인터넷서점 인터파크도서

- 고전서사문학과 설화문학의 이해 이 책은 한국 설화문학 연구에 주력해온 저자가 그동안의 성과를 총서로 펴내면서 기획한 저서의 하나이다. 주로 고전 서사문학에 대한 관심으로부터 설화문학으로 진입해 나간 저자의 초기 논문들을 수록하였다. 이에 앞서 낸 『전승문화의 기반탐구』가 민속학과 고전문학의 경계에 있다면, 이 책은 좀 더 나아가 고전문학과 설화문학의 접점으로 이행된 저자의 학문적 이력이 반영되어 있다. 그런 만큼, 이 책에는 고전 서사문학 작품에 대한 깊은 분석이 추구되는 일면, 구전설화에 대한 새로운 이해 시각이 모색되고 있다.

[ 저자서문 ] 국문학과에 입학하여 훌륭한 은사님들의 감화 속에 국학도로서의 긍지를 배우며 국문학의 터전에서 노닌지도 어언 사십여 년이 훌쩍 넘었다. 그러다 보니 며느리 늙어 시어미 되는 격으로 어느덧 나이가 들고, 정년까지 목전에 두게 되었다. 싫든 좋든 이제 중요한 생애의 큰 매듭을 지어야 할 고비에 서게 되자 자연히 지난 길을 되돌아보고 앞날을 헤아려야만 할 책임을 절감한다. 스스로 좋아서 선택한 국학도의 길이었으니 다가올 앞길은 별로 걱정 하지 않아도 좋을 듯하다. 하던 일을 계속하며 걸어가면 그 뿐이 아닌가? 그러나 지나온 오랜 길을 뒤돌아보면, 그저 편안하지만은 않다. 입동이 지난 들녘에서 미처 추수를 마치지 못하고 서성이는 농부의 심정이랄까. 어지러운 일터를 정돈하지 못하고 서둘러 떠나는 늙은 목수의 마음이랄까. 무언가 미진한 아쉬움을 지울 수가 없다. 그동안 여기저기 산만하게 흩어져 있는 잡다한 논문들을 모아 정리하고 그 나름의 이름을 지어주는 것도 남은 책임의 하나가 아닌가 하는 생각 때문이다. 돌아보면, 학술 논문이나 저서보다는 설화 자료집을 내는 데에 더 주력 해온 것이 나의 지난 역정이었다. 논문에 필요한 자료를 모으는 것도 긴요 하기는 하다. 내게 직접 소용되는 논제를 먼저 생각하고, 독자적인 연구 시각을 전제한 자료 조사도 물론 필요하다. 그러나 진정 멀리 보고 크게 보는 국학도라면 구전 자료를 당장 필요한 대로만 대하는 시야에 그치지 말아야 한다고 본다. 오래된 것을 더 찾아보면서 바뀌는 현재의 모습도 함께 주목 하는 가운데 구전 자료를 미래 국학을 위하여 더욱 두텁게 축적해 나가야 한다는 것이 나의 생각이다. 연구를 지나치게 강조하는 이즈음의 추세를 따르기도 해야 하고, 나의 게으른 습성이 그것을 따르지 못하는 점도 있는 데에다, 이제는 몸이 느려지고 의욕도 저하되었지만, 평소 품어온 그러한 생각에는 변함이 없다. 그동안 직·간접적인 관심에서 몇 권의 구전 설화 자료집을 낸 것은 미력이나마 그러한 관심의 작은 발로였다고 말하고 싶다. 자료집에 치중해 오다 보니 이러저러한 논문들을 적시에 모아 합당한 이름을 부여하여 간행하는 일에는 거의 등한하게 되었고, 이제 제때 수확을 하지 않아 서리 맞는 농작물을 바라보며 탄식하는 게으른 농부의 처지가 되고 말았다. 그렇다고 마냥 묵혀둘 수만도 없는 일이 아닌가? 그냥 내방쳐두는 것은 책임의 일부를 포기하는 일이자 차후 후진들에게 부담을 남기는 결과가 될 것도 같다. 뒤늦은 추수나마 그냥 둘 수 없다는 생각에서 곡식별로 거두어 이름표를 붙여두는 일에 뒤늦게나마 착수하게 되었다. 마침 나의 이러한 취지에 공감하여 이 일을 흔쾌히 맡아준 충남대학교 출판문화원 측의 호의를 고맙게 생각한다. 이 책은 이렇게 계획된 첫 번째 권으로, 나로서 설화를 중심에 두고 국문학도로 진입하던 초기에 주로 발표한 글들을 모은 것이다. 설화와 관련된 내용이 중심을 이루되 그 외의 논문들이 혼재해 있음은 나의 그러한 연구 이력이 반영된 결과이다. 또한 그러한 점을 고려하여 책 이름을 위와 같이 부여하였다. 글을 묶으면서 구고를 다시 정밀하게 읽고 작은 오류들을 잡아 내고자 나름대로는 정성을 기울였다. 논문을 책으로 묶어내는 데에는 때에 따라 참고문헌도 보완하고 새로운 논의를 오늘의 시점에서 더 보탤 필요성도 있으리란 점을 안다. 그러나 이 저서가 기본적으로 기존 논문을 새로운 체제로 재배열하거나 고쳐 쓴 것은 아니기 때문에 굳이 그렇게까지 하지는 않았다. 개별 논문이 발표된 시점의 의의도 일정 부분 지니고 있...

