<황제풀이> 무가 연구 -타 문학 장르와의 교섭양상을 중심으로-
A Study on shaman’s song(Muga, 巫歌), <Hwangjepuri> -With a focus on the aspect of relationship with other literature genres-
0
조회
0
다운로드
11
인용
0
참고문헌
키워드
초록
<Hwangjepuri> which is a shaman’s song played in Seoul Gut is not a shaman’s song known to all shamans in Seoul, but it has been passed down only to some shamans. Also, since Seoul Gut itself has been changing, the reality is that the shaman’s song, <Hwangjepuri>, tends to be gradually vanished. In this paper, the researcher closely reviewed how this shaman’s song, <Hwangjepuri> is organized and what the contents are, also investigated focusing on what aspect of this Muga is related to other literature genres in the late Joseon Dynasty. In <Hwangjepuri>, some contents are similar to Pansori like ‘Jibanchijang sogae’ – a ritual song for introduction of the deity of each room, or the story reflects the realities of society in the late period of Joseon, while sharing the same form as ‘Nojeonggi(路程記, record of a journey). It also includes the contents that describe a man’s ideal life which was described in the Gasa(or narrative poem, 歌辭) like ‘Tales of Man’s Life’ or that was depicted in the Picture of a Man’s Life, pronounced,‘Pyeongsaengdo(平生圖)’ in Korean. Through this, the researcher could have confirmed that this shaman’s song was formed having exchanged influential relationships with many other genres in the late Joseon Dynasty. As the reason for those exchanges were possible, the researcher believes that such a liberal attitude to various cultures which was embedded in the Shaman’s song and situation in the society in the late Joseon Period where a variety of cultural genres coexisted had played important roles as major influential factors that affected even shaman’s song. It seems that this Shaman’s song was quite adaptive itself to society, especially to shamanist circle, for it had been formed while sharing the contents which were prevailed and popular in various genres in the late Joseon Period. In the meantime, however, along with the trend of the times being epitomized as the decline of Seongju Shinang, Korean traditional indigenous religion involving god-of-home, <Hwangjepuri> has gone being unable to survive in Seoul Gut because of the method to recite, and the roles in the ritual and ceremony instead.
Abstract
<Hwangjepuri> which is a shaman’s song played in Seoul Gut is not a shaman’s song known to all shamans in Seoul, but it has been passed down only to some shamans. Also, since Seoul Gut itself has been changing, the reality is that the shaman’s song, <Hwangjepuri>, tends to be gradually vanished. In this paper, the researcher closely reviewed how this shaman’s song, <Hwangjepuri> is organized and what the contents are, also investigated focusing on what aspect of this Muga is related to other literature genres in the late Joseon Dynasty. In <Hwangjepuri>, some contents are similar to Pansori like ‘Jibanchijang sogae’ – a ritual song for introduction of the deity of each room, or the story reflects the realities of society in the late period of Joseon, while sharing the same form as ‘Nojeonggi(路程記, record of a journey). It also includes the contents that describe a man’s ideal life which was described in the Gasa(or narrative poem, 歌辭) like ‘Tales of Man’s Life’ or that was depicted in the Picture of a Man’s Life, pronounced,‘Pyeongsaengdo(平生圖)’ in Korean. Through this, the researcher could have confirmed that this shaman’s song was formed having exchanged influential relationships with many other genres in the late Joseon Dynasty. As the reason for those exchanges were possible, the researcher believes that such a liberal attitude to various cultures which was embedded in the Shaman’s song and situation in the society in the late Joseon Period where a variety of cultural genres coexisted had played important roles as major influential factors that affected even shaman’s song. It seems that this Shaman’s song was quite adaptive itself to society, especially to shamanist circle, for it had been formed while sharing the contents which were prevailed and popular in various genres in the late Joseon Period. In the meantime, however, along with the trend of the times being epitomized as the decline of Seongju Shinang, Korean traditional indigenous religion involving god-of-home, <Hwangjepuri> has gone being unable to survive in Seoul Gut because of the method to recite, and the roles in the ritual and ceremony instead.
참고문헌 (31)
- 구수영, "남자가고", 논문집, Ⅷ(2) (1981), 충남대학교 인문과학연구소
- 김은희, "서울굿 뒷전의 연희적 성격 연구- 성주받이의 갖인뒷전을 중심으로 -", 한국음악사학보, (33), pp.237~274 (2004), 한국음악사학회
- 김태곤, "한국무속연구" (1980), 집문당
- 김태곤, "한국민간신앙연구" (1983), 집문당
- 김태곤, "한국무가집 1" (1971), 집문당
- 김선경, "한양무속집(개정증보판)" (2007), 대웅
- 김헌선, "노정기의 서사문학적 변용", 석사, pp.1988
- 김헌선, "<창부거리> 무가의 성립 과정", 고전문학연구, 9 (1994), 한국고전문학회
- 김헌선, "판소리의 역사적 연구. in: 한국 구비문학사 연구" (1998), 박이정
- 김헌선, "서울굿의 다양성과 구조. in: 서울굿의 이해" (2007)
- 박경신, "무가의 작시원리에 대한 현장론적 연구", 박사, pp.1991
- 박경신, "한국 무가의 역사적 전개. in: 한국 구비문학사 연구" (1998), 박이정
- 박연호, "<남자가>에 제시된 조선후기 중간계층의 삶과 그 의미", 한국언어문학, (65), pp.267~286 (2008), 한국언어문학회
- 서대석, "판소리와 서사무가의 대비연구", 한국문화연구논총, 34 (1979), 이화여대
- 서대석, "판소리의 전승론적 연구", 현상과 인식 (1979)
- 서유석, "판소리와 춘화에 나타나는 성묘사(性描寫)의 이면(裏面)", 우리어문연구, (28), pp.159~192 (2007), 우리어문학회
- 손태도, "조선 후기의 무속", 한국무속학, (17), pp.189~270 (2008), 한국무속학회
- 양종승, "양종승 소장 ≪황제풀이≫ 필사본", 민속학 연구, 9 (2001), 국립민속박물관
- 이선주, "한국의 굿 Ⅱ·Ⅲ" (1989), 민속원
- 임재해, "안동문화와 성주신앙" (2002), 안동시
- 전경욱, "춘향전의 사설형성원리" (1990), 고려대학교 민족문화연구소
- 정충권, "<흥부전>의 형성과 성조신앙·<성조가>. in: 흥부전 연구" (2003), 도서출판 월인
- 조해숙, "근대전환기 국문시가의 장르적 변환과 근대성-≪초당문답가≫를 중심으로-", 고전문학과 교육, (8), pp.225~264 (2004), 한국고전문학교육학회
- 赤松智城, "조선무속의 연구" (1991), 동문선
- 하효길, "남이장군사당굿" (2008), 민속원
- 허용호, "19세기 무속에 대한 '반성적 연행'의 성행과 그 민중문화적 의미", 한국무속학, (19), pp.131~164 (2009), 한국무속학회
- 홍태한, "굿판의 변화와 무가 연구의 방향 설정", 구비문학연구, (15), pp.113~138 (2002), 한국구비문학회
- 홍태한, "한국의 무가 1" (2005), 민속원
- 홍태한, "한국의 무가 3" (2005), 민속원
- 홍태한, "우리 무당굿의 세계" (2009), 민속원
- 최성희, "19세기 평생도 연구", 미술사학, 16 (2002), 한국미술사교육학회
