영웅소설 속 찬탈화소의 구성 방식과 존재 양태

Abstract

In order to examine that the motifs of heroic novels would reveal the individual aspect by maintaining the norms of genre, this thesis reviewed the motif of usurpation shown in <Chowoong- Jeon>, <Nam Jeong’s Eight Adversities>, <Janggyung-Jeon>, and <Hwangun-Jeon>. The motif of usurpation means a series of narrative development aspect happened when an antagonist usurps the imperial throne. The direction of discussion could be largely divided into two kinds. First, the method of composition was reviewed. Even though the motif of usurpation in heroic novels was originated from a historical event or the literary custom of the previous generation handling a historical event, it was completely merged into the prospect of genre. Therefore, the historical/ philosophical context of usurpation is erased or reduced while putting emphasis on the ‘intensification of crisis’ as a narrative function. The core of the crisis is based on the ‘antagonist=son of Heaven’. Therefore, after securing a cause by saving the dethroned emperor, the main character overcomes the crisis by gathering the power and then winning the fight with the antagonist’s force. In short, the motif of usurpation in heroic novels is inevitably composed of an antagonist’s usurpation, the main character’s rescue of the dethroned emperor, and the fight between the main character and antagonist. Next, the existential aspect of the motif of usurpation shown in those three works was concretely examined. In case of <Chowoong- Jeon>, the motif of usurpation was used as a means to extremely broaden the gap between the antagonist and main character. Through this, the process of narrowing this gap is concretely and interestingly shown as the hero is growing in phases. The motif of usurpation in <Nam Jeong’s Eight Adversities> occurs in order for Hwanggeuk and his colleagues to obtain a cause and authority to overcome the existing power system and then to newly seize the hegemony of power. Especially, by urgently and vividly describing the war heroes’ performances, eventually, Hwanggeuk’s heroic aspect is expanded more. Meanwhile, the motif of usurpation in <Hwangun-Jeon> is shown in the latter half dealing with the conflict composition between Hwangun/Seolyeon in the top-level of power and the imperial family who is jealous of it. Here, the author solidifies Hwangun’s cause and authority by inserting the process of saving the dethroned emperor who accepted the imperial family’s usurpation and Zhao’s orphan.