명엽지해(蓂葉志諧) 의 사평(史評)에 대한 고찰 1. 머리말 ······························································································· 11 2. 소화집과 사평(史評) ·········································································· 13 3. 명엽지해 와 사평 ············································································ 18 4. 맺음말 ······························································································· 33 ■ 소화집에 나타난 찬자의 소화의식 1. 서언 ·································································································· 37 2. 소화의식의 형성과 고려시대 잡록 ····················································· 40 3. 소화의식의 발전적 전개 ···································································· 43 4. 소화의식의 확산과 심화 ···································································· 53 5. 소화의식의 의의 ··········································································...······ 59 6. 결어 ·································································································· 62 ■ 〈농부가(農夫歌)〉 고찰 1. 머리말 ······························································································· 65 2. 농업 종사 양반으로서의 작자 윤우병 ················································· 67 3. 작품에 나타난 농촌인식의 양상 ························································· 74 4. 작품의 서사성(敍事性)과 그 특징 ······················································ 83 5. 농촌가사로서의 〈농부가〉 의 성격과 위치 ········································· 87 6. 맺음말 ······························································································· 94 ■ 洪萬宗의 저술과 그 문학적 성격 1. 머리말 ······························································································· 97 2. 저술의 경향과 성격 ··········································································· 98 3. 구비문학에 대한 관심 ······································································ 108 4. 소화집의 저술과 그 의의 ································································· 117 5. 맺음말 ····························································································· 122 ■ 〈黃倡舞〉 연구 - 黃倡의 유래 문제를 중심으로- 1. 머리말 ····························································································· 125 2. 창작가면검무로서의 황창무(黃倡舞) ················································ 127 3. 황창무의 역사적 형성 동인 ······························································ 136 4. 황창(黃倡)담의 실체와 중국 유전 ···················································· 143 5. 황창(黃倡)담과 관창(官昌)담의 관련성 문제 ···································· 152 6. 맺음 ································································································ 159 ■ 〈兄弟投金〉형 설화의 한국 민담적 변모 1. 머리말 ····························································································· 163 2. 불전(佛典)에서 주목된 〈형제투금〉 설화의 의미 ······························ 166 3. 〈형제투금〉 설화의 한국 전승과 변모 ··············································· 169 4. 〈형제투금〉 설화에 나타난 민간 사고 ··············································· 185 5. 맺음말 ····························································································· 190 ■ 〈내복에 먹고 산다〉형 민담과 〈삼공본풀이〉 무가의 상관성 1. 머리말 ····························································································· 193 2. 〈내복에 먹고 산다〉 설화의 내용 ···················································· 195 3. 〈삼공본풀이〉의 내용 소개 ······························································ 199 4. 두 작품의 차이점과 의미 ································································· 208 5. 맺음말 ····························································································· 209 ■ 〈孝女知恩〉전과 〈貧女養母〉담 一考 ―사실의 ‘ 史傳’·‘史譚’적 인식과 서사적 성격― 1. 서언 ································································································ 211 2. 