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        • KCI등재

          섬 체험담 의 서사유형적 특성과 교육적 함의

          박진태 ( Park Jin-tae ) 한국고전문학교육학회 2013 고전문학과 교육 Vol.25 No.-

          설화와 고전소설 연구가 회고적 정서에의 탐닉이 아니라 상상력과 창의력의 원천을 탐색하고, 문학적 형상화 능력을 계발하는 작업이 되기 위해서는 설화와 소설을 서사체로 포괄하여 서사학적 접근을 할 필요가 있다. 그리하여 육지인이 섬에 가서 체험한 사건을 서술한 대표적인 설화와 고전소설들을 해양문학의 관점에서 육지인이 섬의 수호신이 된 이야기(울릉도·마라도의 개척설화), 육지인이 섬의 수호신의 제물이 된 위기를 행운으로 반전시킨 이야기(거타지·작제건의 전설), 육지인이 섬에 이주하여 정착한 이야기(<홍길동전>, <허생>), 육지인이 섬사람의 저항과 배척으로 수난을 겪는 이야기(<홍길동전>, <만강홍>) 등 네 개로 유형화하여 서사적 특성을 분석하였다. 그런 다음 네 서사유형의 공간과 존재 및 시간의 축을 분석하여 섬에 대한 한국인의 인식 태도와 서사 구조를 구명하였다. 공간의 축을 보면, 섬은 신성 공간이나 세속 공간으로 인식되었고, 세속 공간은 다시 이상 세계나 저항과 반역의 변방으로 인식되었다. 존재의 축을 보면, 섬의 존재가 절대적으로 우세하면, 육지인이 섬에서 희생되고, 반대로 이주민이 절대적으로 우세하면 섬은 정복과 개척의 대상이 된다. 그리고 섬의 존재나 이주민의 우위가 상대적이면, 양자 간에 타협과 상생이 이루어진다. 마지막으로 시간의 축에서 서사 구조를 보면, 서사의 전개가 섬에의 정착으로 종결되거나 섬을 통과하여 육지로 귀환하거나 한다. 섬 체험담에 등장하는 육지인이 바다로 진출하고, 영토를 확장하고, 운명을 개척하는 데 필수적인 정신적 자질과 덕목을 다양하게 보여주기 때문에 창의인성교육 차원에서 문학교육 자료로 활용할 수 있고, 섬 체험담의 네 유형을 육지인의 섬에 대한 네 가지 스토리텔링의 전범으로 활용할 수도 있다. The island of the ancient narrative is the opposite of the land. In other words the island is the sacred world and the land is the secular world. The sea literature includes not only a sea story but also an island story. The island story can be classified into four types. Firstly the emigrant brought the waste island under cultivation at the sacrifice of a weak person. Secondly the travelers offered a sacrifice to the Dragon King. But the hero killed the enemy of the sea god and was rewarded with the treasures and a princess. Thirdly the hero conquered the island and established the utopia. Fourthly the hero who belonged to the middlebrows caused complications with the islander. But finally he made peace with the islander. The hero settled down at the island, or passed through the island and returned home. The heroes of the island story had the various virtues; self-sacrifice spirit, enterprising spirit, adventurous spirit and pioneer spirit. Therefore the island story must be taught for developing the originality and humanity.

        • KCI등재
        • KCI등재
        • KCI등재

          삼국유사를 통해 본 고대사회의 제의문화

          박진태(Park Jin-tae) 비교민속학회 2001 비교민속학 Vol.21 No.-

          The plot-structure is verified by the ancient and present rites. the rites consist of the movement of the spirit-pole(the spirit-possessed man, the shaman) and the process of five units ; Naerim-goot(rite of advent), Sinyu(round of calls and praying), Ssaum-goot(rite of conflict), Junsong-goot(rite of ascension). The rites are performed for the gods of heaven, mountain, water and earth. Because the plot-structure of the myths and legends of Samgukyusa corresponds to it of the rites. Those myths and legends ate assumed to be the correlative of the rites. And those myths and legends are classified into three types. Firstly the worship for the god is strengthened by emphasizing the authority of the god. Secondly the relation between a god and a man spreads to the relation between a king and a vassal. Thirdly the god gives the magic treasure to the king for endowing him with the authority of the ruler.

