한국문학개론

 

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한국문학개론

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1.  총설(1) ··················································································································································· 1

가.  한국문학의  범위  ········································································································ 2 나.  한국문학의  영역 ·········································································································· 2 다.  한국문학사의  전개 ······································································································ 5

2.  총설(2) ················································································································································ 10

가.  한국문학의  특질 ······································································································· 11 나.  한국문학  연구사 ······································································································· 13 다.  한국문학의  영역 ······································································································· 15

3.  구비문학(1) ········································································································································· 17

가.  구비문학  개관 ··········································································································· 18 나.  설화  (1):  신화 ·········································································································· 20 다.  설화  (2):  전설 ·········································································································· 22

4.  구비문학(2) ········································································································································· 25

가.  설화  (3):  민담 ·········································································································· 26 나.  신화·전설·민담  비교  정리 ························································································ 30 다.  민요 ···························································································································· 30

5.  구비문학(3) ········································································································································· 35

가.  무가(巫歌) ·················································································································· 36 나.  서정무가 ····················································································································· 37 다.  교술무가 ····················································································································· 38 라.  서사무가 ····················································································································· 40 마.  희곡무가 ····················································································································· 41

6.  구비문학(4) ········································································································································· 42

가.  판소리 ························································································································ 43 나.  민속극 ························································································································ 46 다.  구비문학에  반영된  향유층의  의식세계 ·································································· 49

7.  한문학(1) ············································································································································ 50

가.  서론 ···························································································································· 51 나.  한시의  전개와  특성 ·································································································· 51

8.  한문학(2) ············································································································································ 60

가.  산문의  유형별  양상 ·································································································· 61

9.  한문학(3) ············································································································································ 70

가.  여성  한문학의  세계 ·································································································· 71 나.  개화기  한문학 ··········································································································· 73 다.  결론 ···························································································································· 75

10.  고전시가(1) ······································································································································ 77

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가.  서론 ···························································································································· 78 나.  상고시가 ····················································································································· 80

11.  고전시가(2) ······································································································································ 83

가.  향가의  특성 ··············································································································· 84 나.  찬기파랑가 ················································································································· 87 다.  기타  작품  및  향가의  쇠퇴 ······················································································ 90

12.  고전시가(3) ······································································································································ 92

가.  속요(俗謠) ·················································································································· 93 나.  경기체가 ····················································································································· 97

13.  고전시가(4) ···································································································································· 100

가.  악장(樂章) ··············································································································· 101 나.  용비어천가 ·············································································································· 102 다.  시조 ·························································································································· 104 라.  시조의  주요  작품 ··································································································· 108

14.  고전시가(5) ···································································································································· 112

가.  가사(歌辭) ··············································································································· 113 나.  역사적  전개 ············································································································ 115 다.  결론 ·························································································································· 120

15.  고전산문(1) ···································································································································· 123

가.  고전산문의  이해 ····································································································· 124 나.  국문소설의  형성과  발전 ························································································ 127

16.  고전산문(2) ···································································································································· 132

가.  판소리계  소설 ········································································································· 133 나.  가문소설 ·················································································································· 135 다.  완월회맹연 ·············································································································· 136

17.  고전산문(3) ···································································································································· 139

가.  소설  이외의  산문문학 ··························································································· 140 나.  고전산문  정리 ········································································································· 141 다.  고전소설  일반론 ····································································································· 143 라.  고전산문의  의의 ····································································································· 144

18.  근대시가(1) ···································································································································· 146

가.  근대시의  출발 ········································································································· 147 나.  개화기의  시가 ········································································································· 148 다.  1920년대의  시 ······································································································ 152

19.  근대시가(2) ···································································································································· 160

가.  1930년대의  특성 ··································································································· 161 나.  순수시파 ·················································································································· 162 다.  모더니즘 ·················································································································· 164

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라.  생명파 ······················································································································ 168 마.  기타  작가 ················································································································ 169

20.  근대시가  (3) ·································································································································· 172

가.  광복과  한국전쟁  시기의  작품  경향 ····································································· 173 나.  해방  이후부터  1950년  한국전쟁  발발까지의  작품  경향 ································ 174 다.  1950년대의  작품  경향 ························································································· 176 라.  4·19혁명과  1960년대의  작품  경향 ··································································· 181

21.  근대시가  (4) ·································································································································· 185

가.  시대적  특징 ············································································································ 186 나.  서정시  계열 ············································································································ 186 다.  민중시  계열 ············································································································ 188 라.  아방가르드  및  포스트모더니즘  계열 ··································································· 192

