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KCI등재후보 학술저널

액자구조로 다시 쓴 ‘처용가’ 의미

신상성·김소진·구광본 소설을 중심으로

There is <Cheoyongga> which is composed by Cheoyong in King Heonkang 49th of the Sinra Dynasty. This is mentioned on the article of Cheoyongrang in 『Samgukusa』. Cheoyong who is son of a dragon get followed King Heonkang to come Seoul. He is obtain a government position, One day, he does sing the song against Yeoksin who is raped Cheoyong s wife then to get leaved himself at last. This paper is intended to study meanings through 「Cheoyongga」 on the Frame-structure to center above contents on works which are re-written Cheoyong Myth by Shin, Sangsung, Kim, Sojin, Gu, Kwangbon. Firstly, there is a important motive from a work by Shin, Sangsung who wrote 「Laughter of Cheoyong」. He has interpreted laughter into renunciation and tolerance in the work through rewriting Cheoyong Myth. Specially, he has expressed a insertion form that is performed on psycho-drama with ‘laughter of Cheoyong with the frame-structure in his. Secondly, Kim, Sojin has juxtaposed two minds whose Cheoyong in King Heonkang and Cheoyong in present to use the frame-structure in his work 「A Fragment of Cheoyong」. Thirdly, Gu, Kwangbon has juxtaposed the frame-structure as a novel into the novel 「Where Do We See Cheoyong Again」 which is showed Cheoyong to the Messiah as the salvation of the end In conclusion, it seems that those have been expressed three writers to highlight effect of the works to juxtapose double frame for organic function complexly through imagination of writers.

Ⅰ. ‘처용가’의 의미와 액자구조로 다시 쓴 ‘처용가’

Ⅱ. 심리적 기능과 결말 액자로서 작중 사이코드라마 ‘처용의 웃 음소리’ -신상성의 소설 <처용의 웃음소리>(1981)

Ⅲ. 체념과 관용의 동일시 심리와 이중교차 액자로서 작중 희곡 ‘처용단장’ -김소진의 소설 <처용단장>(1993) Ⅳ. 시대구원의 메시아 구현과 중첩 액자로서 작중 소설 ‘처용은 노래한다’ -구광본의 소설 <처용을 어디서 다시 볼꼬>(1994)

Ⅴ. ‘처용’ 신화의 액자구조 구형과 의미확장 기능

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