        • KCI등재

          중탈놀이의 주제에 대한 새로운 해석을 위한 시론

          박진태 ( Park Jin-tae ) 한국고전문학교육학회 2008 고전문학과 교육 Vol.15 No.-

          For bringing about a revolution in studying the classic literature the positivism must be overcome and the imaginative power about the history, literature and religion must be exercised. The theme of the monk-mask-play had been interpreted from the both viewpoint; the traditional mask play is the profane drama, but, on the other hand, it is the sacred drama. Judging from the social viewpoint, the sexual union of the old monk and the beauty symbolizes the reconciliation between the governing class and the production class. Judging from the viewpoint of the equalitarianism, that symbolizes the harmony of a masculinity and a femininity. Judging from the viewpoint of the education, that symbolizes the unification of reason and sensitivity. Judging from the viewpoint of the religion, that means the resurrection.

        • KCI등재후보

          전북 지역 민속극에 들어있는 속죄양과 희생양

          박진태 ( Park Jin-tae ) 한국고전문학교육학회 2006 고전문학과 교육 Vol.11 No.-

          The scapegoat contains the meaning of the sacrifice and atonement. But the sacrifice contains the meaning of the death and resurrection. On the other hand the atonement contains the meaning of the substitution and purification. The folk puppet play and fancy play of the Jeonbuk districts contains the scapegoat motif. The folk play of the Jeonbuk districts is more original and religious than the folk mask drama. Therefore The folk play of the Jeonbuk districts should be studied in earnest.

        • KCI등재

          『삼국유사』 용신설화의 유형과 작품양상

          박진태 ( Park Jin-tae ) 한국고전문학교육학회 2011 고전문학과 교육 Vol.21 No.-

          『삼국유사』의 용신설화에 나타나는 관계 유형을 용신과 인간의 관계, 용신과 불교의 관계, 용신과 중국의 관계, 용신과 인도ㆍ서역의 관계로 구분하고, 각 유형의 내용을 분석하여 다시 하위 유형을 설정하였다. 용신과 인간의 관계를 보면 알영설화와 서동설화에서는 용신이 신본주의적 사고에 의하여 생산신으로서 숭배되어 선신으로, 수로부인설화와 견훤설화에서는 인간의 불신과 저항을 드러낸 인본주의적 사고가 반영되어 악룡으로 형상화 되었다. 용신과 불교의 관계를 보면 사금갑설화와 거타지설화에서는 용신 우위의 역학 관계가 보이는 데 반해서 혜통항룡설화나 망해사연기설화나 김수로설화에서는 불교 우위의 세계관이 나타나고, 미륵사연기설화나 감은 사연기설화나 낙산사연기설화는 신실한 호법룡으로 묘사된다. 용신과 중국의 관계를 보면 황룡사구층탑설화에서는 중국이 파견자로서 원조와 시혜의 문명국으로 인식되지만, 원성왕설화에서는 중국이 납치자로 설정되어 용신이 민족자존의식의 표상이 된다. 용신과 인도ㆍ서역의 관계를 보면 만어사 연기설화는 야건가라국왕설화에서 부처 항룡 대목만 분리하여 변용시켰고, 인도와 서역에서는 나찰녀를 탈락시키든가 불영(佛影) 대목만 독립시켜 변용시켰다. 이러한 유형론적 접근은 용신설화의 종교사적ㆍ의식사적ㆍ문학사적 의미를 재조명하는 데 상당 부분 기여하였다. The legends of dragon of Samguk-Yusa can be classified into four types; relationship of dragon and human being, relationship of dragon and Buddist, relationship of dragon and China, relationship of dragon and India. The first type includes Aryong´s story, Sodong´s story, Suro Puin´s story and Chin Hwon´s story. The dragons of Aryong´s story and Sodong´s story were worshiped by the people because of the divine and good character by God-centered conception. But the dragons of Suro Puin´s story and Chin Hwon´s story were the looters and they were excluded by the people by humanism. The second type includes King Soji´s story, Kotaji´s story, Hyet'ong´s story and the story of the Sea-Viewing Temple. At the case of King Soji´s story and Kotaji´s story the belief for the dragon was stronger than Buddhism. But at the case of Hyet'ong´s story and the story of the Sea-Viewing Temple Buddhism was stronger than the belief for the dragon. At the case of the tale of Hwangnyong Temple China was the supporter. But at the case of King Wonsong´s story China was the looter. The story of the King of Nakon-kara was diffused to Korea from India and it was transformed into King Suro´s story by excluding the episode of reflecting Buddha into the stone mirror and accepting only the episode that Buddha caused the dragon king and Nach'al to surrender.