22.  근대시가  (5) ·································································································································· 196

가.  1990년대  시대적  특징 ························································································· 197 나.  서정시  경향 ············································································································ 197 다.  포스트모더니즘  경향 ····························································································· 200 라.  민중시  경향 ············································································································ 203 마.  생태시·여성주의시  경향 ························································································ 205

23.  근대산문  (1) ·································································································································· 207

가.  현대산문의  이해 ····································································································· 208 나.  개화기  소설 ············································································································ 209

24.  근대산문  (2) ·································································································································· 216

가.  1920년대  소설 ······································································································ 217 나.  1930년대  소설  (1):  동반자작가  소설  외 ·························································· 222 다.  1930년대  소설(2):  다양한  소설 ········································································· 225

25.  근대산문  (3) ·································································································································· 229

가.  광복  이후의  소설 ··································································································· 230 나.  1950년대  소설 ······································································································ 232 다.  1960년대  소설 ······································································································ 234 라.  근대  희곡 ················································································································ 235

26.  근대산문(4) ···································································································································· 239

가.  광복  이전의  비평 ··································································································· 240 나.  광복  이후의  비평 ··································································································· 243 다.  현대수필 ·················································································································· 244

메모  :

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1주차  1차시                   총설  (1)

본  자료집은  휴넷평생교육원에서  배부하였으며,  무단복제를  금지합니다.

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1. 총설  (1)

가. 한국문학의  범위

1) 한국문학  판정  기준

Ÿ    작자

- 작자가  한국인인가

Ÿ    수용자

- 수용자가  한국인인가

Ÿ    한국어

- 창작에  사용된  언어가  한국어인가

2) 한국의  특색

Ÿ    다른  민족과  섞이지  않고  살아왔으며  민족적  특색이  뚜렷함 Ÿ    언어가  단일언어로  통일되어  있음

Ÿ    일반적으로  작자,  수용자를  기준으로  한국문학  범위에  들어가는지  논란이  되는 

경우가  없음

Ÿ    생각해볼  문제

- 일제  강점기  말기  한국인이  일본어로  창작한  친일  작품:  일본문학? - 과거  한문으로  기록한  한국한문학  작품:  중국문학? - 북한문학은  우리의  한국문학과  별개의  문학? - 해외이주  한국인  문학:  해당  국가  문학?

나. 한국문학의  영역

1) 구비문학

Ÿ    언어의  최초  형태는  글이  아니라  말 Ÿ    구비문학은  말의  형태로  전해지는  문학

Ÿ    오늘날까지  전해지며  오늘날에도  창작되는  문학 Ÿ    한  때  문학의  범위에  포함되는지  논란 

- 기록문학  중심  사고방식 Ÿ    기록문학의  저층  노릇

- 기록  문학의  원천

Ÿ    민요,  무가,  설화  등의  세부  종류

2) 한문학

Ÿ    중국어를  글로  적은  한문으로  이루어져  있으므로  한국문학이  아니라고  생각할 

가능성  있음

- 중국어  구어와  다르고  동아시아  여러  민족이  함께  사용 - 공동문어문학,  라틴어,  고전아랍어,  산스크리트어와  유사  성격

메모  :

2

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- 나라마다  다른,  발음과  읽는  방식

- 한국어  특유  어법,  어휘를  받아들인  한국화한  한문  존재

Ÿ    한국  작가가  한문  독자를  상대로  한국인의  생활을  내용으로  하고  한국문학으로 

중요한  역할  수행

- 구비문학의  적극적  수용 - 민중생활  반영

- 민족문학으로  발전시키려는  노력  지속

Ÿ    한자를  이용한  자국어  표기

(가) 한국

- 향찰(鄕札)  사용

- 15세기  훈민정음(訓民正⾳)  창안

- 음절구조가  복잡하여  향찰  이용에  한계  발생

(나) 일본

- 가나(假名)

- 오늘날까지  사용  중

(다) 베트남

- 쯔놈(字 喃 ,  chunom) - 현재는  로마자  채택

3) 국문문학

Ÿ    훈민정음  창안  이후  국문문학  발달  계기  확보 Ÿ    구비문학은  어머니,  한문학은  아버지  성격 Ÿ    구비문학에서  표현수용 Ÿ    한문학에서  사상수용

- 둘을  결합하고  발전시켜옴

4) 삼자의  비교

Ÿ    산스크리트권,  고전아랍어권,  라틴어권도  구비문학,  공동문어문학,  국문문학  각

기  존재

메모  :

