문화와 여성 독자 - 대여 서적과 부인병 약, 화장품 광고를 중심으로 -

김학순 ( Kim Hark Soon ) 전북대학교 인문학연구소 2021 건지인문학 Vol.- No.32

본 논문에서는 에도시대 중후기의 상업 자본주의와 상품 유통경제 안에서 서적이 이전 시대와 달리 상품으로 소비되고 유통되는 과정을 분석하였다. 단순한 개인 작가와 작품의 연구가 아닌 당시의 상업 출판문화와 가시혼야라는 출판기구의 발달, 여성 독자층의 확대라고 하는 사회적인 시스템 변화에 주목하여 고찰하였다. 기존의 문학 연구는 작가와 작품에 한정되어 작가의 사상이나 작품의 특징, 의의 등을 논하는 것이 주류였다. 하지만 작가와 작품은 언제나 그 당시의 시대상을 반영하며 사회의 경제적, 문화적인 변화에 영향을 받아 왔다. 이처럼 서적을 하나의 상품으로 인식하여 그와 관련된 출판문화, 독자와의 관계성, 서적을 둘러싼 상품 유통경제, 여성 독자의 출현과 확대, 부인병 약과 화장품 광고를 중심으로 분석하였다. 이와 같이 본 논문은 전근대 일본 사회의 상업 자본주의 발달의 영향을 받아 문학작품이 하나의 상품으로 기능하고 있음을 밝혀냈다. 당시 대중 작품을 포함한 출판물에 주목한 문학 연구이자, 대여 서적과 여성 독자층, 여성을 대상으로 한 광고 등을 고찰한 문화적, 사회적 연구라 할 수 있다. 협소한 텍스트 분석의 연구가 아닌 문학 연구의 확장성과 사회적 의미에 대해 고찰하여 일본 고전 문학 연구의 다양성을 추구하고자 했다. In this paper, I analyzed the process of literature being consumed and distributed as products unlike in the previous era in commercial capitalism and product distribution economy in the mid-to-late Edo period. It was not just a study of individual writers and works, but focused on the commercial publishing culture of the time, a publishing organization called Kashihonya, and the social system change of expanding the female readership. Existing literary research was limited to writers and works, and it was mainstream to discuss the artist's thoughts, characteristics, and significance of the work. However, writers and works always represent the times of that time and have been influenced by economic and cultural changes in society. Recognizing the work as a product, the related publishing culture, relationship with readers, product distribution economy surrounding books, the emergence and expansion of female readers, and commercial strategies such as women's weaknesses and cosmetics advertisements were also analyzed.

