판소리의 소상팔경 모티프와 주제적 수용

• 영문명: A Study on Eight Views from the Xiao and Xiang Rivers Motif of Pansori and its Thematic Acceptances
• 발행기관: 한국언어문학회
• 저자명: 하성운(Ha, Seong-woon)
• 간행물 정보: 『한국언어문학』韓國言語文學 第106輯, 123~150쪽, 전체 28쪽
• 주제분류: 어문학 > 한국어와문학
• 파일형태: PDF
• 발행일자: 2018.09.30

영문 초록

This study aimed to examine how the Eight Views from the Xiao and Xiang Rivers motif was accommodated and transformed in pansori. The Eight Views from the Xiao and Xiang motif, which was formed in China, was introduced during the Goryeo Dynasty and was widely spread during the Joseon Dynasty. The literary styles using the Eight Views from the Xiao and Xiang motif became more diverse in Korea than in China. While it is limited to paintings, Chinese poetry, and the Sa Chinese style of writing, it was expanded into Korean literature styles including sijo, lyrics, and folk songs. In addition, the Eight Views from the Xiao and Xiang motif accomplished a unique literary goal by combining with pansori. When Eight Views from the Xiao and Xiang Rivers motif was identified based on pansori five gardens, excluding , it was established in Imperial Tomb Dream Saseol in , Beompeejungryoo , The Eight Views from the Xiao and Xiang Rivers , and Spirit Passage in , Jebinojeonggi in , and Gogocheonbyun in . The following is the summary of the characteristics of the Eight Views from the Xiao and Xiang Rivers motif in these sori passages. When the Eight Views from the Xiao and Xiang Rivers motif was introduced in Korea, it was transformed in various ways and was passed on. In Gogocheonbyun of , Jebinojeonggi of , and The Eight Views from the Xiao and Xiang Rivers Song of , together with beautiful scenery, bright and leisurely elegant beauty, originally symbolized by Eight Views from the Xiao and Xiang Rivers motif, stood out. On the other hand, in Imperial Tomb Dream Saseol of and Beompeejungryoo and Spirit Passage of , together with sorrow through the Princesses of Xiang, frequently embodied in Night Rain in Xiaoxiang of the Eight Views from the Xiao and Xiang Rivers, tragic beauty was being maximized. In the former case, Autumn Moon over Dongting Lake , Returning Sail from Distant Shore , and Wild Geese Alighting on Sand motifs which contained beautiful scenery of the Eight Views from the Xiao and Xiang Rivers were used and in the tragic scenes of and , Night Rain in Xiaoxiang of the Eight Views from the Xiao and Xiang Rivers was used as the motif. Meanwhile, these Eight Views from the Xiao and Xiang Rivers motifs were individual, did not operate independently in pansori works, reiterated, and were used repeatedly. Thus, the Princesses of Xiang motif of Night Rain in Xiaoxiang in was repeated in Beompeejungryoo , The Eight Views from the Xiao and Xiang Rivers Song , and Spirit Passage in and continued in the passages of and . These were orally transmitted over a long period of time and had a lot to do with compiling artistic styles of pansori. However, they were the reason why the Eight Views from the Xiao and Xiang motif was widely established during the late Joseon Dynasty.

목차

1. 머리말

2. 소상팔경 모티프와 판소리의 전승

3. 판소리와 소상팔경 모티프의 주제적 수용

4. 맺음말 – 문예사적 검토와 함께-

키워드

Eight Views from the Xiao and Xiang Rivers pansori Imperial Tomb Dream Saseol Beompeejungryoo Jebinojeonggi Gogocheonbyun Night Rain in Xiaoxiang Imperial Tomb Plea