        • 동아시아 사자탈춤의 형성과 전파 및 변용

          박진태 ( Park Jin-tae ) 세계민족무용연구소 2017 민족무용 Vol.21 No.-

          The specific evidence of the Lion Mask Dance has been identified from Kucha, a country bordering Western China, and the spread and proliferation through East Asia has followed the route of `countries bordering Western China→ China→ Korean→ Japan.` In Kucha, by using Mahayana Buddhism as foundation, the Lion Mask Dance was developed in order to protect Buddhism along with the regal power. After the proliferation into China, the lion mask dance changed from a Buddhist dance in order to protect Buddhism, from a court dance made to protect the regal power, to a folklore dance resembling byeoksa rituals. It seems that both Korea and Japan underwent similar transfiguration. Although, in Korea`s case the lion mask dance is most basically a Buddhist dance, with the usage of both instrumental musics and masks it can be inferred that, the protection of the regal power was also mixed in. The customs of the folklore dance were combined with folk beliefs and indigenous beliefs. Korea was combined with belief in living in acceptance, and Japan was combined with Shinto in the Kagura of the gentry. The Lion Mask Dance has been spread as a civil society in Korea, China, and Japan. As the Lion Mask Dance spread through different regions and different classes, it transformed variously. However, due to the geographical and historical conflict, Kanto and Kansai confronted one another in Japan, for China and Korea have a common point where confrontation between Southern and Northern areas had conflicts. There are similarities between Korea, China, and Japan`s Lion Mask and the pair of male and female lion sculptures, but the symbolism differs. In China, the male and female represent compassion and power, whereas in Japan the male and female are distinguished by the horns. In Korea, the male has its mouth closed and the female has its mouth opened, and the two represent strength and defensive power. In short, the lion mask dance started off in Korea, China, and Japan as a Buddhist dance to protect Buddhism along with the regal power, faced transformation into folklore dance, the specific appearances and symbolisms all have a different aspect from one another. With this, it can be understood that the East Asian lion mask dance has a distinct Asian and a Buddhist cultural universality while showing off a regional, as well as a ethnic aspect all at the same time.

        • KCI등재

          한국과 서양의 고전극에 나타난 해원 방식의 비교

          박진태 ( Park Jin-tae ) 한국고전문학교육학회 2007 고전문학과 교육 Vol.13 No.-

          1. In Korean tales the malignant spirits are pacified by three methods; respect, satisfying sexual desire and revenge. 2. The malignant spirit is pacified by the method of respect or satisfying sexual desire in Korean drama. But it is pacified by method of revenge in European classic drama. 3. In Korean classic drama the phase of pacifying the malignant spirit was dramatized and the phases of dying with a grudge and pacifying the malignant spirit were dramatized also. but in European classic drama only the phases of dying with a grudge and pacifying the malignant spirit were dramatized. 4. Korean mask drama is a comedy. But European classic drama is a tragedy.

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