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ABSTRACT 8
I. 서론 11
1. 연구의 목적 11
2. 선행 연구의 검토 12
3. 연구범위 및 방법 18
II. 등장인물의 형성배경과 인물유형 21
1. 등장인물의 형성 배경 21
가. 종교적 측면 21
나. 정치적 측면 26
다. 사회·문화적 측면 31
2. 등장인물의 유형 34
가. 승려형 인물 35
나. 양반형 인물 50
다. 하인형 인물 62
라. 처첩형 인물 76
III. 등장인물의 역할과 갈등 84
1. 승려들의 파계와 달관 84
가. 노장의 달관 84
나. 취발이의 음모 92
다. 팔목중의 회개 99
2. 반상의 대립과 타협 106
가. 양반의 허세 106
나. 말뚝이의 대립 117
다. 홍동지의 저항 126
3. 여성의 욕망과 해원 131
가. 할미의 해원 131
나. 꼭두각시의 초월 135
다. 덜머리집의 욕망 138
IV. 등장인물에 나타난 인생관 142
1. 현세 중심적 사고 142
2. 욕망의 행동적 표출 149
3. 종교적 초월 정신 157
V. 결론 166
참고문헌 171
〈표-1〉 가면극의 지역별 과장구성과 유형분류 35
〈표-2〉 승려형 인물의 등장과장과 등장인물 36
〈표-3〉 승려형 인물의 등장 지역과 역할 39
〈표-4〉 비승려형 인물의 등장지역과 역할 39
〈표-5〉 양반형 인물의 등장과장과 등장인물 51
〈표-6〉 양반형 인물과 하인형 인물의 명칭 54
〈표-7〉 양반과장의 지역별 내용 68
〈표-8〉 처첩형 등장인물 77
〈표-9〉 본처와 첩의 명칭 80
〈표-10〉 현세 중심적 가치 144
〈표-11〉 욕망의 표출과 대상 150
〈표-12〉 초월적 행동과 인물 158
〈표-13〉 등장인물에 나타난 인생관 164
초록보기 더보기
This study analysed points of views of characters in Korean mask dramas and folk puppetry and the results are presented as follows.
Chapter Ⅱ identified the backgrounds and types of characters in mask dramas and puppetry in aspects of religion, politics, society and culture.
In a religious aspect, the ceremonial dance was influenced by folk religion, and monks and the elderly people were performed by monk clowns according to nomenclature of monks. Characters shown in a political aspect reflected reality of the time when the structure of society was confusing, consciousness of common people grew enlightened, and a status system was collapsed. In a social and cultural aspect, appearance of wives and concubines was a reflection of contradictory customs of men-oriented society with a purpose of criticizing absurd social systems.
Second, this study categorized the types of characters as follows: monk, nobleman, servant and wives and concubine. The monk type characters were sub-divided into monk and non-monk. The monk type was sub-divided into a master and a monk who is first in line to succeed his master and non-monk type was sub-divided into Chibari, Palmokjung and Omjung. The nobleman type characters were sub-divided into nobleman, governor of Pyeongyang, an old man and Mr. Park. The servant type characters were sub-divided into Maltuki, Swetuki, Hongdongji and a head of the police bureau. The concubine type characters were wives and concubines appearing in traditional dramas.
Chapter Ⅲ examined functions of characters and their conflicts in traditional dramas.
Paragraph 1 analysed words, movements and props to identify what the monk type characters intended to say through returning to a secular life and renunciation of Buddhism.
A master delivers teachings of Buddhism and educated the common people. He was corrupted after seeing a secular person named Somu. Chibari, who symbolizes opposition between classes, is a main culprit to lead the master to corruption and a secular person who took Somu through struggles with the master. Palmokjung, a secular and entertaining person, speaks for naturally-friendly emotion of ancestors by describing natural sceneries using ancient writing.
Paragraph 2 analysed functions of characters as noblemen and servants and their conflicts.
The nobleman in mask dramas was a fake nobleman who was insulted by servants. As a spokesperson, Maltugi appeared and parodied the nobility with reversed status to criticize absurd social aspect of that time. Hongdongji was designed to resists against institutional conception, and parody falsehood and inability of government officials actively. It was a challenge to existing order and parodied the power of the people which criticized status privileges and immorality of the ruling class.
Paragraph 3 identified functions of wives and concubines who represented women in feudal system of patriarchy. Wives and concubines in mask dramas were to criticize contradictory society controlled by Confucian patriarchy. The opposition between wives and concubines reflected aspects of the minority who was oppressed in institutionalized society due violence of household heads. Kkokdugaksi projects an image of active woman who had modern inclination to escape absurd reality and opposing barriers.
Chapter Ⅳ analysed the present-oriented thinking, behaviors to pursue desires and religious transcendentalism.
First, the present-oriented thinking of characters in traditional dramas was derived from folk religion with weak concept of life after death. Corruption of monks, opposition between servants and nobleman, and struggles to have men between wives and concubines were symbolic expression of the present-oriented thinking of that time.
Second, behaviors to pursue desires of characters in traditional dramas were basic needs of human. They include desires to achieve safety and fortune, sexual desires. and those to protect and deprive their authority.
Third, traditional emotion of characters in traditional dramas was to pursue basic desires, prosperity and pleasure. However, they left all the desires to return to religion or nature.
This study has meaning in that universal emotion of the people at that time was identified and the results provided a clue for legitimacy of our dramas. However, this study has a limit in that it was indirect experience of mask dramas through performances. Further studies on composition of traditional dramas will be developed.
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