전통사회 이야기꾼 탐색

이야기꾼’으로 본 <민옹전(閔翁傳)>의 ‘민옹’
1. 관점의 필요성 ········································································ 13
2. 이야기 하기·듣기에 대한 연암의 관심 ··································· 16
3. ‘이야기 듣기’에 대한 관심 ······················································· 23
4. ‘이야기꾼’의 전(傳)으로서의 <민옹전> ···································· 28
5. 이야기꾼으로서의 민옹의 능력과 특성 ···································· 34
6. 이야기꾼으로서의 민옹의 시대적 성격 ···································· 39
7. 이야기꾼 이해의 성과와 의의 - 맺음 ······································· 47
■ 이야기꾼의 한 고찰 ‒ 김중진(金仲眞)의 경우
1. 머리말 ···················································································· 51
2. 화자(teller)와 이야기꾼(storyteller) ········································· 53
3. 김중진의 이야기꾼으로서의 개성과 특징 점검 ························ 62
4. 주체적 현장 적응력의 일면 ····················································· 70
5. 소재의 주관적 표현 능력과 그 의미 ········································ 74
6. 이야기꾼으로서의 사회적 위상과 시대적 기능 ························ 84
7. 맺음말 ···················································································· 94
■ 1900년대 전반기 방랑이야기꾼과 이야기문화
1. 머리 ······················································································· 97
2. 방랑이야기꾼의 개념 설정 ······················································ 99
3. 20세기 전반기 방랑이야기꾼의 시대적 유형 ‒ 표층 유형 ······· 102
4. 방랑이야기꾼의 저층 유형 사례 ············································ 108
5. 방랑이야기꾼과 주요 이야기 구연 장소 ································· 122
6. 방랑이야기꾼의 계층 분화와 사회문화적 탐색 ······················ 129
7. 맺음 ······················································································ 137
■ 유랑형 대중 이야기꾼 연구 ‒ 양병옥의 경우
1. 머리말 ·················································································· 165
2. 생애와 인물의 특징 ······························································· 168
3. 이야기 목록과 운용 방식 ······················································· 175
4. 이야기판과 청중의 반응 ························································ 178
5. 이야기 구연능력과 기교 ························································ 180
6. 흥행성과 전문성 ··································································· 186
7. 이야기꾼으로서의 자아 형성과 ‘야담운동’의 영향 ·················· 190
8. 공원 ‘대중이야기꾼’으로서의 능력 수련 ································ 194
9. 양병옥의 비판의식과 그 시대적 의미 ···································· 199
10. 맺음 ···················································································· 203
■ 맹인 이야기꾼 이몽득 연구
1. 이력의 요약 ·········································································· 208
2. 건강과 성품·생활의식·대화 태도 ······································ 217
3. ‘이야기꾼’ 형성의 내·외적 조건 ··········································· 221
4. 구연 자료의 목록과 성격 ······················································· 234
5. 설화 구연상의 특징과 표현기교 ············································ 238
6. 맺음말 ·················································································· 252
■ 보학(譜學)담 이야기꾼의 사례 고찰 ‒ 김상묵
1. 머리 ······················································································ 257
2. 가문배경과 생애 체험상의 전통 지향적 기반 ························· 260
3. 이야기꾼으로서의 구연 능력과 보학담 구연의 습성화 ··········· 270
4. 보학담의 제재적 성격과 구연 방식 ········································ 276
5. 김상묵과 그의 보학담의 의의 ················································ 282
6. 맺음 ······················································································ 287
■ 이야기꾼 유형 탐색과 사례 연구 ‒ 이인순
1. 이야기꾼 이해의 시각 점검 ··················································· 292
2. 이야기꾼 유형 이해를 위한 논의 ··········································· 297
3. 이야기꾼으로서의 생득적 측면 ············································· 303
4. 구연능력으로 본 개성적 측면 ················································ 310
5. 생애체험과 이야기꾼으로서의 자아 형성 ······························ 315
6. 능동적 상황적응력과 창조적 표현력 ····································· 320
7. 이야기꾼으로서의 유형성과 의의 – 맺음 ······························· 327
■ 이야기꾼 유형(類型)의 사례 고찰 ‒ 산촌형 이야기꾼 민옥순
1. 머리 ······················································································ 339
2. 두메산골에서 시작된 생애 ···················································· 342
3. 안방 이야기판과 부친의 이야기 구연 ···································· 346
4. 뛰어난 이야기 기억력 ··························································· 351
5. 이야기 구연의 숙달과정과 이야기판의 변화 ·························· 355
6. 들은 이야기의 범위와 성격 ··················································· 358
7. 생애체험에 대한 구연욕구와 표현능력 ·································· 361
8. 마을 사회 이야기의 수용 ······················································· 370
9. 구연술에서의 부친의 영향 ···················································· 373
10. 맺음 ···················································································· 375
■ 이야기꾼의 사회 경험과 보학(譜學)담을 이용한 현실 적응
‒ 김대순의 예
1. 머리말 ·················································································· 377
2. 이야기꾼으로서의 성격상 특징과 향촌에서의 인지도 ············ 380
3. 이야기 구연 목록과 경험담류의 비중 ···································· 383
4. 기질적 특징의 형성과 생애 배경 ··········································· 386
5. 습성화된 공격성의 언어습관 ················································· 391
6. 보학담에 대한 관심과 구연전략 및 구연방식 ························· 396
7. 맺음말 ·················································································· 410
■ 고소설 암송구연(暗誦口演) 고
1. 머리말 ·················································································· 413
2. 암송구연의 구연문화적 양식성과 기능 ·································· 415
3. 마을 사회의 배경과 암송의 숙련 계기 ··································· 427
4. 암송 소재의 전환 수용 태도와 암송 방식 ······························· 430
5. 암송의 사회적 수용과 암송자의 적응 ···································· 441
6. 고소설사와의 관련성에서 본 암송 양식의 의의 ····················· 451
7. 맺음말 ·················································································· 454
■ 이야기꾼 구연 설화 ‒ 김대순 ··················································· 459
■ 참고문헌 ···························································································· 517
■ 찾아보기 ···························································································· 521
■ 수록 논문 게재 일람 ············································································ 526