3

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(1) 한문학과  국문문학의  비교

Ÿ    한문학

- 구비문학의  적극적  수용 - 민족영웅  투쟁  찬양 - 역사와  풍속  노래

- 흥미로운  이야기의  작품화

Ÿ    국문문학

- 구비문학에서  마련된  시가  형식과  표현방법의  재창조 - 시조와  가사의  발생

- 시조의  사설시조로  변화

- 한시에  못지않은  품격과  사상  확보  시도

(2) 지배층과  피지배층의비교

Ÿ    지배층

- 피지배층  처지  이해 - 민족의식  공감대  형성

- 사회모순  완화  필요  인식의  결과 - 한문학의  구비문학  근접  시도

- 민중의  도덕적  교화를  국문문학에서  마련하려  시도 - 국문소설의  권선징악  주제  다수  현상  이해  가능

Ÿ    피지배층(민중)

- 신분  차별의  부당성  인식 - 풍자문학  건설

- 상층  유래  표현을  활용한  희화화

Ÿ    양층언어현상(Diglossia)이란?

- 공동문어의  민족어구어에  대한  우위  현상

메모  :

4

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다. 한국문학사의  전개

1) 구비문학·한문문학·국문문학을  기준으로  한  구분

Ÿ    고대

- 구비문학만  있는  시대

Ÿ    중세

- 기원  전후  한문  수용

- 5세기  이전  본격적으로  한문학  수립

Ÿ    중세에서

- 근대로의  이행기

- 17세기  이후  국문문학의  활발한  창작

Ÿ    근대

- 한문학의  퇴장과  국문문학이  한문학  위치까지  차지 - 갑오개혁을  통한  과거제  폐지 - 국문  공용화

2) 문학  갈래를  기준으로  한  구분

Ÿ    문학  갈래에  관한  정리

- 서정:  세계의  자아화

- 교술(敎述):  자아의  세계화

- 서사/희곡:  자아와  세계의  대결

(1) 고대

Ÿ    구비문학의  시대

Ÿ    건국서사시가  특히  중요한  역할을  수행했을  것으로  추정 Ÿ    건국신화  개요  한문  기록

Ÿ    나라  굿에서  영웅  투쟁  노래하던  방식의  서사무가로  계승

(2) 중세

Ÿ    한문학의  등장

Ÿ    서사시를  대신해  서정시가  주도적  역할  수행

(가) 중세전기

- 향가는 민요에 근거를 둔 율격을 한시와 다른 방식으로 다듬어 심오한 사상 함축

(나) 중세후기

- 시조(집약,  서정시)는  가사(확장,  교술시)와  공존

- 한문학에서  실용적  쓰임새  없고  서사적  수법을  빌려  흥미를  끄는  교술  문학  갈

래인  가전(假傳)

- 몽유록(夢遊錄)  등장

메모  :

5

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한국문학개론

(3) 중세에서  근대로의  이행기

Ÿ    국문문학이  한문학과  대등한  위치로  성장 Ÿ    서정·교술·서사·희곡의  경쟁

(가) 서사

- 소설의  발달과  한문소설

- 국문소설의  상호  경쟁과  자극 - 국문소설의  수와  분량의  증가

- 구비문학의  활기  및  새로운  문학  갈래  산출

- 서사무가를  기반으로  한  판소리  등장으로  서사문학  쇄신  구실  수행 - 영웅서사시의  범인서사시로  전환

- 교훈과  풍자의  복합적  구조를  통한  당대  논쟁  수렴,  뛰어난  음악  및  공연방식

(나) 서정과  교술:  서사문학의  발달에  상응하는  변화의  등장

- 서정:  시조의  사설시조  등장

- 교술:  가사의  장편화,  생활의  실상의  자세한  반영

(다) 희곡

- 구비문학의  한  부류로  오랜  내력의  농촌탈춤이  대규모  발전 - 사회  비판에  적극적인  도시탈춤으로  발전

(4) 근대

Ÿ    교술의  몰락과  서정·서사·희곡의  갈래  삼분법  확립됨 Ÿ    한문학  퇴장으로  교술의  큰  영역  소멸됨 Ÿ    교술산문  중  수필만  문학에  속한다고  인정함 Ÿ    시조는  부흥운동을  통해  존속  가능함

