원혼설화에 나타난 원혼의 형상성 연구 : <아랑형>과 <사그라진 신부원귀>설화를 중심으로

서지정보

ㆍ발행기관 : 한국구비문학회 ㆍ수록지정보 : 구비문학연구
ㆍ저자명 : 강진옥

목차

1. 머리말
2. 원혼설화의 서사구조와 원혼의 출현양상
3. 원혼의 형상적 특징과 의미기능
4. 원혼의 형상성과 영상적 이미지의 관련양상
5. 마무리

한국어 초록

원혼설화의 기저를 이루는 怨 또는 恨의 관념에 대한 논의는 우리 문화의 성격적 특징 해명과 관련하여 다각적인 방향에서 이루어져 왔다. 한국문화를 해명하는 하나의 틀로 간주될 수 있을 만큼 그 뚜렷한 위상을 확보하고 있는 원한관념의 광범위한 확장에는 민간에서 구비전승 되어온 이야기문학도 일익을 담당했을 것으로 보인다. 세대를 넘는 지속적인 전승을 통해 이야기의 의미는 전승당대의 문제의식과 접맥되면서 다양한 형태로 생성․전달됨에 따라 우리 이야기문화 안에 널리 그리고 깊숙히 자리잡게 되었을 것이다. 원혼관계 이야기 전승이 갖는 의의는 다양한 관점에서 행해진 선행논의를 통해 자리매김된 바 있다.

영어 초록

The narrative structure of ‘wonhon(冤魂) ghost tales’ can be explained to have the appearance of the ghost figures and its destruction, which have been considered as ‘gyulone(結冤)' which means unresolved problems remained knotted and 'hewon(解冤)’ which the problems finally resolved. One of the characteristics found in the descriptions of the ghost figures is that they have the intention to represent the problematic situation of the ghosts as vivid as possible by using every senses of seeing, hearing and touching. The 'wonhon ghost tales', therefore, are structured in such ways as the ghost figures could be represented as vivid as you see them in your eyes. The descriptive figures help the story tellers' rememberance through association as well as enhance the listeners' interests in the stories they're listening to. The figures of ghosts will be impressed in listeners' minds as certain images while they are listening. Through the process, the figures of the ghosts described in the tales have been culturally conventionalized and have acquired a few common features to become a universal representation.
In ‘Arang type tales', the figures change from a virgin to a ghost with a passionate longing unfulfilled, a butterfly, a living corpse and a dissolved corpse, representing the inner state of the ghosts and the changes of the real situations the ghosts are under. But the ghost figures described in 'bride type tales' appear as a bride to a bride with a passionate longing uncompleted and a dissolved corpse. The images of the figures are so strong that they are easily carved in listeners' minds as some fixed unchanging images regardless of the change of time. One of the principles found in the description of the ghost figures is their denial of time. This characteristic which might be called a denial to physical time are especially effective for their economic and symbolical description of the psychological areas representing the ghosts' consciousness. The appearance of vivid images of the ghost figures and their disappearance are the images for the opposite situations of the ghosts in which their unresolved problems still remain and they are finally resolved.
The time and space in which ghost figures appear are usually considered the areas beyond daily life and on the borderline of this and that world, which exactly match with the ghosts' existential positions. The description of ghost figures, which always try to rehabilitate the ghosts' problematic situations, emphasizes their visual images. As the result, the ghost tales have acquired such characteristics as image-centered narrative structure, strongly sympathetic ability based on the conventional concept of the ghosts and highly descriptive quality to summon the real problematic situations. This is why ‘wonhon(冤魂) ghost tales’ are so frequently recreated in visual art forms like films.

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