중국 전통시기 笑話의 희극적 상상력과 심미의식 고찰 — ≪笑林≫, ≪啓顔錄≫, ≪笑府≫, ≪笑林廣記≫를 위주로
A Study on the Comic Imagination and Aesthetic Consciousness of ‘xiaohua(笑話)’ in Chinese Traditional Era
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In traditional China, objects of laughter in ‘funny stories’ get diversified as years pass. Also, laughter inducement elements of the characters which are the objects of the laughter revealed fragmentation, routinization, and universality. A discourse on funnie stories was expanded from the issue of sharing and communicating laughter itself by making human intrinsic problem situations as laughs, to the issue of being strenghthened in community order and social benefits. In other words, ‘funny stories’ act not only as fun itself, but also as a tool generating a social discourse. We can see comedy mostly in languages, bodies, actions, situations, and unusual characters. During Ming Qing period, funny stories in amusement of language focusing on language itself decreased and those using amusement of language as satires on social phenomenon increased. Once more, as an understanding in human and human body became deeper, funny stories utilized for social discourses appeared while we had fewer stories inducing laughter only by body conditions and function disorders. Specific characters and behaviors of various people could be fuctioned as key words for analyzing a society at that time. Related stories show common laughter-inducing mechanism and they are supposed to drive people’s re-creation. Originally, folk funny stories started to record funny simple stories. But now, it entered creation stage. This means they recognized beauty of laughter in social dimension, not only in personal dimension. Also, it is supposed to drive another folk funny story creation.
Abstract
In traditional China, objects of laughter in ‘funny stories’ get diversified as years pass. Also, laughter inducement elements of the characters which are the objects of the laughter revealed fragmentation, routinization, and universality. A discourse on funnie stories was expanded from the issue of sharing and communicating laughter itself by making human intrinsic problem situations as laughs, to the issue of being strenghthened in community order and social benefits. In other words, ‘funny stories’ act not only as fun itself, but also as a tool generating a social discourse. We can see comedy mostly in languages, bodies, actions, situations, and unusual characters. During Ming Qing period, funny stories in amusement of language focusing on language itself decreased and those using amusement of language as satires on social phenomenon increased. Once more, as an understanding in human and human body became deeper, funny stories utilized for social discourses appeared while we had fewer stories inducing laughter only by body conditions and function disorders. Specific characters and behaviors of various people could be fuctioned as key words for analyzing a society at that time. Related stories show common laughter-inducing mechanism and they are supposed to drive people’s re-creation. Originally, folk funny stories started to record funny simple stories. But now, it entered creation stage. This means they recognized beauty of laughter in social dimension, not only in personal dimension. Also, it is supposed to drive another folk funny story creation.
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