Ÿ    가사는  구시대문학의  잔존형태로도  존속  불가능함 Ÿ    희곡은  기록문학  영역에  포함 

Ÿ    근대문학  형성에  한국  전통과  서양  영향  작용  문제

- 고전소설의  성장이  근대소설로  그대로  연장 - 언어  사용 - 사건  전개

- 독자와의  관계  설정  등  단절  없음

- 서정시에는  고전시가  전통의  이면적  계승

- 표면적으로  서양  전례  계승하는  근대  자유시  이룩하려는  노력이  두드러짐 - 희곡은  구비문학으로  전승되는  탈춤과  아주  다른,  기록문학이자  개인작인  희곡 

이식

3) 문학  담당층을  기준으로  한  구분

(1) 고대

메모  :

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한국문학개론

Ÿ    정복전쟁  주역인  군사귀족의  자발적  건국서사시  창조  및  전승  추정 Ÿ    정치지배자와  종교  사제자  겸함 Ÿ    문학과  예술의  직접적  관장

Ÿ    건국  시조는  하늘의  아들로  생각

Ÿ    하늘과  통하는  지배자가  자기  집단의  배타적  우월감의  정당화하는  사고방식인 

자기중심주의의  가장  적합한  방식을  건국서사시에서  마련

(2) 중세

Ÿ    한문학의  수용

Ÿ    격조  높은  서정시  창작  시대  Ÿ    문학  관장  전문가  집단  필요 Ÿ    신라  육두품(六頭品)  담당

Ÿ    육두품은  진골(眞⾻)  지위에  오를  수  없는  하급  귀족으로  문학적  능력으로  통치

에  기여하며  한문학과  불교  양면에서  중세  보편주의  이상  추구  갈등 Ÿ    최치원(崔致遠)의  번민도  그러한  사정에서  비롯한  것으로  추정

(가) 10세기  고려  등장

- 중세  문학  담당층의  지배신분으로  등장 - 인재  등용  수단으로  과거제도  마련 - 한문학  창작  수준  향상 - 과거제  원칙의  실현  부족

- 몇몇  가문의  기득권  획득으로  문벌귀족(⾨閥貴族)  지칭 - 두드러진  활동을  한  김부식(⾦富軾)의  문학  창작  - 역사  서술을  통해  문벌귀족  의식  확인  가능

(나) 12세기  말  무신란  이후

- 문벌귀족  몰락

- 권문세족(權⾨勢族)의  새로운  등장

- 지방  향리(鄕吏)  중  한문학  실력  있는  인재의  중앙정계  진출  신흥  사대부(⼠⼤

夫)로  성장

- 권문세족에  맞서  사회개혁  요구

- 이규보(李奎報)가  민족을  생각하고  민족을  옹호하는  문학  창작 - 안축(安軸)과  이색(李穡)  세대에  방향전환이  뚜렷해짐 - 경기체가와  시조  창안을  통한  국문시가  혁신

(다) 사대부  권력  획득  이후  조선왕조  창건  신유학  이상  실현  노력  보인  15세기  이후

- 노선  대립  진통  발생

- 문(⽂)과  도(道)의  불가분  관계  인정하면서도  서거정(徐居正)  등  기득권층  훈구파 (勳舊派)는 ‘문’ 중시, 이황(李滉)이 이론적 지도자 노릇한 비판세력 사림파(⼠林派) 는 ‘도’ 중시, 김시습(⾦時習)을 선구자로 한 방외인(⽅外⼈)들은 사대부 특권 - 우월의식  버리고  민중과의  동질성  느끼며  지배질서  반발하는  문학  창작

메모  :

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(3) 중세에서  근대로의  이행기

Ÿ    신유학의  이념  및  한문학  규범  강화  및  배타적  옹호  시도하는  집권  사대부  노력 

강화에도  불구하고  시대  변화  지속

Ÿ    지배체제  모순  절감  사대부  지식인  중  박지원(朴趾源)

Ÿ    정약용(丁若鏞)  등  실학파(實學派)  문인들의  사회  비판  및  풍자  한문학  이룩함 Ÿ    사대부  부녀자들이  국문문학  작자,  독자로  중요한  역할  수행

