판소리 서사에 나타나는 가족주의의 의미

Abstract

The meaning of familism portrayed in Pansori lies in its accurate depiction of the social reality, particularly the evolving nature of "family," in the second half of the Joseon period. The second half of the Joseon period witnessed the emergence of a new form of familism, often referred to as "family-centeredness" or "expanded familism," which was intertwined with the strengthening of the state's control over rural communities (hyangchon) and the declining economic power of provincial noble families. This led to the growth of familial consciousness and an expansion of the notion of family within both society and the nation. The household-centered awareness that appeared in the second half of the Joseon Dynasty and the newly emerging aspect of ‘family-centeredness’ can be confirmed in the Pansori narratives of ‘family novels’ and the literary branch that existed at the same time. The problems within a family were considered as issues affecting the nation itself, and in the framework of Confucian ethics prevalent in the contemporary society, all these problems were believed to be resolved. In the absence of the patriarch, a new patriarch emerged to ensure a smooth transition and maintain order within the family. The family ideology depicted in Pansori narratives can be described as "universal familism" or "family-oriented ideology." Universal familism, which views the family as the fundamental unit of society and emphasizes the happiness of family members within the collective happiness of the family as a destiny community, portrays the self-sacrificing individuals for the sake of the family. Pansori narratives expose the incompetence of the patriarch in a candid manner. The presence that replaces the exposed and inept male patriarch is embodied by the lower-class female protagonists. On the contrary, these lower-class female protagonists exhibit a strong adherence to the Confucian ethics and ideology of family values that were not bestowed upon them in the second half of the Joseon period. That is because they demonstrate an active determination to protect and establish their own families, taking the place of incompetent male patriarchs. It is highly likely that the display of Confucian ethical consciousness by the protagonists in Pansori narratives, or the internalization of those ethics, was primarily a means to establish and seek survival through family formation, rather than a strict adherence to Confucian ethics. It is possible to consider that the protagonists of Pansori literature, who seem to be exempt from the ethical consciousness demanded by contemporary society, actually draw upon the ethical consciousness of the ruling class, thereby highlighting the problematic aspects of the ruling class's social and political behavior.