역사 인물 이야기의 연행과 공동체 경계 구성

Abstract

The performance of orally transmitted stories is based on community. The key motivation for the communal performance is to pass on the values and rules of the community and to maintain the community itself by doing so. The stories about historical people, together with the stories related to geology and names of geography, constitute the most favored list of performance by male performers who want to carry on the history and tradition of their community. The stories about the people who really existed in the community strengthen the community's solidarity, and those who are given the right to convey the stories are included in the story telling arena. It means that only those who have special authority for storytelling can participate in the performance. The performance of the stories about historical people hence promotes the community with a 'closed boundary' led by the group of all male members. This community does not allow its female members to have an opportunity to participate. The stories of the historical people present a special sense of pride to the members of the community and give them a qualification to take part in the performance as members of the community. When all male members with the same background from the same region consists of a 'closed community' through the performance of stories about the historical people, the stories become recognized as a kind of cultural resource and a discoursive resource that are valued as part of the community. The foundation that supports the performance and transmission of the stories of historical people has been misunderstood as the "historical substantiality" of the characters and events of the stories. The subject of performance has a certain faith in the veracity of the characters and events of the relevant story. And that faith explains the heart of pride in the community. However, the faith is based not on the substantiality of the characters and events of the story, but on the tradition and authority of the story, and the qualification and authority of the storyteller. What is important to the subject of performance is not to illuminate whether there is the substantiality of the characters and events, but to reveal the attitude of truly believing in the story presented by the performance, to sustain their the right bestowed upon by the community and the good relationship among the performers, and to reproduce the solid faith and pride in the history and tradition of the community that the story represents.