韓國의 敍事民謠와 英美의 포크밸러드에 나타난 主題의 比較分析

Abstract

이 論文의 目的은 한국이 서사민요와 영미의 포크 밸러드의 공통점 특히 공통적인 주제를 파악해 내는 것이다 .제 Ⅰ장은 本 硏究의 意義와 目的 그리고 양자의 硏究 現況을 밝혔다. 제Ⅱ장은 양 장르의 주제분류와 등장인물의 對比를 하였으며, 제Ⅲ은 양자의 敍事장르로서의 공통적 특성을 추출하였다. 제Ⅳ장은 社會的,文學的 觀點에서 조동일이 수집한 서사민요를 19개 하위유형을 나누어 그 의미를 춪거하였으며, 제Ⅴ장에서는 英美文化圈에서 가장 인기있다고 하는 7개의 밸러드를 같은 관점에서 논하였다.

本 硏究의 結論은 다음과 같다.

1.한국의 학자들은 서사민요를 "農村女性"의 "길쌈 노동요"라고 단정짓고 있으나 그 槪念이 매우 狹義的이다. 서사민요의 범주에는 진정한 서사 變愛謠뿐만 아니라 超自然的, 宗敎的인 敍事巫歌 및 歷史的인 背景을 갖는 참謠와 諷笑謠의 一部가 포함될 수 았다. 男性謠 중에서 樵夫謠, 어부요, 牧?謠와 그외에도 設話謠, 歌辭的 民謠 중에서 서사민요를 발견할 수 있다.

2.外觀上의 팬터지적인 요소에도 불구하고 양 장르는 寫實主義的인 詩로 規定할 수 있다.

3.주제해석의 열쇠는 겉으로 드러나는 이야기의 결말에 있지 않고 唱者 및 聽者로서의 民의 態度이다. 은 이것을 民의 "情緖的 核心"이라고 하였다.

4.社會的인 觀點에서 보면 兩 장르의 共通主題는 封建的.家父長的 道德律에 대한 民의 抗拒이다.

5.文學的인 觀點에서 보면, 兩者의 共通主題는 悲劇的 現實을 극복하고 人間性의 解放을 성취하려는 民의 意志이다.

6.그 주제는 具體的으로 다음과 같이 分類될 수 있다 : 觀念的인 生活方式이 아닌 實用的이고 經驗的인 生活方式의 表明, 黃金萬能主義가 아닌 人道的인 價値評價, 規制와 抑壓이 아닌 自由와 平等 精神의 高揚, 잔인무도한 복수와 보복이 아닌 寬容과 容恕, 性的인 방종이 아닌 자유롭고 건강한 性 等.

7.一船的인 情緖는 비관적인 자포자기가 아니라 낙관적인 발랄함이며, 절망적인 點從이 아니라 희망에 찬 實踐主義라고 본다.

The purpose of this paper is find out the common themes of Korean and Anglo-american narrative folk songs. Chapter I deals with significance and the aims of the study, and its developments in Korea, the U.K. and the U.S.A. Chapter Ⅱ survey the classifications and the characters of the two genres. ChapterⅢ examines the common characteristics of the two as narrative songs. ChapterⅣ investigates, from the social and literary points of view, the meanings of nineteen subtypes of sosaminyo(Korean narrative folk songs), collected by Cho, Dong-I1, ChapterⅤ examines the meanings of the most popular seven ballads.

The conclusions are as follows:

1.Korean scholars define sosaminyo s "a weaving song" of "women in the rural villages." The definition is very struct. Categories of sosaminyo may be extended, beyond true love songs, to part of the supernatural and religious shaman's narratives and part of the historical predictions and satires of the folk. And sosaminyo could include some of masculine work sons-those of woodcutters, seamen and herdboys-as well as some of legendary narratives and odes.

2.Depite the seemingly fantastical elements, both genres may be defined as realistic poetry.

3.The key to the interpretation of themes is not the literal meanings of the story but the singer's and listener's attitudes toward the story. T.Coffin, called it "emotional core."

4.From the social point of view, the common theme of the two genres is the protest against the feudal and patriarchal moralities.

5.From the literary point of view, it is the will to overcoming of tragic realities and to the liberation of humanity.

6.Teh themes are classified as follows: not idealistic ways of life but practical and experiential ones, not mammonish ecaluaion but humanitarian one, not brutal revenge but forgiveness, and sexual licentiousness but sexual freedom.

7.The dominant emotions and feelings in both narrative folk songs are not pessimistic resignation but optimistic liveliness, and not desperate passiveism but hopeful activism.

The purpose of this paper is find out the common themes of Korean and Anglo-american narrative folk songs. Chapter I deals with significance and the aims of the study, and its developments in Korea, the U.K. and the U.S.A. Chapter Ⅱ survey the classifications and the characters of the two genres. ChapterⅢ examines the common characteristics of the two as narrative songs. ChapterⅣ investigates, from the social and literary points of view, the meanings of nineteen subtypes of sosaminyo(Korean narrative folk songs), collected by Cho, Dong-I1, ChapterⅤ examines the meanings of the most popular seven ballads.

The conclusions are as follows:

1.Korean scholars define sosaminyo s "a weaving song" of "women in the rural villages." The definition is very struct. Categories of sosaminyo may be extended, beyond true love songs, to part of the supernatural and religious shaman's narratives and part of the historical predictions and satires of the folk. And sosaminyo could include some of masculine work sons-those of woodcutters, seamen and herdboys-as well as some of legendary narratives and odes.

2.Depite the seemingly fantastical elements, both genres may be defined as realistic poetry.

3.The key to the interpretation of themes is not the literal meanings of the story but the singer's and listener's attitudes toward the story. T.Coffin, called it "emotional core."

4.From the social point of view, the common theme of the two genres is the protest against the feudal and patriarchal moralities.

5.From the literary point of view, it is the will to overcoming of tragic realities and to the liberation of humanity.

6.Teh themes are classified as follows: not idealistic ways of life but practical and experiential ones, not mammonish ecaluaion but humanitarian one, not brutal revenge but forgiveness, and sexual licentiousness but sexual freedom.

7.The dominant emotions and feelings in both narrative folk songs are not pessimistic resignation but optimistic liveliness, and not desperate passiveism but hopeful activism.