Ÿ    중인  신분의  한시  창작  및  시조를  전문적으로  노래하는  가객(歌客)  노릇과  판소

리  애호가로  다양한  활동

Ÿ    가객  김천택(⾦天澤),  김수장(⾦壽⾧)의  두드러진  활동 Ÿ    시조  창작  및  시조집  편찬

Ÿ    신재효(申在孝)의  판소리  후원  및  판소리  사설  정리

Ÿ    중인  또는  그  이하  신분에서  상업을  통해  돈을  모은  시민(市民)층  형성 Ÿ    흥미거리  문학  요구

Ÿ    문학의  상품화  방식  마련 Ÿ    소설  발전에  적극  기여 Ÿ    소설  유료  대여 Ÿ    목판본  간행

Ÿ    연행  활동을  직업으로  하는  광대  활약을  통한  판소리  발달 Ÿ    농민도  구비문학  재창조  참여 Ÿ    민중의식  성장  저변  강화

(4) 근대

Ÿ    사대부  퇴장

Ÿ    시민이  지배세력으로  등장하며  근대문학  시작

Ÿ    염상섭(廉想涉),  현진건(⽞鎭健),  나도향(羅稻⾹)  모두  서울  중인  후예  시민으로 

근대소설  이룩하는  데  선도적  역할

Ÿ    이광수(李光洙),  김동인(⾦東仁),  김소월(⾦素⽉)  등  평안도  상민  출신  시민층의 

활동

Ÿ    시민은  계급  이익을  배타적으로  옹호하지  않고  한편으로  사대부  문화  유산  계승 Ÿ    민중문학과  제휴를  통한  근대  민족주의  문학  발전  의무  감당

Ÿ    근대화를  향한  자체적  노력의  좌절과  식민지시대  시작으로  인한  과업  수행  차질 Ÿ    민족자본가를  대신한  매판자본가의  시민  주류로  등장 Ÿ    중세에서  근대로의  이행기  동안  축적  망각

Ÿ    서양  근대문학의  일본을  통한  수입  움직임이  표면화 Ÿ    해외문학파로  자처하는  비평가들의  서양문학  이식  요구 Ÿ    전통  계승  차질과  시민문학의  민중문학  괴리

Ÿ    시민문학  배격과  프롤레타리아  문학  주장하는  계급문학운동  등장 Ÿ    하층에서  겪는  고난의  심각한  처리  공적

메모  :

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Ÿ    민족문학  공동노선  배격의  문제

Ÿ    지난  시기  민족문화  공동노선  계승  무관심 Ÿ    지난  시기  민중문학  계승  노력  부족

Ÿ    서양  본보기  삼아  일본을  통한  수용에  급급한  결과  혼선  발생

Ÿ    문학사  학습을  통한  앞으로  과제

- 사대부문학·시민문학·민중문학  전통의  폭넓은  계승  - 근대  민족문학  확립

- 서양문학  영향의  주체적  계승

메모  :

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1주차  2차시                   총설  (2)

본  자료집은  휴넷평생교육원에서  배부하였으며,  무단복제를  금지합니다.

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2. 총설  (2)

가. 한국문학의  특질

1) 시가의  율격

Ÿ    한국  시가의  율격  특징

- 한  음보  구성  음절수의  가변성

- 음보  형성에  모음  고저,  장단,  강약  무관(단순하다는  의심)

Ÿ    시조  음수율론  검토

- 3/4/3(4)/4 - 3/4/3(4)/4 - 3/5(6)/4/3

(1) 작품  예시  1

추강(秋江)에/  밤이  드니/  물결이/  차노매라

낚시/  드리우니/  고기  아니/  무노매라

무심(無⼼)한/  달빛만  싣고/  빈  배  저어/  오노매라

(2) 작품  예시  2

묏버들/  가려  꺾어/  보내노라/  임의  손에 자시는/  창(窓)  밖에/  심어두고/  보소서

밤비에/  새  잎  곧  나거든/  나인가도/  여기소서

Ÿ    시조의  율격

- 마지막  줄  첫  토막은  예사  토막보다  짧고,  둘째  토막은  예사  토막보다  길어야 

한다는  규칙만  존재

- 각  토막의  음절  구성은  작품에  따라  달라  작품마다  특이한  율격  구성  가능 - 제약조차도  지키지  않는  사설시조  창안

Ÿ    기타판소리의  율격

- 고정된  율격  없이  여러  율격과  변이형의  자연스러운  활용

Ÿ    근대시의  율격

- 일본을  거쳐  받아들인  서양  전례에  따라  완전한  자유시가  된  것처럼  보임 - 전통적  율격의  변형으로  구성된  작품이  다수

Ÿ    율격에  대한  오해와  극복

- 과거  일본시의  음수율,  영시의  강약률로  적용하던  시기가  있었음 - 비교적  최근에  음보율이  발견되어  우리  시가의  특징으로  인식됨 - 음보율의  특징

