'삼강행실도'의 만화기호학적 분석

다국어 초록 (Multilingual Abstract)

This paper has analyzed Samganghaegsildo from the perspective of cartoon semiology, and reached to a conclusion that those unique depiction styles of drawings in Samganghaegsildo can be reinterpreted by cadres, strips, planches, albums, and nameplate balloon or word balloons. This uniqueness of drawings of Samgahaegsildo is in the same line with features of cartoon, which is referred to as “the ninth art” nowadays. Drawings of Oryunhaegsildo might be superior to those of Samganghaegsildo from the perspective of paintings. However, from the perspective of cartoons, features of cartoons in Samganghaegsildo which sprouted 400 years earlier than in western cartoons regressed in Oryunhaegsildo. This paper shows that among many Haengsildos, Donggksinsok-Samganghaengsildo had approached to techniques of cartoons most closely. Also simplified drawings in Samganghaegsildo tells that there were coded icons agreed between publishers and readers. The coded icons were a important mechanism to help illiterates and children understand the context of the book only through those drawings. Besides a simply typified discourse structure of Samganghaegsildo effectively worked to convey ideology to its readers. In other words, Samganghaegsildo is a book of stories about somebody who received rewards as a result of his or her filial piety. This typified structure of Samganghaesgsildo might have made possible it readers to have schema and enhance reading comprehension. The synergy of learning Samgang ideology through the typified discourse structure and the coded icons of the cartoon genre's description technique may compete with today's best seller study cartoons.

목차 (Table of Contents)

• 1. ‘행실도’ 류와 '삼강행실도'
• 2. '삼강행실도'의 만화적 표현 기법
• 2.1 만화의 특성과 '삼강행실도'
• 2.2 '삼강행실도'의 장면 구분과 ‘칸’
• 2.3 '삼강행실도'의 여백과 ‘칸 사이공간’
• 2.4 '삼강행실도'의 지문과 이름표풍선
• 3. '삼강행실도'그림의 도상성
• 4. '삼강행실도' 문필 구성의 전형성(stereotype)
• 4.1 서사공간
• 4.2 행적 기술
• 4.3 포상
• 5. 결언
• 인용문헌
• <부록>
• [Abstract]

참고문헌 (Reference)

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