십장가 대목의 전승과 변이 양상 연구

@article{ART001346318},
author={ 김동건 },
title={십장가 대목의 전승과 변이 양상 연구},
journal={국어국문학},
issn={0451-0097},
year={2009},
number={151},
pages={177-208},
doi={10.17291/kolali.2009..151.007},
url={http://dx.doi.org/10.17291/kolali.2009..151.007}

TY - JOUR
AU - 김동건
TI - 십장가 대목의 전승과 변이 양상 연구
T2 - 국어국문학
PY - 2009
VL -
IS - 151
PB - 국어국문학회
SP - 177-208
SN - 0451-0097
AB - This paper focuses on aspects, functions and transfigurations of the Sipjangga which is based on 109 different versions of Chunhyangjeon which mentions 『collection of different versions of Chunhyangjeon』. Generally, <Namwongosa> party’s versions have long type. Yet <Namwongosa> and the Chunhyangjeon which published by Donam have difference that the Sipjangga locates on the stage Chun Hyang raved against Byun magistrate before she had punished. The Gyeongpanbon (published from Seoul and Gyeonggi area) which is similar to <Namwongosa> doesn’t include the Sipjangga except the 35 collection. In comparison, Wanpanbon (published from Jeonju) party, such as the 26 collection, the 29 collection, the 33 collection and the 84 collection include the Sipjangga while the 29 collection (another name Byeolchunhyangjeon) contracts the Sipjangga so it doesn’t satisfy the aspect. <okjunghwa> is quite similar to the Wanpanbon party in that it expands 30 long type. But it is unique that includes Daejeontongpyeon after 5 chapter and the articles are very sophisticated, even the contents. Usually, song version articles follow <Okjunghwa> or Wanpan, but it has very different aspects from the contents and forms. The other versions for example, <Chunhyangga> which man sing, collected from Sin Jaehyo, the 59 jangbon (collection) collected from Jung Munyeon, <Chunhyangjeon> the 56 jangbon collected from Sa Jaedong (partly missing), <Byeolchunhyangjeon> the 70 jangbon collected from Sa Jaedong <Chunhyangjeon>, the 72 jangbon collected from Chungnam University <Chunhyangjeon>, the 94 jangbon collected from Park Sunho <Byeolchunhyangjeon> form also a different version. The Sipjangga is the essential part of Chun Hyang. The resistance of Chun Hyang are not only the essentiality of love and struggling for freedom but also critical cohesion from the subject which is against to Byun magistrate. Therefore The Sipjangga contains variety of voice and main theme. And it focuses on the narrative function after five chapter causes that contract the story or just pay attention to words playing. On the other hand, even short version it eliminates all. But some other manuscripts show sincere emotion that Chun Hyang’s desperate waiting and desire to Lee Mongryong. In brief, the Sipjangga is very important part of Chunhyangga which shows coherence main subject. And also it has variety aspects. However it doesn't exist inherently, it extends its importance during transmission and transition.
KW - 춘향가, 십장가, 변이와 전이, 계급 저항
DO - 10.17291/kolali.2009..151.007
UR - http://dx.doi.org/10.17291/kolali.2009..151.007
ER -

김동건 (2009). 십장가 대목의 전승과 변이 양상 연구. 국어국문학, 151, 177- 208.

김동건 . 2009, “십장가 대목의 전승과 변이 양상 연구”, 국어국문학, no. 151, pp. 177-208. Available from: doi:10.17291/kolali.2009..151.007

김동건 “십장가 대목의 전승과 변이 양상 연구” 국어국문학 151 pp. 177-208 (2009): 177.

김동건 . 십장가 대목의 전승과 변이 양상 연구 국어국문학 [Internet]. 2009; 151: 177-208. Available from: doi:10.17291/kolali.2009..151.007

김동건 . “십장가 대목의 전승과 변이 양상 연구” 국어국문학 no.151 (2009): 177-208. doi: 10.17291/kolali.2009..151.007

홈 권호 목록 논문 목록 논문 상세

십장가 대목의 전승과 변이 양상 연구

국어국문학

약어 : -

2009, no.151, pp.177 - 208

DOI : 10.17291/kolali.2009..151.007

발행기관 : 국어국문학회

연구분야 : 한국어와문학

김동건¹

¹경희대학교

인용한 논문 수 : 7 서지 간략 보기

초록

This paper focuses on aspects, functions and transfigurations of the Sipjangga which is based on 109 different versions of Chunhyangjeon which mentions 『collection of different versions of Chunhyangjeon』. Generally, <Namwongosa> party’s versions have long type. Yet <Namwongosa> and the Chunhyangjeon which published by Donam have difference that the Sipjangga locates on the stage Chun Hyang raved against Byun magistrate before she had punished. The Gyeongpanbon (published from Seoul and Gyeonggi area) which is similar to <Namwongosa> doesn’t include the Sipjangga except the 35 collection. In comparison, Wanpanbon (published from Jeonju) party, such as the 26 collection, the 29 collection, the 33 collection and the 84 collection include the Sipjangga while the 29 collection (another name Byeolchunhyangjeon) contracts the Sipjangga so it doesn’t satisfy the aspect. <okjunghwa> is quite similar to the Wanpanbon party in that it expands 30 long type. But it is unique that includes Daejeontongpyeon after 5 chapter and the articles are very sophisticated, even the contents. Usually, song version articles follow <Okjunghwa> or Wanpan, but it has very different aspects from the contents and forms. The other versions for example, <Chunhyangga> which man sing, collected from Sin Jaehyo, the 59 jangbon (collection) collected from Jung Munyeon, <Chunhyangjeon> the 56 jangbon collected from Sa Jaedong (partly missing), <Byeolchunhyangjeon> the 70 jangbon collected from Sa Jaedong <Chunhyangjeon>, the 72 jangbon collected from Chungnam University <Chunhyangjeon>, the 94 jangbon collected from Park Sunho <Byeolchunhyangjeon> form also a different version. The Sipjangga is the essential part of Chun Hyang. The resistance of Chun Hyang are not only the essentiality of love and struggling for freedom but also critical cohesion from the subject which is against to Byun magistrate. Therefore The Sipjangga contains variety of voice and main theme. And it focuses on the narrative function after five chapter causes that contract the story or just pay attention to words playing. On the other hand, even short version it eliminates all. But some other manuscripts show sincere emotion that Chun Hyang’s desperate waiting and desire to Lee Mongryong. In brief, the Sipjangga is very important part of Chunhyangga which shows coherence main subject. And also it has variety aspects. However it doesn't exist inherently, it extends its importance during transmission and transition.