삼국사기 와 삼국유사 의 소재 인식과 서술원리 ·························· 213 3. 사전(史傳)과 사담(史譚) 양식으로서의 서술양상 ····························· 219 4. 주제 인식의 방향과 서사화 방식 ······················································ 225 5. 이념적 기반 위에서 본 서사적 성격 ·················································· 236 6. 결어 ································································································ 239 ■ 〈薛氏女〉 전의 극본적 성격 시고 1. 서론 ································································································ 243 2. 삼국시대의 연극적 상황에서 본 창작극본의 가능성 ························· 245 3. ‘전’으로서의 〈설씨녀〉 ····································································· 250 4. 〈설씨녀〉의 극본적 구성과 내용 ······················································ 261 5. 〈설씨녀〉의 주제와 시대배경 ··························································· 278 6. 결론 ································································································ 283 ■ 〈열녀시험〉형 설화의 유형적 성격과 열 인식의 의미 1. 서언 ································································································ 289 2. 자료 각편의 내용 검토 ····································································· 291 3. 서사적 특징과 의미 ········································································· 296 4. 열(烈) 인식의 태도로 본 주제의 의미 ··············································· 302 5. 열 윤리의 역사적 성격과 열녀시험담의 의의 ···································· 306 6. 결어 ································································································ 312 ■ 〈진정사 효선쌍미(眞定師孝善雙美)〉담 고찰 1. 서언 ································································································ 315 2. 편명과 제목으로 본 기록자의 주제 인식 방향 ··································· 317 3. 서사구조의 층위와 의미 ··································································· 321 4. 一然의 생애에서 본 효행담적 성격의 한 측면 ··································· 333 5. 일반효행담으로의 전환 가능성과 그 한계 ········································ 339 6. 결어 ································································································ 343 ■ 설화의 투식(套飾)적 표현 一考 1. 서론 ································································································ 347 2. 투식적 표현의 개념과 의미 ······························································ 350 3. 구연자(口演者) 및 자료 소개 ··························································· 358 4. 투식적 표현의 실현 양상과 기능 ······················································ 362 5. 투식적 표현과 설화의 전승원리 ······················································· 387 6. 구연자의 ‘이야기꾼’으로서의 면모와 투식적 표현의 한계 ················· 390 7. 결론 ································································································ 394 ■ 손진태의 구비문학 연구 1. 손진태 국학의 성격과 구비문학 연구의 위치 ···································· 399 2. 자료 수집의 성과 ············································································· 403 3. 연구의 방향과 성과 ········································································· 414 4. 요약과 전망 ····················································································· 428 ■ 참고문헌 ···························································································· 431 ■ 찾아보기 ···························································································· 439 ■ 수록 논문 게재 일람 ············································································ 452

위 유형담의 이해에서 가장 중요한 점은 ‘양심의 고백’이라는 방식에 의하여 열 인식 시각을 드러내 보이고 있다는 사실이다. 굳이 문제해결의 성패가 좌우되는 위기상황에서 고백 방식에 의해 주인공이 일말의 양심에 거리껴지는 사실을 고백하고 있음이나, ユ순간 박힌 못이 무사히 뽑히는 것으로 그리고 있음은, 주인공의 마음속에 일말의 꺼림칙한 일로 느끼고 있는 것이 실제는 열에 위배되는 것이 아님을 강조적으로 말해주려는 것이다. 이것은 다시 말해 열이 일상적 삶의 자연스런 욕구와 결코 유리된 것이 아니란 사실을, 그리고 그러한 삶을 떠나 이해되거나 평가될 문제가 아님을 보여준 것이라 할 수 있다.

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