고전문학논고

명엽지해(蓂葉志諧)의 사평(史評)에 대한 고찰
1. 머리말 ······························································································· 11
2. 소화집과 사평(史評) ·········································································· 13
3. 명엽지해와 사평 ············································································ 18
4. 맺음말 ······························································································· 33
■ 소화집에 나타난 찬자의 소화의식
1. 서언 ·································································································· 37
2. 소화의식의 형성과 고려시대 잡록 ····················································· 40
3. 소화의식의 발전적 전개 ···································································· 43
4. 소화의식의 확산과 심화 ···································································· 53
5. 소화의식의 의의 ················································································ 59
6. 결어 ·································································································· 62
■ <농부가(農夫歌)> 고찰
1. 머리말 ······························································································· 65
2. 농업 종사 양반으로서의 작자 윤우병 ················································· 67
3. 작품에 나타난 농촌인식의 양상 ························································· 74
4. 작품의 서사성(敍事性)과 그 특징 ······················································ 83
5. 농촌가사로서의 <농부가> 의 성격과 위치 ········································· 87
6. 맺음말 ······························································································· 94
■ 洪萬宗의 저술과 그 문학적 성격
1. 머리말 ······························································································· 97
2. 저술의 경향과 성격 ··········································································· 98
3. 구비문학에 대한 관심 ······································································ 108
4. 소화집의 저술과 그 의의 ································································· 117
5. 맺음말 ····························································································· 122
■ <黃倡舞> 연구 - 黃倡의 유래 문제를 중심으로-
1. 머리말 ····························································································· 125
2. 창작가면검무로서의 황창무(黃倡舞) ················································ 127
3. 황창무의 역사적 형성 동인 ······························································ 136
4. 황창(黃倡)담의 실체와 중국 유전 ···················································· 143
5. 황창(黃倡)담과 관창(官昌)담의 관련성 문제 ···································· 152
6. 맺음 ································································································ 159
■ <兄弟投金>형 설화의 한국 민담적 변모
1. 머리말 ····························································································· 163
2. 불전(佛典)에서 주목된 <형제투금> 설화의 의미 ······························ 166
3. <형제투금> 설화의 한국 전승과 변모 ··············································· 169
4. <형제투금> 설화에 나타난 민간 사고 ··············································· 185
5. 맺음말 ····························································································· 190
■ <내복에 먹고 산다>형 민담과 <삼공본풀이> 무가의 상관성
1. 머리말 ····························································································· 193
2. <내복에 먹고 산다> 설화의 내용 ···················································· 195
3. <삼공본풀이>의 내용 소개 ······························································ 199
4. 두 작품의 차이점과 의미 ································································· 208
5. 맺음말 ····························································································· 209
■ <孝女知恩>전과 <貧女養母>담 一考 ―사실의 ‘ 史傳’·‘史譚’적 인식과 서사적 성격―
1. 서언 ································································································ 211
2. 삼국사기와 삼국유사의 소재 인식과 서술원리 ·························· 213
3. 사전(史傳)과 사담(史譚) 양식으로서의 서술양상 ····························· 219
4. 주제 인식의 방향과 서사화 방식 ······················································ 225
5. 이념적 기반 위에서 본 서사적 성격 ·················································· 236
6. 결어 ································································································ 239
■ <薛氏女> 전의 극본적 성격 시고
1. 서론 ································································································ 243
2. 삼국시대의 연극적 상황에서 본 창작극본의 가능성 ························· 245
3. ‘전’으로서의 <설씨녀> ····································································· 250
4. <설씨녀>의 극본적 구성과 내용 ······················································ 261
5. <설씨녀>의 주제와 시대배경 ··························································· 278
6. 결론 ································································································ 283
■ <열녀시험>형 설화의 유형적 성격과 열 인식의 의미
1. 서언 ································································································ 289
2. 자료 각편의 내용 검토 ····································································· 291
3. 서사적 특징과 의미 ········································································· 296
4. 열(烈) 인식의 태도로 본 주제의 의미 ··············································· 302
5. 열 윤리의 역사적 성격과 열녀시험담의 의의 ···································· 306
6. 결어 ································································································ 312
■ <진정사 효선쌍미(眞定師 孝善雙美)>담 고찰
1. 서언 ································································································ 315
2. 편명과 제목으로 본 기록자의 주제 인식 방향 ··································· 317
3. 서사구조의 층위와 의미 ··································································· 321
4. 一然의 생애에서 본 효행담적 성격의 한 측면 ··································· 333
5. 일반효행담으로의 전환 가능성과 그 한계 ········································ 339
6. 결어 ································································································ 343
■ 설화의 투식(套飾)적 표현 一考
1. 서론 ································································································ 347
2. 투식적 표현의 개념과 의미 ······························································ 350
3. 구연자(口演者) 및 자료 소개 ··························································· 358
4. 투식적 표현의 실현 양상과 기능 ······················································ 362
5. 투식적 표현과 설화의 전승원리 ······················································· 387
6. 구연자의 ‘이야기꾼’으로서의 면모와 투식적 표현의 한계 ················· 390
7. 결론 ································································································ 394
■ 손진태의 구비문학 연구
1. 손진태 국학의 성격과 구비문학 연구의 위치 ···································· 399
2. 자료 수집의 성과 ············································································· 403
3. 연구의 방향과 성과 ········································································· 414
4. 요약과 전망 ····················································································· 428
■ 참고문헌 ···························································································· 431
■ 찾아보기 ···························································································· 439
■ 수록 논문 게재 일람 ············································································ 452

위 유형담의 이해에서 가장 중요한 점은 ‘양심의 고백’이라는 방식에 의하여 열 인식 시각을 드러내 보이고 있다는 사실이다. 굳이 문제해결의 성패가 좌우되는 위기상황에서 고백 방식에 의해 주인공이 일말의 양심에 거리껴지는 사실을 고백하고 있음이나, ユ순간 박힌 못이 무사히 뽑히는 것으로 그리고 있음은, 주인공의 마음속에 일말의 꺼림칙한 일로 느끼고 있는 것이 실제는 열에 위배되는 것이 아님을 강조적으로 말해주려는 것이다. 이것은 다시 말해 열이 일상적 삶의 자연스런 욕구와 결코 유리된 것이 아니란 사실을, 그리고 그러한 삶을 떠나 이해되거나 평가될 문제가 아님을 보여준 것이라 할 수 있다.