일본 근세 연극과 조선 - 지카마쓰 작품의 조선 관련 용례를 중심으로 - (Early Modern Japanese Drama and Joseon - Focusing on Example Sentences Related to Joseon Shown on Work Written by Chikamatsu Monzaemon -‐)

서지정보

· 발행기관 : 일본어문학회
· 수록지 정보 : 일본어문학 / 85호 / 191 ~ 215페이지
· 저자명 : 박려옥

초록

本論文は日本近世演劇と朝鮮というテーマで近松門左衛門の作品を対象に朝鮮関連の用例を検討し、作家の異国·朝鮮認識について考察したものである。 朝鮮関連の用例を調べると「高麗」、「新羅」、「百済」、「朝鮮」、「三韓」、「韓国」など多様な事例が見受けられる。「高麗」は朝鮮を意味するものとして最も幅広く用いられているが、時には否定的なイメージを持つ異国として認識されている。注目すべきなのは観念の世界で代表的な異国である高麗と区別して、「朝鮮」の場合は客観的、地理的な観点の異国として用いており、現在性と当代性を浮彫りにしている点である。これは伝統的な世界観を抱いてきた「夢の異国」と近世の異国情報を通じて獲得した「現の異国」が共存する近世日本人の異国認識の一面を示すものでもある。 その一方、異国の情報と動向に敏感であった近松は朝鮮通信使節にも非常な関心を持っており、彼らの訪日を当て込んだ作品を書いた。しかしながら、それらの作品に垣間見られる作家の態度は時には相反している。近松の朝鮮認識というものは観客の要求や関心事、興行優先という演劇世界の宿命で流動的なものであったと考えられるのである。

영어초록

The paper reviewed example sentences with a work of Chikamatsu Monzaemon under the themes of Early modern Japanese drama and Joseon. First of all, examples related to Joseon varied, for example, ‘高麗(kourai/koma)’, ‘百済(hakusai)’, ‘新羅(sila)’, ‘朝鮮(chosen)’, ‘三韓(sankan)’, ‘韓国　(karakuni/karakoku)’ etc. ‘高麗’ which is most widely said to represent Joseon was often recognized as a foreign country with a negative image. What is noteworthy is that reality and contemporariness were emphasized, using ‘Joseon朝鮮’ for an objective and geographical view of world, distinguished from ‘Goryeo高麗’ which is a conceptual representative foreign country. This shows an aspect of recognition on foreign countries for early modern Japanese people. In the aspect, ‘foreign country of dream’ which the traditional view of world had, and ‘foreign country in real world’ obtained by various information on foreign countries in early modern period coexist. On the other hand, Chikamatsu Monzaemon sensitively responded to information and trend of foreign countries so that he was very interested in The Joseon Tongsinsa(goodwill missions sent intermittently, at the request of the Japanese authority, by Joseon Dynasty Korea to Japan). Whenever The Joseon Tongsinsa visited Japan, he put a work related work on stage. However, the writer’s attitude shown on his works was sometimes contrary. It seems that Chikamatsu’s recognition on Joseon was flexible or fluid in front of the destiny of drama world which is a request and an interest from the audiences, and focusing on performance success.

참고자료

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