장주근(張籌根, 1925-2016)의 학문과 사상

Abstract

This paper discusses the academic legacy and ideological studies of Jang Ju-geun. Jang Ju-geun's academic studies, which have firmly established a certain academic status in Korean folklore scholarship, started from the study of materials. He faithfully discovered materials as examples, refined them academically, and developed academic inferences, and put effort into increasing the level of theoretical perfection. In addition, he explored the possibility of developing the studies discovered in this way into the theory of international comparative culture and presenting them to the world. The academic achievements he achieved are invaluable, and the studies themselves greatly contributed to the Korean literature and folklore studies. The discovery of Jang Ju-geun's academic materials was the bonpuri sung by shamans in gut. It was Jang Ju-geun who established Bonpuri academically, and the fact that he named and discussed this subject from various angles and introduced it as Bonpuri, epic shamanism, and shamanistic myths is evidence that he did not stop at material studies but used them as new theoretical bridgeheads. Jang Ju-geun developed material studies with the sincerity of a farmer while working in the primary industry. He unearthed materials and seriously pondered what significance they had, not stopping at the individuality of the materials. He clearly maintained the idea that this epic shamanism continued and changed throughout ancient times, the Middle Ages, and modern times. The fact that he confirmed various sources and made a groundbreaking change to it was a special aspect that overcame positivism that was different from traditional studies and also different from the neo-nationalist academic style. It is strictly related to the discussion of folk songs by Go Jeong-ok(高晶玉) of the Korean Language and Literature Society. In particular, it is different from the official academic positivism that has degenerated into material verification, and it is also distinct from the theory of the neo-nationalist school that historically the groups of the upper and lower classes maintained the same course. He made it clear that the upper and lower classes clearly oppose each other and have aspects that are harmonious yet conflicting. This is Jang Ju-geun's scholarship and method. Jang Ju-geun's scholarship can be metaphorically said to have engaged in the secondary industry from this perspective. Jang Ju-geun said that indigenous Korean interpretation has a particularly important meaning, and he delved deeply into the combination of shamanism and Buddhism, a foreign religion, seen in East Asian civilization. He compared and discussed the phenomena achieved in China's Gangchang and Sokgang, Korea's Hwacheong and Gangchang(講唱), and Japan's Changdomunye(唱導文藝), and developed it into a theory of universality that expands it into a literary tradition of fusion of shamanism and Buddhism. He also noted that Korea’s materials are more expansive and in-depth than those of other nations and are still continuously developing and changing. This has the tertiary industry nature of Jang Ju-geun's theory. He did not forget to combine these processes into one and project them into a folk museum and process them. Jang Ju-geun created a simple theory but one that resonates greatly. This requires work to correct it, and it emphasizes the need to emphasize the single branch called oral epic, and at the same time, to systematically develop this theory, the need to emphasize the opposition and fusion of the oral epic, historical continuation and change. It became the task of later scholars to develop the theory. It has a historical and academic status that it was raised as a new theory while reflecting on the fact that the creations of the people have true power in folk entertainment or folk art based on his own experience of the division of the North and South.