미와 다마끼(三輪環)의 녹족부인 서사 연구 (A Study on the tale of Lady Nokjok by Miwa Tamaki)

서지정보

· 발행기관 : 한국어문학회
· 수록지 정보 : 어문학 / 118호 / 155 ~ 179페이지
· 저자명 : 강상대

초록

This thesis aims to .explore the narrative nature and aspects of the tale of Lady Nokjok by examining the narrative structure and characteristics of the Lady Nokjok’s story included in the Chosun of Legend written by the Japanese author, Miwa Tamaki, in 1919 under the title, Daesungsan. Tamaki’s version consists of three narrative pieces that originated from the tale of Lady Nokjok in Pyungyang and Anju in Pyungannamdo.
Although it was published in Japanese during the Japanese occupation in Korea, Tamaki’s publication is an invaluable source in that the three pieces can be cross-examined in relation to narrative property and the way those stories were passed down. The story collectively embraces various features of Lady Nokjok tale from Pyungyang and Anju in the three pieces. As a folktale each piece presents the natural background and historical sites of the pertaining region. At the same time, however, the narrative structure and meaning of each piece vary significantly.
The first story, Noksuam Dutasa, presents narrative elements that reveal the archetypic image shared by the people. In particular, Lady Nokjok is deified and her divinity is realized. The story also features a heroic epic illustrated by her nine sons. If they are the focus of the narrative, the story embodies a typical narrative pattern of heroic epics.
The second story, Habjangchun, harks back to the tale of Habjangchun in which Lady Nokjok’s sons apologized for failing in fulfilling their filial duties with their hands put together. The concept of taboo and violation accentuates its mythical property. In particular it is interesting that beoseon, Korean traditional socks, is instrumental for taboo and violation. In Western and Asian legends, shoes were indicator of their owner’s identity. In this case beoseon is equivalent to shoes that cover the feet. Habjangchun focuses on the sons’ contemplation on their identity as hero through the narrative of taboo and violation surrounding beoseon.
The last story, Yeoldusamchunbul, from Anju attains a strong tie to its origin and dwells on the numbers twelve and three thousand. In this story, Lady Nokjok has twelve sons and each lead three thousand soldiers. These numbers are also related to the name of the region (literally translated, twelve three thousand field) and compile a strong narrative. Additionally, Lady Nokjok’s divinity and her sons’ heroic nature are much deepened.
After the period of Japanese occupation, the story of Lady Nokjok still prevails in both North and South Korea as folktale. To find the source of this narrative energy is significant in the “narrative value” that can be employed as cultural resource in the modern world. This thesis is expected to contribute to this finding.

영어초록

This thesis aims to .explore the narrative nature and aspects of the tale of Lady Nokjok by examining the narrative structure and characteristics of the Lady Nokjok’s story included in the Chosun of Legend written by the Japanese author, Miwa Tamaki, in 1919 under the title, Daesungsan. Tamaki’s version consists of three narrative pieces that originated from the tale of Lady Nokjok in Pyungyang and Anju in Pyungannamdo.
Although it was published in Japanese during the Japanese occupation in Korea, Tamaki’s publication is an invaluable source in that the three pieces can be cross-examined in relation to narrative property and the way those stories were passed down. The story collectively embraces various features of Lady Nokjok tale from Pyungyang and Anju in the three pieces. As a folktale each piece presents the natural background and historical sites of the pertaining region. At the same time, however, the narrative structure and meaning of each piece vary significantly.
The first story, Noksuam Dutasa, presents narrative elements that reveal the archetypic image shared by the people. In particular, Lady Nokjok is deified and her divinity is realized. The story also features a heroic epic illustrated by her nine sons. If they are the focus of the narrative, the story embodies a typical narrative pattern of heroic epics.
The second story, Habjangchun, harks back to the tale of Habjangchun in which Lady Nokjok’s sons apologized for failing in fulfilling their filial duties with their hands put together. The concept of taboo and violation accentuates its mythical property. In particular it is interesting that beoseon, Korean traditional socks, is instrumental for taboo and violation. In Western and Asian legends, shoes were indicator of their owner’s identity. In this case beoseon is equivalent to shoes that cover the feet. Habjangchun focuses on the sons’ contemplation on their identity as hero through the narrative of taboo and violation surrounding beoseon.
The last story, Yeoldusamchunbul, from Anju attains a strong tie to its origin and dwells on the numbers twelve and three thousand. In this story, Lady Nokjok has twelve sons and each lead three thousand soldiers. These numbers are also related to the name of the region (literally translated, twelve three thousand field) and compile a strong narrative. Additionally, Lady Nokjok’s divinity and her sons’ heroic nature are much deepened.
After the period of Japanese occupation, the story of Lady Nokjok still prevails in both North and South Korea as folktale. To find the source of this narrative energy is significant in the “narrative value” that can be employed as cultural resource in the modern world. This thesis is expected to contribute to this finding.

참고자료

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