지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper presents an analysis of the nature of transcendent elements in 「Ok-Ru-Mong」 from the perspective of popularity. Entering the latter half of Joseon, the country witnessed the emergence of works exhibiting realistic values such as Pansori novels and novels of manners along with many works that emphasized materiality based on commerciality. Previous studies focused on a shift from transcendence to secularity in the understanding of novel history in the latter half of Joseon, but that tendency did not appear in 「Ok-Ru-Mong」 consistently.
「Ok-Ru-Mong」 repeatedly embraced the transcendent elements in such early classical novels as Sukhyangjeon and Guwoonmong, which is a phenomenon of transcendent elements in early classical novels continuing and reinforcing and of transcendent elements combining with genre grammar and fantasy and performing a new function within works. In other words, the acceptance of transcendent elements was not to pursue a transcendent view of the world but to correspond with the interest elements of the public. While transcendent elements worked as world views and organizational principles in early classical novels, they had popularity of keeping the genre custom and functioning as the interest elements in 「Ok-Ru-Mong」. That is, transcendent elements were transformed to have playful fantasy in the novel, which phenomenon illustrates that those who enjoyed classical novels changed their horizon of expectations for them in those days. That is, transcendent elements were not absurd materials but aesthetic devices to broaden the scope of narrative development and create causal relations in classical novels.
「Ok-Ru-Mong」 repeatedly embraced the transcendent elements in such early classical novels as Sukhyangjeon and Guwoonmong, which is a phenomenon of transcendent elements in early classical novels continuing and reinforcing and of transcendent elements combining with genre grammar and fantasy and performing a new function within works. In other words, the acceptance of transcendent elements was not to pursue a transcendent view of the world but to correspond with the interest elements of the public. While transcendent elements worked as world views and organizational principles in early classical novels, they had popularity of keeping the genre custom and functioning as the interest elements in 「Ok-Ru-Mong」. That is, transcendent elements were transformed to have playful fantasy in the novel, which phenomenon illustrates that those who enjoyed classical novels changed their horizon of expectations for them in those days. That is, transcendent elements were not absurd materials but aesthetic devices to broaden the scope of narrative development and create causal relations in classical novels.
목차
1. 서론
2. 초월적 요소의 수용과 변주
3. 유희적 환상성과 대중화 경향
4. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-700-003668093