                                  :  자연스러운  변형을  멋으로  간주하는  미의식의  반영

메모  :

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2) 일상생활에서  쓰는  자연스러운  말의  사용  강조

Ÿ    애써  다듬어  기교를  다듬는  풍조  배격 Ÿ    자연스러운  언어  사용  중시

Ÿ    유식한  문구와  상스러운  말의  동시  사용

Ÿ    겉  다르고  속  다른  복합구조를  통한  풍자  효과의  극대화 Ÿ    박지원  소설,  하층  탈춤  공통  특징

3) 문학행위를  통한  마당놀이  회귀  의지  표출

Ÿ    원효

- 광대  스승에게서  배운  바가지  춤을  통한  미천한  백성의  일깨움

Ÿ    이황

- 곡조에  맞추어  노래  부르고  춤을  추면  마음을  깨끗하게  할  수  있는  노래  짓는다

고  밝힘 Ÿ    최제

- 새로운  사상으로  세상을  변혁하기  위해  칼노래를  지어  칼을  들고  춤추며  부름

<검결(劍訣)>

4) 문학의  양면성(한,  신명)  통합을  바람직한  창조로  간주

Ÿ    한(恨)

- 심각한  고민에  근거를  둔  정서 - 많은  한국문학  작품에  등장

- 한국문학은  한의  문학이라는  주장도  있음

Ÿ    신명

- 감흥이  고조된  상태

- 문학,  예술을  통해  한과  함께  표출 - 놀이를  즐기는  측면

메모  :

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Ÿ    한(恨)과  신명에  대한  정리

- 한에  신명이  섞이고,  신명에  한이  끼어드는  현상  확인 - 예술창작  행위가  최고  경지에  이르면  한이  신명이고  - 신명이  한이라  둘이  하나로  합쳐짐

(1) 판소리  예시 

- 인공의  고통  묘사  이후에  웃음으로  전환,  고통  이후에  통쾌한  결말 - 한을  신명으로  풀어  심각한  시련,  고난  극복  가능 - 한국  전통극은  비극은  없고  희극만  있음

- 비극적인  것을  높이  평가하지  않고  웃음을  통한  진실의  깊은  깨달음  도달  노력

(2) 작품  예시 

- 깨달음의  높은  경지에  오른  고승들의  우스꽝스러운  거동을  통한  숭고한  교리에 

대한  헛된  집착의  타파

- 기발한  착상으로  논리는  넘어서는  선시(禪詩)

- 장난스러운  표현이라  하면서  사상  혁신의  성과를  제시한  박지원 - 웃음의  효과를  활용한  사회의식이  고조된  작품을  지은  채만식,  김유정

5) 한국  서사문학  작품의  ‘행복한  결말’

Ÿ    극히  일부  작품을  제외한  행복한  결말<운영전(雲英傳)제외> Ÿ    한  때,  한국문학의  문제점으로  여겨지던  시절  있음

Ÿ    고대  건국신화에서  마련된  ‘영웅의  일생’의  공식화된  결말  계승

- 승리를  이룩하여  천상의  축복을  받음

- 지상과  천상,  사람과  신  사이의  대결이  다시  문제되지  않음

Ÿ    일원론에  근거를  둔  현실주의  계승

Ÿ    주인공의  행복  이룩함을  당연하게  여김 Ÿ    이중적  측면

- 행복한  결말  예정  때문에  작품  전개가  안이해질  가능성 - 비극  극복을  위한  투지의  고조

- 작품에  따라  양자의  정도  차이  존재

나. 한국문학  연구사

1) 근대  이전의  한국문학  이해,  정리  시도

Ÿ    비평

- 이인로(李仁⽼),  파한집(破閑集)

- 홍만종(洪萬鍾),  시화총림(詩話叢林)

Ÿ    한문학  작품  선집

- 동문선(東⽂選)

메모  :

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Ÿ    국문문학  자료  집성 - 청구영언(⾭丘永⾔)

2) 1920년대:  한국문학의  근대적  연구의  시작

Ÿ    전통적인  교육을  근대적  자각과  연결시킨  국학자들  담당 Ÿ    일본  식민지  통치에  항거하는  민족의식  고취  목적 Ÿ    안확,  조선문학사(朝鮮⽂學史) - 사실  정리  차원의  문제점  확인

