꼭두각시놀음에 나타난 청자경어법의 통시적 변이 양상 연구

장경우(Jang, Gyeong-woo) 한국사회언어학회 2013 사회언어학 Vol.21 No.1

This paper diachronically analyzed addressee-honorifics of Kokdugaksi Norum which has been recorded for nearly one century. In Chapter 1, I hypothesized that there are variations in sentence-endings and honorific expressions of Kokdugaksi Norum since language changes over time. Chapter 2 introduced the plot of the Korea's traditional puppet-play and examined the number of sentences and syntactic words spoken by Kokdugaksi in Kokdugaksi Geori. Chapter 3 explored the variation aspects according to two traditional groups of the puppet-play and diachronically combined them for analysis given there is not much linguistic difference between the two groups. As a result, I linguistically found diachronical changes in sentence-endings to verify the hypothesis established in Chapter 1. Also, as the use of speech level 'ha-o' decreased, the use of 'hae-yo' increased and speech levels 'hae' and 'ha-sip-si-o' partly served the function of 'ha-o'. In terms of content, changes in the sentence-endings and honorific expressions spoken by Kokdugaksi resulted in weakening resistance to and criticism of patriarchy delivered by Kokdugaksi. This paper applied this phenomenon to dialogues between modern husbands and wives. It concluded linguistic gender inequality exists in dialogues of modern husbands and wives and the decrease in speech level 'ha-o' was the major reason for it. Finally, Chapter 4 summarized main points and described contributions of this paper.

덜미에서 홍동지 재담의 변이 양상 연구

장경우 ( Jang Gyeong-woo ) 한국문학언어학회(구 경북어문학회) 2016 어문론총 Vol.70 No.-

본고는 덜미에서 홍동지 재담의 변이 양상을 검토하였다. 변이 양상을 살피기 위한 방법은 세 가지다. 첫째, 홍동지와 그를 둘러싼 인물들의 발화 빈도와 비중의 변화, 둘째 홍동지와 박첨지, 평양감사, 마을사람의 경어 등급의 변화, 셋째, 대립을 유발하는 무대에서의 갈등의 형식, 또는 소통의 형식이다. 그 결과 홍동지의 발화 빈도와 비중에는 변화가 없으나 주변 인물의 발화 빈도와 비중은 축소됨으로써 부당한 권력에 대한 고발이라는 주제의식이 약화되었음을 확인하였다. 박첨지의 재담이 화석화되고 있었고, 일부에서 나타나던 박첨지와 평양감사의 존대가 사라지면서 이들이 드러내는 비굴함은 사라지게 되었다. 대립의 장이 되는 무대의 경우에 1970년대를 기점으로 박첨지와 평양감사는 홍동지와 직접 재담을 나누지 않는 현상이 나타났고, 이들은 직접적으로 갈등을 유발하거나 소통하는 모습을 보여주지 않았다. 첨언으로 구비문학의 문화재 지정 규정을 보충할 필요성을 제기하였다. 구비문학이 변이는 당연한 현상인데, 문화재로 지정되면서 변이를 차단하였고, 구비문학 창작의 장애가 되었기 때문이다. 따라서 채록 당시의 모습을 그대로 보존하는 형태와 당대의 모습을 보여주는 형태 모두를 연희할 수 있어야 살아있는 구비문학, 무형문화재가 될 수 있다고 제언하였다. This article will examine the transition of Hong Dong Ji`s speech in terms of three aspects. The first aspect is the change in the regularity and importance of Hong Dong Ji and other characters` speech. The second aspect is the alteration in the honorific grade of Hong Dong Ji, Pak Chum Ji, the governor of Pyongyang, and the villagers. The third aspect is the method of conflict, or the form of communication in an arena of confrontation. The frequency and importance of Hong Dong Ji did not change but the frequency and the importance of the other characters reduced, which implies that the thematic consciousness of the accusation of power weakened. Examining the quip confirmed that Pak Chum Ji`s quip had fossilized and the honorific language of Pak Chum Ji and the governor of Pyongyang disappeared, implying the removal of their servility. Regarding confrontation, Pak Chum Ji and the governor of Pyongyang did not share a quip and any direct conflict or conversation since 1970. Additionally, this article argues for the necessity to supplement regulation of the designation of cultural assets for oral literature. Though the transition of oral literature is natural, being designated a cultural asset blocked this transition, creating an obstacle for recording oral literature. Therefore, to bring oral literature and intangible cultural assets to life, it is necessary to render the original in its recording.

