천지단절신화의 아시아적 양상과 변천의 의미

조현설 민족문학사학회 1998 민족문학사연구 Vol.13 No.1

동아시아의 돌 신화와 여신 서사의 변형 - 모석(母石)·기자석(祈子石)·망부석(望夫石)을 중심으로 -

조현설 한국구비문학회 2013 口碑文學硏究 Vol.0 No.36

Mircea Eliade discovered the archetypical image that expresses absolute being, life and sacredness in the stone. But a stone myth is one form of the ideological language that expresses a certain social form through various mythical narratives. The stone in east asian myth became accepted as sacred mother stone. This is the product of a matrilineal society. Original myth of human being or acertain tribe was originated from the stone expresses that kind of understanding. At that time, the goddess appeared in a stone form which identified with ‘a mother stone’ in some cases, but in other cases the goddess appear in ‘a stone & goddess’ form discretely. However, the stone which transformed into the phallus stone was worshipped as ancestral god in a patrilineal society. And This stone transformed into kija-stone, that is a stone praying son in conjunction with male dominance. At the same time this stone transformed into mangbu-stone, that is the stone on which a faithful wife stood waiting for her husband until she perished. 엘리아데는 돌에서 생명을 표현하는 원형적 이미지를 발견했다. 그러나 돌 신화는 원형을 넘어 다양한 변형체를 통해 특정한 사회 형태를 표현하고 고착화하려고 하는 이데올로기적 언어의 한 형태이다. 동아시아 돌 신화에서 돌은 모석으로 인식되어 왔는데, 이는 모계사회의 소산이다. 이 인식은 돌에서 인류나 특정 종족이 비롯되었다는 기원신화를 통해 표현된다. 이때 여신은 모석과 동일시되어 돌의 형태로만 등장하기도 하고, 분리되어 여신-돌이라는 이원적 형식으로 나타나기도 한다. 그러나 부계사회에서 돌은 남성적 원리를 상징하는 남근석으로 변형되어 조상신으로 숭배되기도 한다. 이런 돌 신화와 사회의 관계에서 보면 부여계 건국신화의 신화소인 돌 위에 앉은 유화나 곤연의 바위 아래에서 출현한 금와의 형상, 그리고 제주도의 당신화인 와산리 불돗당의 돌 위에 내려온 여신 불또삼승또의 형상은 모석 신화가 제의의 조건이나 신화의 형태에 따라 변이되어 표현된 것이라는 추론이 가능하다. 유화와 불또삼승또의 신화가 여신-돌(모석)의 형식이라면 금와 신화는 돌(모석)의 형식이다. 그런데 모석은 남성지배의 강화와 더불어 기자석으로 변형된다. 동시에 아이를 업고 돌아오지 않는 남편을 하염없이 기다리는 돌, 망부석으로 변형되기도 한다. 모석의 서사에는 생명의 근원이라는 원형적 이미지만이 아니라 창세신화와 여신 서사의 역사적 변모의 정황이 동시에 새겨져 있다.

동아시아 홍수신화 비교 연구 -신?자연?인간의 관계에 대한 인식을 중심으로-

조현설 한국구비문학회 2003 口碑文學硏究 Vol.0 No.16

여신의 서사와 주체의 생산

조현설 민족문학사학회 2001 민족문학사연구 Vol.18 No.-

What a series of the shamanistic myths having the woman as the protagonist are showing characteristically is the strained relationship between the inability, irresponsible god taking woman on trial and the able goddess enduring and overcoming the trial. Where is the origin of this particularity? The origin of the woman figure that is enduring the suffering shown in CHUNGJUNGGAKSI & DORANGSUNBI(청정각시·도랑선비) is the Masculine Domination. This domination makes the body through not only the symbolic violence but the physical violence. The violence forms the convention and the violence itself becomes one of the conventions. This process of making the subjectivity by the violence is strengthened and reproduced through the educational acts of GUT, a kind of consonance box. By the way, it matters whether that kind of social product is absolute or not. Isn't there a way to build the feministic subjectivity? The answer to that question can be found in the immanent ability of the heroine. What we can find out from CHUNGJUNGGAKSI & DORANGSUNBI is the ability of paradox reversing the praise and the blame of gods. Through this paradoxical ability, the human act gets to transform the passivity into the activity. This transforming ability is always, already, the immanent ability in the heroine of shaman's epic. The feministic subjectivity which resists the various `the education act' intended for a long stay of the Masculine Domination is made up by the active transformation through this paradox.