- 외래문화를  주체적으로  수용해서  민족문화가  발전해온  과정  해명에  기여

3) 1930년대:  한국문학  연구의  전문화,  체계화 Ÿ    김태준(⾦台俊),  조선소설사(朝鮮⼩說史)

- 처음으로  소설에  대한  진지한  관심

- 유학의  이념적  구속을  떨치고  소설이  발전하여  근대소설에  이른  자취  평가  노력

Ÿ    조윤제(趙潤濟),  조선시가사강(朝鮮詩歌史綱)

- 자료를  면밀하게  고증하는  방법  정착

- 민족정신  총체성이  문학에서  어떻게  구현되었는가  하는  민족사관  이룩을  통한 

민족  해방,  통일의  원리  모색  시도 - 1949년  국문학사(國⽂學史)  출간

4) 1945년  이후:  대학  전공자의  교수  등장

Ÿ    전공  분야의  세분화

Ÿ    자료의  정리  및  사실  확인 Ÿ    새로운  연구영역  개척

- 이가원:  한문학

- 정병욱,  심재완:  시조 - 김기동:  소설 - 장덕순:  설화

- 김동욱:  판소리 - 이두현:  연극

- 전광용:  근대소설

Ÿ    심재완,  역대시조전서(歷代時調全書) - 이본에  따른  차이까지  정밀하게  정리

Ÿ    김기동,  한국  고전소설  연구(韓國古典⼩說硏究) 

- 고전소설의  광범위한  독서  및  해제

5) 1960년대  이후

Ÿ    연구  방법과  이론의  중시를  통한  학풍  쇄신

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Ÿ    서양  연구방법  수용을  통한  사실  정리  이상  의미  있는  연구  개척을  위한  다양한 

시험

Ÿ    한국문학  연구  전통의  새로운  계승  시도 Ÿ    주요  학자와  연구

- 김열규,  황태강:  원형비평  방법으로  한국문학  저층  해명  시도 - 김용직,  김학동:  비교문학  방법의  근대문학  연구에  본격적  적용 - 이재선,  김윤식:  근대문학에  대한  다각적  검증의  왕성한  활동 - 조동일:  <한국문학통사>,  문학과  철학,  한국문학과  세계문학  관계

6) 남북한의  문학사  서술  및  자료  정리

Ÿ    북한의  국문학  연구

- <조선문학통사(1959)>,  <조선문학사(1977~1981)>

                                  :  사회과학원  집체  작업,  문학사  서술에  공식  이념  적용 

- <조선문학사(총15권)>

                                  :  문학  유산  정리와  번역,  현대화  출판  의의

Ÿ    남한의  자료  정리  사업

- 일관성은  없으나  더욱  다양한  방향 

                                  :  한문학  문집                                   :  국문소설                                   :  가사

                                  :  근대문학  작품  및  관계  자료의  대량  출판

- <한국구비문학대계>:  82권

- <한국문학전집>:  대부분  근대문학  선집

- <한국고전문학전집>:  2014년  10월  현재  37권  간행

7) 외국에서  한국문학  연구

Ÿ    성과가  아직  크지  않고  중국문학,  일본문학  연구에  비해  양과  질  모두  현저하게 

떨어지는  상황

Ÿ    독자적인  연구  부족  및  한국에서의  연구  수용  노력  미흡 Ÿ    외국에서  한국문학  교육  담당하는  한국인  학자의  식견  문제

Ÿ    외국에서  나온  한국문학사는  사실과  다르거나  내용이  부족한  문제점  발생 Ÿ    AKSE

- 유럽한국학회에서  꾸준히  한국문학  연구  발표  지속 Ÿ    다니엘  부셰(Daniel  Bouchez)의  높은  수준  연구

다. 한국문학의  영역

1) 한국문학 Ÿ    구비문학

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Ÿ    한문학

Ÿ    국문문학

2) 국문문학 Ÿ    고전문학

Ÿ    근대문학(1894년  갑오개혁  시기  기준)

3) 고전문학 Ÿ    고전시가 Ÿ    고전산문

4) 근대문학 Ÿ    근대시가 Ÿ    근대산문

메모  :

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2주차  1차시                 구비문학  (1)

본  자료집은  휴넷평생교육원에서  배부하였으며,  무단복제를  금지합니다.

