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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
It is estimated that the phenomenon lyrics can be inserted or accommodated in the epics is one of the conventional traditions in the Korean literature. From Hyang-ga, the old Korean Folk Ballads, which can be regarded as one of the inserted lyrics in the Samgukyousa, the history book of the three states in the old Korean period, to the insertion and developments of lyrics in the old novels and the inserted songs in pansori or the masque plays, the epic genres and the lyric genres are found out to be mixed and mutually used. The descriptive shamanistic songs must include both descriptive story and the shamanistic songs at the same time, and therefore show the characteristics of the mixture of both genres.
A lot of precedented studies have been done as to the characteristics of the inserted lyrics in the Samgukyousa and the function of the inserted lyrics in the old novels. Especially in the pansori, starting from the study of the inserted songs in Chunhyangjeon by Kim, Dong-uk, a lot of studies have been done. The studies on the inserted songs in the masque plays or the shamanistic songs have also been made but not yet thoroughly. In particular, in the genre of the shamanistic songs, there are a study on the single inserted song by Yee, No-hyeung and a study on the inserted songs in the 〈Bari the princess〉 which was the precedented part of this study, but have no more studies. This study is to investigate how the inserted songs are accommodated and accepted in the shamanistic songs associated with the pansori.
In the precedented studies, the terms 'the inserted lyrics' or 'the inserted songs' were used, but in this study, the term 'the accommodated songs(or the interactive songs)' will be used in that the songs are not inserted but accommodated in the descriptive contexts.
〈Bariddaeggi〉 and 〈Danggeumaegi〉, the representative shamanistic songs with the distribution all over the country are used as the main text of this study and among them the Jeolla-do version and the Eastern Coast of Gyeungsang-do version will be used to investigate the characteristics of the accommodated songs because they have versatile songs in them For 〈Bariddaggi〉, the fourteen Jeolla-do versions, eleven Gyeungdong versions, and five transcription versions will be used. And for 〈Danggeumaegi〉 twenty Jeolla-do versions and thirteen Gyeungsang-do versions will be used. The main text materials of this study are 〈Bari the Princess collection 1.2〉 by Kim, Jin-young and Hong, Tae-han and 〈the Danggeumaegi collection 1.2〉 by Kim, Jin-young, Kim, Joon-gi and Hong, Tae-han.
It is already found our that the descriptive shamanistic songs were transformed from the recited songs into the performed songs in front of the audience for attracting them. And in the case of the performed songs the accommodated songs are more often included, which means that the accommodated songs are accepted in the terms of interest and play. In the form of the descriptive shamanistic songs, the accommodated songs are often connected with the descriptive development of the story, but at times songs are inserted without any relation. These songs are mostly used toget the interest of the audience. The accommodated songs of the descriptive shamanistic songs are not completely got our of the descriptive development, play positive roles in the development, and in many cases are used the emotional expression devices.
The texts used in this study 〈Bariddaggi〉 and 〈Danggeumaegi〉 have the characteristics of the accommodated songs. In this respect, in the performance of the descriptive shamanistic songs, how the accommodated songs are used and what influence the accommodated songs have on the performance will be investigated.
A lot of precedented studies have been done as to the characteristics of the inserted lyrics in the Samgukyousa and the function of the inserted lyrics in the old novels. Especially in the pansori, starting from the study of the inserted songs in Chunhyangjeon by Kim, Dong-uk, a lot of studies have been done. The studies on the inserted songs in the masque plays or the shamanistic songs have also been made but not yet thoroughly. In particular, in the genre of the shamanistic songs, there are a study on the single inserted song by Yee, No-hyeung and a study on the inserted songs in the 〈Bari the princess〉 which was the precedented part of this study, but have no more studies. This study is to investigate how the inserted songs are accommodated and accepted in the shamanistic songs associated with the pansori.
In the precedented studies, the terms 'the inserted lyrics' or 'the inserted songs' were used, but in this study, the term 'the accommodated songs(or the interactive songs)' will be used in that the songs are not inserted but accommodated in the descriptive contexts.
〈Bariddaeggi〉 and 〈Danggeumaegi〉, the representative shamanistic songs with the distribution all over the country are used as the main text of this study and among them the Jeolla-do version and the Eastern Coast of Gyeungsang-do version will be used to investigate the characteristics of the accommodated songs because they have versatile songs in them For 〈Bariddaggi〉, the fourteen Jeolla-do versions, eleven Gyeungdong versions, and five transcription versions will be used. And for 〈Danggeumaegi〉 twenty Jeolla-do versions and thirteen Gyeungsang-do versions will be used. The main text materials of this study are 〈Bari the Princess collection 1.2〉 by Kim, Jin-young and Hong, Tae-han and 〈the Danggeumaegi collection 1.2〉 by Kim, Jin-young, Kim, Joon-gi and Hong, Tae-han.
It is already found our that the descriptive shamanistic songs were transformed from the recited songs into the performed songs in front of the audience for attracting them. And in the case of the performed songs the accommodated songs are more often included, which means that the accommodated songs are accepted in the terms of interest and play. In the form of the descriptive shamanistic songs, the accommodated songs are often connected with the descriptive development of the story, but at times songs are inserted without any relation. These songs are mostly used toget the interest of the audience. The accommodated songs of the descriptive shamanistic songs are not completely got our of the descriptive development, play positive roles in the development, and in many cases are used the emotional expression devices.
The texts used in this study 〈Bariddaggi〉 and 〈Danggeumaegi〉 have the characteristics of the accommodated songs. In this respect, in the performance of the descriptive shamanistic songs, how the accommodated songs are used and what influence the accommodated songs have on the performance will be investigated.
목차
Ⅰ. 서론
Ⅱ. 편입가요의 개념과 성격
Ⅲ. 편입가요의 유형과 분포
Ⅳ. 편입가요의 수용과 변이양상
Ⅴ. 결론
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