주제서평 : 신과 인간의 죽음과 삶

조현설 한국종교문화연구소 2014 종교문화비평 Vol.26 No.26

신이 서사와 영이 서사의 대립과 견제

조현설 한국불교사학회 한국불교사연구소 2023 한국불교사연구 Vol.24 No.-

Three dimensions of myths appear in “Samgukyusa”. There is a myth of the third dimension created by the interaction between the two, the first dimension of sacred narrative, and the second dimension of marvelous narrative. Until now, the history of Korean mythology has interpreted only the sacred narrative in Samgukyusa as a myth. This is the result of narrow mythology accepted through Japanese translation. Now, it is necessary to expand the myth not only to a story about gods, but also to a story about "difference" events that are difficult to happen in reality. The mainstream of sacred narrative in Samgukyusa is the myth of founding and kingship. As can be seen from the records of the origins of the ancestors of the 6 tribes of Silla, the progenitor myth is placed in relation to the founding myth. This is because “Samgukyusa” records the sacred narrative of three kingdoms. The second half of “Samgukyusa”, which begins with "Heungbeop chapter," consists of a Buddhist spiritual story, which was conceptualized to as the marvelous narrative corresponding to the sacred narrative. The marvelous narrative is a myth in that it reproduces events created during the introduce and settlement of Buddhism as unusual and spiritual stories that cannot be experienced in everyday life. This is because myths are sacred stories and ideologies in the form of stories. However, as can be seen in the case of "Kim Hyun-gam-ho", the marvelous narrative continues the worldview of Jatabulyi[自他不二] in the progenitor myth, but reconstructs it into a view of time of three lives. In the world view of the progenitor myth, the killing of animals is possible only when animals give themselves as gifts. On the other hand, Buddhism, which occurred after the state, says that even if animals are killed, they can be rewarded in the life after death from the end by building good deed. Through this discourse strategy, “Samgukyusa” forms a compilation so that the worldview sacred narrative and marvelous narrative can be balanced with each other by checking the sacred narrative as a mandate from Heaven. This discourse is a myth that works in the third dimension of “Samgukyusa”.