[ 저자서문 ]

여기에 수록한 전체 논문들의 주된 과제는 한마디로, 이야기꾼의 개념을 정립하고, 이야기꾼 유형의 기준을 설정하며, 개별 이야기꾼의 개성과 특징을 자세히 드러내 보자는 세 가지 항목으로 요약할 수 있을 것이다. 각 논문들이 대체로 길이가 길어지고 있음은 거의 매 논문마다 위 문제들을 다루고 있기 때문이라 할 수 있다. 개별 논문으로 보면 다소 번다하다고도 할 수 있겠지만, 한편으로 보면 이는 곧 우리의 설화 연구사에서 이 방면에 대한 논의가 깊이 축적되지 못한 결과를 말해주는 것이라고도 할 수 있을 것이다. 여기에서 저자가 전통사회라고 이름을 붙였지만, 명칭 그대로 지난 한 세기 이야기꾼의 종?횡단면을 제대로 포착하려면 얼마나 많은 관련 사례를 모아야 그것이 가능할까 하는 생각을 해본다. 여기에는 방랑 이야기꾼, 직업적 이야기꾼, 토박이 이야기꾼 등 대략 큰 방향에서 자세한 사례들이 더 관찰되고 작은 유형으로 정리됨으로써 어느 정도의 구도가 잡힐 수 있지 않을까 짐작해 본다. 늦은 감이 있지만, 앞으로 이야기꾼에 대한 관심이 그러한 방향으로 더 진전되기를 기대하고 싶다.

소설은 소설가, 노래는 소리꾼, 무가는 무당의 소산이듯, 이야기다운 이야기는 이야기꾼의 소산이다. 이 당연한 사실에 유의하면 이야기꾼의 존재와 역할이 늘 관심거리가 되는 것은 아주 자연스런 일이다. 이러한 중요성을 말해주듯, 그동안 이야기꾼의 존재에 대해서는 제한적으로나마 우리나라의 경우 소설과 야담의 이해를 위한 시각에서 주로 언급되어 왔고, 국외에서도 근대기부터 이미 전문적인 수준에서 산발적으로 이에 대한 관심이 주어져 왔다.