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3. 구비문학  (1)

가. 구비문학  개관

1) 역사적  전개

Ÿ    한국  구비문학

- 한민족의  역사와  함께  매우  오랜  기간에  걸쳐  형성되고  전승된  문화유산

(1) 원시,  고대

- 한민족은  약  3000년  전부터  한반도와  만주  일대  국가를  이루며  집단생활  해옴 - 고조선,  기자조선,  부여,  한(韓),  예(濊),  맥(貊)  등  건국 - 농경  위주,  수렵  및  유목으로  생활한  집단  추정 - 농경의  시작과  끝  시기에  거국적  제전  거행  추정

(2) 삼국시대

- 국가체제  정비,  본격적인  농경생활  시작

- 설화,  민요,  무가  등이  향촌공동체  중심으로  형성  및  전승  추정 - 동명묘(東明廟),  시조혁거세묘(始祖赫居世廟)  등  - 시조묘  국조  제전

- 농경,  길쌈  등  협동  노동으로  농업노동요,  길쌈노동요 

- 고승(⾼僧)의  신이한  행적,  장군이나  영웅  이야기,  자연재해  극복  이야기 - 인간의  여러  고난을  극복하려는  주술  발달과  주가(呪歌)  등장

(3) 고려시대 - 문헌  수록

                                  :  <삼국사기(三國史記)>                                   :  <삼국유사(三國遺事)>                                   :  <수이전(殊異傳)>  등

(4) 조선시대

- 훈민정음  창제로  고려시대에  불리던  노래들의  문헌  수록  가능

- 일부  노래가  <악장가사(樂章歌詞)>,  <악학궤범(樂學軌範)>,  <시용향악보(時⽤鄕

樂譜)>  등  수록

- 고려시대  이전  많은  설화  기록으로  전해지지  않음 - 많은  설화자료가  한문  번역,  문헌  정착

- 정변(政變),  사화(⼠禍),  전란(戰亂)  등,  야담(野談),  사화(史話)  명명

- 조선후기  설화의  수도  많아지고  내용도  풍부해지고  다수  설화집  등장:  <계서야

담(溪西野談)>,  <청구야담(⾭邱野談)>,  <동야휘집(東野彙輯)>  등 

- 한문기록,  이야기  제공자  미기재  문제로  인한  한계점

메모  :

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Ÿ    20세기  한국  구비문학  자료  수집  및  정리

- 일제  강점기  일본  학자의  수집  및  일문(⽇⽂)으로  번역  간행 - 한국학자  손진태(孫晉泰),  김소운(⾦素雲),  최상수(崔常壽)  등  - 자료  수집  및  자료집  간행:  개인적  노력으로  인한  제한적  성과

- 해방  후  국문학,  민속학에  대한  관심,  자료  수집,  개인적,  산발적  진행으로  전국

적  자료  실상  파악에  미흡함

- 1980년대  한국정신문화연구원(현  한국학중앙연구원)의  본격적  담당 - 한국구비문학대계:  총82권  출간,  설화  15107편,  민요  6187편,  - 무가  376편,  기타  21편

2) 민족문학으로서  양상과  가치

Ÿ    한자  전래  이전에는  구비문학만  존재

Ÿ    한문학  향유  가능한  사람은  소수로,  다수는  구비문학  향유

Ÿ    조선  전기  한글이  창제되었으나  한글이  문학  활동에  자유롭게  사용되는  것은  조

선  후기에나  가능함

Ÿ    조선후기까지  대다수  국민의  구비문학  향유,  현재도  많은  구비문학  유산  보존

3) 갈래:  설화,  민요,  무가

(1) 설화

- 신화보다  전설,  민담  자료  풍부

- 역사적  인물,  사건  결부  이야기  다수

(2) 민요

- 기능요가  아직도  풍부하게  전승

- 노동요:  농업노동요,  길쌈노동요  풍부 - 의식요:  장례의식요  다수  전승 - 시집살이  내용의  서사민요  풍부

(3) 무가

- 한국  구비문학의  특징적  갈래 - 많은  자료  전승

- 장편  축원무가,  수십  종  서사무가,  10여  종  희곡무가

(4) 기타  판소리와  민속극

- 판소리

                                  :  전문적인  창자가  노래하는  장편  서사시                                   :  조선  후기  발생,  오늘날까지  애호

메모  :

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(5) 민속극

- 민속제전에서  행해지다가  조선  후기에  이르러  독자적인  연극으로  발전 - 시정(市井)에서  놀이로  행해짐

- 대표적  종류로  가면극(탈춤)과  인형극

나. 설화  (1):  신화

1) 신화의  개념과  범주

Ÿ    신화에  대한  다양한  관점

(1) 자연신화학파

- 자연현상의  의인화한  이야기

(2) 인류학자