〈흥부전〉의 변이양상 연구

다국어 초록 (Multilingual Abstract)

The <Heungbujeon> which is national literature in respect to Pansori has been much loved by many people. However, the Pansori-type novel has many problems to be solved. It was derived from Pansori, a Sorigutt, but many problems relating to it has not been completely solved yet. Interpretation on the relations with the works including the <Heungbujeon> in terms of acceptance of original narratives is diverse. So, the necessity between original narratives and literary works should be identified and organized. This study aims at identification of problems and transitional process found in respect to the process of production, the time, class to enjoy the works, styles of expression, media of distribution and creating festivals targeting the story of the <Heungbujeon>.
The <Heungbujeon> was inherited in two ways: it was sung in front of the audience and was written as a novel. So, the <Heungbujeon> has diverse processes of inheritage. The contents are modified and added, and many revised editions were published : cartoon, Gyeongpan, and Shinjaehoybon. Transition and its characteristics are examined according to different centuries : the 16th-17th century, the 28th-19th century and the 20th century.
The <Heungbujeon> is published as diverse artistic styles to the audience and readers. That is, it is adapted and performed as Pansori, Children's Theater, movie, mass media and internet network. Namwon which is the setting of the <Heungbujeon> created Heungbu Festival and 2005 will be the 12th festival. It is thought that consistent vitality and solidarity with the public of the <Heungbujeon> exist because traditional national emotion is alive in it. By identifying such thing specifically and solving related problems, the <Heungbujeon> will be a valuable work that will dominate Korean literature and art.
Previous studies on the <Heungbujeon> dealt with simple literary history and current studies deal with different editions and original narratives. These days, through complete analysis on the work, there are many studies on' the structure of discourse', 'acceptance of readers', 'connection with carnivals', 'transitional aspects of the work', 'diversification of inheritage' and 'speculation on the story'.
This study examines the virtue of production. First, the role of crown in the process of creating the <Heungbujeon> can not be ignored, but confucian scholars inevitably intervened in it. It is not thought that Pansori-style novels such as <Heungbujeon> and <Chunhyangjeon> were created only by the clown in consideration of the extensive knowledge in the story. Most of the clowns are illiterate except special ones. So, it is difficult to accept that they created high-quality stories.
The decisive reason to create the <Heungbujeon> is the acceptance of original narratives. It did not mean that many narratives accepted part of the <Heungbujeon> to create one story, but a single narrative was developed into the <Heungbujeon>. The first models of original narrative of the <Heungbujeon> are <Goblin Narrative> and <Bangi Narrative>. The focus of these narratives is a lucky strike. The 2nd model is <Narrative on Girl Cutting Gourd>. Some researchers consider this narrative as Mongolian, but it is thought that Korean narrative was delivered to Mongol. Swallows in the <Heungbujeon> appeared also in the <Narrative on Girl Cutting Gourd>. As morality such as <Hyungjaetugeum> was added to this narrative and <The Story on Park Chun-bo> was considered as a beginning, which brought the creation of the <Heungbujeon>.
Thus, the <Heungbujeon> was produced through the process that original narratives passed through accusing narratives. And it was sung as Sorigutt, a storytelling by clowns and then with a help of Confucian scholars, it was developed into the <Heungbujeon>, a literary work.
This study speculates Pansori, the early version of <Heungbujeon> and its various aspects in late 19th century. In late 18th century when a new genre was pioneered, Pansori appeared naturally as a style for common people. Gwon Sam-deuk (1771-1841) who formed a style of' Dulrungje' with a help of the condition at that time was the first one who sang <The Song of Swallow>. Song Hong-rok after Gwon Sam-deuk created a circle named 'Hogulje', followed by Song Gwang-rok, Song Woo-ryong and Song Man-gap. In 1843, Song Man-je collected 50 Chinese poems of <Gwangwoohee>, 11 of which recorded <Heungbujga>. Song Ma-jae said that it was rough in literature in <Byeongseo>. However, the early <Heungbujga> was published in the generation of printing through the generations of Banggakbon, Pilsabon and Pansori Changbon in the late 19th century.
This study examines the aspects of the <Heungbujeon> in the 20th century. In 1894, Gapogyeongjang occurred, which promoted literature circle to be divided into new and old. That is, styles and types of existing literary works were remarkably changed. In this situation, Lee Hae-joo adapted <Chunhyangjeon>, <Simcheongjeon>, and <Heungbujeon> into <Okjunghwa >, <Gangsangryeon> and <Yeoneuigak> and published them, which means the change of old novels into new novels. The <Yeoneuigak> is a new edition of the <Heungbujeon> and mother model was Gyeongpanbon of the <Heungbujeon>. However, the endings of the mother model and <Yeoneuigak> are significantly different. Lee Hae-jo's modern viewpoint was added to the work, which is one of modernizing processes of the <Heungbujeon>.
Another change of the <Heungbujeon> in the 20th century was appearance of Madanggeuk (open theater) in the middle of 1960s. Madanggeuk is performed in open theater and the audience face with actors, not looking at the actors only in one direction. The <Heungbujeon> as Madanggeuk is characterized by parody and satire. It is one of the changing aspects of the <Heungbujeon>. Successful versions are <Heungbune Chonejibap> and <Heungbune Bak Tujuttne>.
Making festivals of <Heungbujeon> changed in several types. The public have significantly changed recognition on <Heungbujeon>. Nolboo who was considered as having bad personality is considered as a positive person while Heungbu who was considered a good brother is considered as an incapable person. Such change is shown in Namwon Festival as one of its popularization methods. Through making the heroes real characters in this festival, the status of a city named Namwon is promoted. The contents of the festival are diversified so that a recognition on <Heungbujeon> can be changed. This festival is to make <Heungbujeon> popular and a change for distribution of a new version.
As summarized above, this study speculates the creative process of <Heungbujeon>. It examines changed aspects of the <Heungbujeon> which was created based on narratives diachronically. In the future, <Heungbujeon> will decorate one page of modern literature history with the public through diverse changes and its vein will not be broken.

목차 (Table of Contents)

• ABSTRACT = VII
• Ⅰ. 서론 = 1
• 1. 연구 목적 = 1
• 2. 연구사 검토 = 4
• Ⅱ. <흥부전>의 성립 = 17
• 1. 유학자와 광대의 관계 = 17
• 2. <흥부전>의 형성과 근원설화의 수용 = 38
• Ⅲ. 18, 19세기의 <흥부전> = 54
• 1. 현전하는 초기 판소리 = 54
• 2. 19세기 후반의 <흥부전> = 59
• Ⅳ. 20세기의 <흥부전> = 71
• 1. 개화와 고소설의 입지 = 71
• 2. 20세기 <흥부전>의 양상 = 74
• 3. 마당극과 <흥부전> = 90
• Ⅴ. <흥부전>의 축제화 = 110
• 1. 현대적 대중성의 확보 = 110
• 2. 남원의 흥부축제 = 122
• Ⅳ. 결론 = 140
• 참고문헌 = 146