『낡은집』의 구조 분석

조현설 동국대학교 대학원 1991 東院論集 Vol.4 No.-

이족(彝族) 신화 및 구비서사시 연구-창세서사시 <므이꺼>와 츄슝 이족 호랑이춤의 관계를 중심으로

조현설 한국어문학연구학회 2010 한국어문학연구 Vol.2 No.55

바리데기와 巫의 윤리

조현설 국문학회 2018 국문학연구 Vol.0 No.37

Baridegi, which is a representative Korean shamanist myth, is a text focused on the ethics of Shamanism. The ethics of shamanism underlie the Hamheung version of Baridegi. Other versions of Baridegi appear to discuss Confucian ethics on the surface, but carry a subtext of Buddhist ethics. The Hamheung version appears to discuss Confucian ethics on the surface, but carries a subtext of the ethics of shamanism. Baridegi’s journey is a way of achieving harmony with the universe, which is the aim of shamanism. The ethics of shamanism are magnified in the ending part of the Hamheung version. The reborn mother fights with six of her seven daughters. On the other hand, through the final part of the youngest daughter’s journey, the conflict between the mother and the youngest daughter is resolved. However, in the end, both cases conclude with the death of all the characters. Death is presented as the essence of every being. Mangmook-gut is the art or ritual of creating harmony between death, or ‘ogital’ (the sickness of death), and life. These ethics of shamanism in the Hamheung version of Baridegi result in the creation of an anti-Buddhist and anti-Confucian attitude. The Hamheung version shows an anti-Buddhist attitude through the character of the bad Buddhist monk and displays an anti-Confucian attitude through the paradoxical speech which declares that virtuous women and loyalists are not good for the family. This is the distinctive characteristic of the Hamheung. This characteristic makes me believe that the Hamheung version is one of the early versions of the Baridegi myth. 한국 무속신화를 대표하는 <바리데기>는 무의 윤리를 화두로 삼고 있는 텍스트이다. 함흥본에는 무불유(巫佛儒)의 윤리가 혼효되어 있지만 그 심층에 놓여 있는 것은 무의 윤리이다. 다른 지역의 <바리데기>가 겉으로는 유교 윤리를 말하면서 속으로는 불교 윤리를 말하고 있다면 함흥본은 표층에서는 유교 윤리를 드러내지만 심층에서는 무교의 윤리를 강조한다. 함흥본의 바리데기 수왕이의 구약여행을 추동하는 주동인은 무의 점괘이고, 점괘는 신의 명령이므로 이를 따르는 것이 무교가 추구하는 우주와의 조화를 이룩하는 길이기 때문이다. 이런 조화의 윤리는 함흥본의 결말 부분에서 다시 부각된다. 모친 덕주아 부인의 회생 이후 어머니와 여섯 딸의 대립은 서로를 부정하는 파국에 도달한다. 그러나 기아에서 비롯된 어머니와 막내딸의 최초의 대립은 바리데기의 구약여정을 통해 화해에 도달한다. 그러나 파국이든 화해든, 결과적으로는 모든 등장인물들이 죽음에 이름으로써, 죽음이야말로 피할 수 없는 존재의 본질임을 드러낸다. 함흥본 <바리데기>에는 ‘오기탈을 받고 오기탈을 거두어 달라’, 곧 ‘죽음이라는 탈’을 해결해 달라고 청하는 망묵굿을 통해 무속이 추구하는 삶과 죽음의 조화가 회복된다는 윤리의식이 내재되어 있다. 함흥본 <바리데기>의 심층에서 작동하고 있는 무의 윤리는 반불교적, 반유교적 태도를 조성한다. 그 결과 함흥본은 부정적인 서인대사의 형상을 통해 중생을 호도하는 불교에 대한 불만을 표현하고, 열녀충신이 나는 것이 오히려 집안에는 좋지 않다는 역설적 언술을 통해 유교 윤리에 대한 반론을 제기한다. 이런 함흥본의 유불에 대한 태도는 불교 윤리를 내면화하고, 유교 윤리를 앞세우는 서울경기본을 비롯한 다른 지역본과 크게 다르다. 이 차이는 함흥본의 윤리가 유불의 윤리와 대립 내지 경쟁관계를 지니고 있었다는 것을 뜻한다. 동시에 함흥본이 유불의 윤리와 화해하고 있는 다른 지역본에 비해 더 오래된 유형임을 뜻한다.

동아시아 신화학의 여명과 근대적 심상지리의 형성 : 시라토리 쿠라키치 최남선 마오둔을 중심으로

조현설 민족문학사학회 2000 민족문학사연구 Vol.16 No.-

As Edward W. Said said, orientalism represents the East a discourse having one shape culturally or ideologically. It is the way of seeing the East as the other. But in other words, the West controlled the East through this way of seeing can be the modern history. Knowing from the word of `translated modernity' clearly, the mythology as the modern study about Korea, China and Japan was in this area of the discourse, as the same as other studies. So these three countries' mythology could not but be composed of the way of responding to this discourse. In inner part of this discourse, the three East Asian countries' mythology in the enlightening era performs some functions. In case of Japan, they develope their mythology with the way of affirming the Kiki-Myth, their own myth and denying the ethnic myth of Korea under the plan by the name of the Oriental history of Siratori. In case of Korea, knowing through Choi Nam-Seon, they do with the way of denying the translation of Tangoon in Japanese mythology among the Oriental history, putting Tangoon and its ancient culture on the best culture. In case of China, as we can see through Maodun, they admit the limit of their own myth compare to the western country, but change the limit into the advance of Chinese culture. Through these mythological practice, the modern image mapping of these three countries, that is, the map of modern subjectivity is made out. The drawn map, though the aspect is different, can be summed up the ethnocentrism in a word. the modern subject of three countries producted through mythology in the enlightening era was the subject having the ethnocentrical identity.