고소설과 판소리의 장르 특질과 텍스트 양상 = Generic Traits and Textual Aspects of Old Korean Novel and Pansori

다국어 초록 (Multilingual Abstract)

The old Korean novel and the Pansori had the generic relationships in 18, 19th centuries. It was the narrativity they had together that could make such relationships possible. Through the relationships, the old Korean novel and the Pansori had on effects on each other, and that was reflected on the texts of two genres. So, there was some differences which could not be ignored in the same group of texts. I intended to explain these textual differences with the generic traits which the text had.
It is in the level of the way of the test exist that the genres between the old Korean novel and the Pansori classify. It is different that the character and aspect of the communicative relation between text and reader or audience. In the process of reading, the reader of old Korean novel accomplish the artistic purpose. But the audience, by taking part in the place of Pansori, feel the artistic amusement. This generic differences include that the origin of appreciation and the way of enjoyment is different.
The origin of appreciation in the old Korean novel is the probability which derived from the organity of narrative elements. And the abstractive space of appreciation is the world of dramatic fantasy.
A Pansori text have musical aspect and narrative aspect all. So, the audience have the world of dramatic fantasy in the Pansori text and simultaneously, realize some emotion in the peculiar way of the aesthetics of music. It is 'I-myun', the special origin of appreciation of the Pansori text that is not of narrative nor of music. The notion of 'I-myun' is the symbolic meaning of music about the narrative world. And 'drawing I-myun' is the processing of expressing the philosophical interpretation about the narrative of Pansori which called 'Sa-seol'.
The author and the reader have the indirect and suggestive relationship in the process of reading. So to speak, they communicate at some distance of time, place, and aesthetics. therefore, they are in a one-sided position about the text each other.
Oppositely, the Pansori text accompany the singer of Pansori text and the audience. So, the singer and the audience always tune the other's distance of aesthetics and produce the Pansori text together. Consequently, in the process of enjoying the Pansari text the singer and the audience are in a two-sided position about the Pansori text.
The difference of characters of appreciation between Pansori and old Korean novel make the difference of self-sufficiency which as a artistic structure the Pansori text and the old Korean novel text aim at. The self-sufficiency of old Korean novel text is immanent one that is separated from the author and the reader. That of Pansori text is the one which have the meaning only in the communicative realationship with the singer and the audience.
I applied the generic traits and textual meaning of the old Korean novel and the Pansori to Kyung-pan 24 pages version of 'Simcheongjon' and Pak Dong-jihn version of 'Simcheongga' ruminated it. This is to explain the textual differences found in comparing 'Simcheongjon' with 'Simcheongga' in the perspective of genre.
The textual differences found in comparing 'Simcheongjon' with 'Simcheongga' is ① the phase of characters as like 'Pangduk's mom' and 'Simcheong's father' ② the aspect of function of the expelled motif ③ the embodiment of the tragic and the humor. 'Pangduk's mom' do not appear in 'Simcheongjon', because this novel text do not need her in the process of appreciation. The narrative of 'Simcheongjon' of which the core is the expelled motif is very organic. And the tragic is successfully embodied. Oppositely in 'Simcheongga' comic Pangduk's mom appears and makes 'Simcheong's father' depart from traditional position of father and the function of the expelled motif interrupted. In addition, the embodiment of the tragic is also not stable.
Such textual differences are found only in the perspective of narrative. the structuring a text is necessary for appreciating the text. But this is not necessariy in the perspective of narrative. Because the structuring a text is accomplished according to the generic traits of genre in which the text belongs to.
The narrative consistency and organity in 'Simcheongjon' is result from the distance of aesthetics between the author and the reader. Since their artistic communication is one-sided, the text of 'Simcheongjon' must be self-sufficient and that the stable appreciation is guaranteed to the reader and the author.
On the contrary, the narrative non-consistency and non-organity and the contradictive embodiment of aesthetic consciousness in 'Simcheongga' is result from the tune of the aesthetic distance of the singer and the audience. We must understand the self-sufficiency in 'Simcheongga' in the perspectives of narrative and music
Since the Pansori text is momentary, it demand the tension of reception. The narrative non-consistency and non-organity make the process of reception dynamic. Consequently it guarnatee the tune of the distance between audience and Pansori text and the quality of the emotional fantasy.