전염병과 요괴 : 역병 예언과 퇴치 기원의 요괴

김학순(Kim, Hark-soon) 고려대학교 글로벌일본연구원 2021 일본연구 Vol.35 No.-

위생, 방역, 백신과 같은 현대적 의료체제에 대한 인식은 근대 이후에 발생한 것이다. 일본도 메이지시대 이후에 근대적 의료 인식이 확대되다. 그 이전까지 전염병은 역병으로 불리며 큰 공포의 대상이었다. 그리하여 에도시대에는 역병 퇴치를 기원하는 종교적 의식이 두드러지게 반영되어 퇴치에 대한 신앙적 염원이 사회, 문화적 집단 행위로 나타났다. 당시 대중들은 역병을 일으키는 존재를 신으로까지 생각하였다. 그리하여 그들을 기리는 축제인 마쓰리를 주기적으로 개최하고 전국 각지에 신사를 세웠다. 또한 역병이 돌 때에는 역병을 예언하는 요괴를 기록한 가와라반이 유행하며, 그 요괴 그림을 부적으로 사용하였다. 코로나19가 발생하여 팬데믹이 발생한 현재에도 역병 퇴치 기원의 전통은 아마비에라는 요괴의 다양한 이미지 확산과 관련 상품의 유행을 통해 지속되고 있다. 불교 전파의 영향으로 원령이 질병과 재앙을 일으킨다고 믿음이 생기며 오니 이미지가 시작되었다. 전염병이나 재앙을 일으키는 오니는 에마키에서 요괴로 변화하며 초기 역병과 관련된 요괴들은 역병을 퍼트리는 존재였다. 이러한 요괴들은 점차 계시자적 성격을 띠며 역병과 풍작을 예언하고 그 대처방법까지 전수해 준다. 바다에서 나타나 갑자기 사라지는 아마비에, 진자히메, 히메우오, 육지에서 등장하는 구단, 구다베, 예언새, 하쿠타쿠 등이 대표적이다. 특히 전염병을 예언한 요괴들은 이질, 콜레라와 같은 전염병, 외부 세계의 외국 선박이 등장하는 19세기 초부터 가와라반에 자주 기록되었다. 전염병을 간파하는 영험이 있는 요괴들은 예언자적 성격이 강하고 자신의 그림을 부적으로 사용할 것을 권하고 사라진다. 재난, 재해, 전염병 등이 유행하면 토속적이거나 주술적인 신앙적 의식과 함께, 화를 모면하고 공포심을 줄이기 위해 역병을 예언하고 사라지는 요괴들이 등장한다. 이러한 점은 요괴가 갖고 있는 플러스적인 요소가 강조된 것이다. 민간에서는 강이나 바다로 흘려보내는 역병 보내기나 가타시로라는 액막이 도구를 이용하여 마을 밖으로 추방하는 의식을 행해왔다. 전염병을 마을로부터 격리시키려고 했던 주술적 행위로 역병 퇴치에 대한 민간 신앙의 염원을 강하게 보여준다. 이와 같이 당시 대중들은 전염병을 예언하고 대책을 알려 주는 요괴들과 공동체의 민간 신앙을 통하여 개인의 심리적 위안과 사회의 안정을 추구하였다. The perception of modern medical systems such as hygiene, quarantine, and vaccines has occurred since modern times. Japan also expanded its modern medical awareness after the Meiji era. Previously, infectious diseases were called epidemics and were subject to great fear. Thus, in the Edo period, religious ceremonies to fight the plague were reflected prominently, and religious aspirations for eradication were reflected in social and cultural group activities. At that time, the public even considered the existence that caused the plague as a god. Thus, Matsuri, a festival in honor of them, was held periodically and shrines were established throughout the country. Also, when the plague was circulating, Kawaraban, who recorded a Youkai predicting the plague, became popular. A ghost painting of Kawaraban was used as an amulet. Even now, when the covid-19 outbreak caused pandemics, the tradition of the origin of the plague continues through the spread of various images of the Youkai Amabier and the trend of related products. The image began when the original spirit was believed to cause disease and disaster due to the spread of Buddhism. Oni, which causes infectious diseases and disasters, changed from Emaki to Youkais, and early plague-related Youkais spread the plague. These Youkais gradually develop a prophetic nature, predicting epidemics and good harvests, and even teaching them how to cope with them. Amabie, Zinzahime, and Uohime suddenly disappear into the sea after a prophecy from the sea. Kudan, Kudabe, Prophetic Bird, and Hakutaku appear on land and predict plague. In particular, the Youkai that predicted the epidemic were frequently recorded in Kawaraban from the early 19th century, when foreign ships from the outside world appeared, such as dysentery, cholera, and other infectious diseases. The Youkais with the inspiration to see through the epidemic have a strong prophetic personality and recommend using their paintings as amulets and disappear. When disasters, disasters, and infectious diseases are in vogue, they show common characteristics of predicting and disappearing plague to avoid anger and reduce fear, along with native or shamanistic religious rituals. The positive elements of the Youkai were emphasized. In the private sector, there have been ceremonies to send plague to rivers or seas or to banish them out of the village using an exorcism tool called Katashiro. The shamanistic act of isolating the plague from the village strongly represents the desire to fight it. This ritual of using a plague-preventing Youkai as an amulet or letting it flow may seem like an unscientific superstition from the current perspective. However, at that time, the public pursued individual psychological comfort and social stability through the shamanistic collective action of Youkais and groups who predicted the epidemic and informed them of countermeasures.