시대별 텍스트를 통해 바라본 경계인으로서 처용의 위상 변화와 의미 = Changes in the Phase and Meaning of Cheoyong as a Boundary Person Viewed Through Times Texts

다국어 초록 (Multilingual Abstract)

Targeting the text of “Cheoyongga,” which has been enjoyed for a long time since the beginning of our literary history, this article attempted to examine how human gaze toward the boundary person is embodied and changed through literature.
In the Hyangga “Cheoyongga,” both Cheoyong and Yeokshin were praised by humans and protected each other's respect, but in the Sokyo “Cheoyongga,” Cheoyong's identity became higher as Yeokshin became the object of full-scale construction by Cheoyong, but the existence of Yeokshin declined. In the Joseon Dynasty, as the function of Cheoyong was gradually separated into Gwan Cheoyong (“Hakyeonhwadae Cheoyongmuhapseol”) and Yangjae Cheoyong (“Jap Cheoyong”), the function of Cheoyong as a deity also declined and the Songdo function for humans, representing the king, was emphasized. Whether it is a 驅逐 or a 娛, it has become a form in which everyone respects or drives God from a human-centered point of view and devises appropriate measures. In singing and performing, the reverse god lost his presence, and as the power structure between humans became more important, the function of Songdo was strengthened, and the impermanence became stronger as non-human beings.
From a human-centered point of view, Cheoyong's performance is similar to the case of mask dance, which finds its origin from Gutnori, in addition to the ritual for Byeoksa as the deity changes. In order to imitate the ability of the deity, the act of imitating the image of expelling the body by wearing a mask resembling its shape naturally changed into the character of the performance. In this process, we can find the positive meaning of Cheoyong's boundary in our lives by grasping the relationship between Byeoksa and Yeonhui and the importance of play and play in human life.
The process of examining the historical changes of Cheoyong text through an anthropocentric perspective and an ambivalent perspective that views humans as one of the actors present in the ecosystem can help humans establish their perspective on AI in the face of the commercialization of physical AI robots that imitate human figures. I hope to gain implications through the discussion of this article on what strategic level we should seek coexistence with AI, who is both a non-human being and a boundary in the modern sense and an actor on the same level as humans.