비교를 나타내는 연결어미 ‘-느니’의 양태성 연구

장경우(Jang, Gyeong-woo) 한국어문학회 2014 語文學 Vol.0 No.124

The purpose of this study is to examine the comparative aspect of the connective ending ‘-neuni’ among its diverse functions and meanings. The connective ending regarded as modality expresses the speaker’s ‘dissatisfaction’ and can be replaced with other comparative endings in the form of ‘-neuniboda’ or ‘-neuniman,’ though their syntactic and semantic functions are different from each other. First, this paper compared the connective ending ‘-neuni’ and other comparative constructions such as ‘-geotboda’ and ‘-giboda’ to clarify differences between them. As it is widely known, ‘-neuni’ cannot be combined with adjectives and represents comparison in the grammatical constructions consisting of ‘VP neuni VP.’ These aspects are attributable to its syntactic and semantic elements because the modal ending ‘-neu-’ is originally tied to the denotation of present continuous tense and thus is unable to be used with adjectives. Also, the meaning of the comparative clause comprising ‘-neuni’ expresses the speaker’s reluctance to make a choice between two undesirable options. Therefore, ‘-neuni’ has modality indicating the speaker’s degree of “dissatisfaction” with the factual status of a proposition through comparison. In general, comparative endings ‘-neuni’ and ‘-neuniboda’ are considered identical in meaning. But, this paper found ‘-neuni’ is not compatible with ‘-neuniboda’ syntactically and ‘-neuni’ is more restrictive in word order than ‘neuniboda.’ Also, this study recognized that ‘-neuni’ expresses the speaker’s dissatisfaction with a situation in which the comparative options appear undesirable, while the comparative result of ‘-neuniboda’ is apparently governed by verb, though it also internally indicates the speaker’s reluctance to make a choice between two undesirable options under comparison. Finally, this study found that the sentence structures consisting of ‘-neuni’ or ‘-neuniman’ are in complementary relations by comparing the two constructions. The modal ending ‘-neuni’ is related to a positive verb ‘nat da(better)’, while ‘-neuniman’ is attached with a negative one ‘mot hada(worse).’ Since the negative verb ‘mot hada’ negates the situation compared with the clause of ‘-neuniman’ in the construction of ‘-neuniman,’ it indicates that the situation of the clause of ‘-neuniman’ is understood slightly better than the other comparative situation although the meaning expresses dissatisfaction with two comparative options on the part of the utterer. Eventually, the comparative constructions ‘-neuni’ and ‘-neuniman’ were found similar in meaning, while they were different in realizing their meaning in conjunction with verbs.

강령탈춤 연희본의 통시적 변이양상 연구

장경우(Jang, Gyeong-woo) 숭실대학교 한국문학과예술연구소 2020 한국문학과 예술 Vol.35 No.-

본고는 지난 80년 동안의 강령탈춤의 변이 양상을 검토한 후, 무형문화재의 보전과 계승에 대하여 두 가지를 제언하였다. 현재 전해지는 강령탈춤 연희본 7종을 중심으로 채록기, 혼융기, 정착기로 나누어 변화를 살폈는데, 임석재본을 중심으로 전승하고 있다고 알려진 것과 다르게 최상수본과 임석재본의 복합본으로 전승하고 있음을 확인하였다. 뿐만 아니라 다른 문화재와의 습합도 이루어지고 있음을 재물대감과 만신을 통해 확인하였다. 이러한 변화의 중심에는 마지막 과장에 어느 과장을 배치하느냐가 주요하게 영향을 미쳤다. 영감 · 할미과장이 마지막으로 배치된 정착기 연희본은 최상수 채록본을 따르고 있으며 할미의 죽음에 대한 종교적 제의식이 확대되고, 더 나아가 할미의 극락왕생을 비는 만신이 삽입되어 그 축제성을 극대화하는 방향으로 변화하였다. 영감 · 할미과장의 확대는 강령탈춤에서 또 하나의 축을 이루는 노승 과장의 축소, 더 나아가 목중춤의 기능이 축소되는 방향으로 변하게 되었다. 그러나 양반 과장의 경우에는 사소한 재담까지도 화석화되는 현상을 보였다. 이러한 현상에 대해 필자는 무형문화재의 연희자들은 초기 채록본, 혹은 문화재 지정본을 연희할 수 있어야 하고, 현대를 대변하는 극, 시대에 맞게 변형된 극을 동시에 연희할 수 있어야 한다고 제언하였다. 또, 해마다 연희되는 극에 대한 채록본이 반드시 있어야 함을 주장하였다. This article examined the variation pattern of Gangryeong Talchum during the past eighty years, and suggested two things about preservation and succession of intangible cultural assets. Now handed down, seven types of Gangryeong Talchum scripts are divided into a recording period, a blending period, and a settled period. Although it is known as Yim Suk-jay"s recording version, a form as which those seven types of Gangryeong Talchum are being passed down, it was found that they are being passed down as a mixed version of Yim Suk-jay"s version and Choi Sang-soo"s version. In addition, through Jamul Daegam and Mansin, it was found that those seven types of Gangryeong Talchum scripts are being blended with other cultural assets. These variations were significantly affected by what Gwajang is placed on last Gwajang. A script from the settled period, which placed Yeong-gam·Halmi Gwajang on last Gwajang, follows Choi Sang-soo"s recording version. It has expanded the religious ceremonies of Halmi"s death, and further maximized the festival features by the insertion of Mansin praying for Halmi"s rebirth in paradise. The expansion of Yeong-gam·Halmi Gwajang brought a reduction in Nojang Gwajang, which is one of the pivots of Gangryeong Talchum, and in the function of Mokjung Dance. On the other hand, in Yangban Gwajang, even minor quips were fossilized. In these phenomenon, this writer suggests that the performers of intangible cultural assets should be able to perform a version early recorded or a version designated as cultural assets, and be able to perform a play for each era as well as a play representing today. Also, this writer insists that recording versions of plays for every year should be certainly prepared.