Earticle

초록

영어

In this paper, we went over the characteristics of Morandungi, the vol.4, no.2 of Cheondungshinhwa and how Korea and Vietnam took to Morandungi. Also, we took a look at how Japan took Morandungi historically, as reference we looked over the significance of Otogibouko, the vol.3, no.3 of Botantourou. To start, if we take a look at the stages of how the two people fell in love, in the original text, the relationship of the couple began in the order of meeting each other to love, and they did not need any other reasons to make love, except to get rid of their loneliness and sexual desires. However, in Botantourou, the relationship began in the order of meeting each other, the exchanging of Waka, to love and they were used to transform it into a sensitive story, which reminded us of Utamonogatari in the Heian period. The extreme sexual description shown in the original text were also altered to a more moderate style. Furthermore, the later half of the original text, which takes up half of the story, namely the appearance of the mage and the motive of vanquishing monsters were deleted by Ryoui to change the story into a horror story based on a love story. But this was different from the intention of Ku'u, who wrote the original text into a monster vanquishing story. Similarly, it had a different aspect from how the story was understood in Korea and Vietnam. Furthermore, by examining Japan's historical take of Morandungi, with Botantourou, the theme of Morandungi changed from monster vanquishing to a love story based horror story. But, due to this rebirth of Morandungi and Botantourou, these books were welcomed and loved by the Japanese, and it paved the way for literatures that were influenced and followed by Morandungi to appear in various forms.

일본어

本稿では『剪灯新話』巻2の第4話「牡丹灯記」の性格、朝鮮とベトナムにおける「牡丹灯記」に対する認識、日本での「牡丹灯記」の受容史について検討し、これをもとにして『伽婢子』巻3の第3話「牡丹灯篭」の意味について考察を行った。まず、二人にとって愛が結ばれる過程を見ると、原作では「男女の出会い→契り」の順で描かれており、孤独感と情欲の解消の他は、二人の愛が叶えられるためには何も必要ではなかった。しかし、「牡丹灯篭」では「男女の出会い→和歌の交換→契り」の順で描かれており、その和歌は『題林愚抄』『名語記』『古今和歌集』などを出典としていた。また、地文にも随所に和歌的な表現が散りばめられ、平安時代の歌物語を髣髴させる叙情的な話として変っており、原作から見られる過激な性愛描写も穏健な描写へと切り替えられている。その他に、話の約半分を占めている原作の後半の部分、つまり、道人の登場と妖怪退治のモチーフも了意は大胆に削除し、恋愛譚として一貫させていた。しかし、これは原作を妖怪退治譚として創作した瞿佑の意図とは異り、同じく妖怪退治譚として理解していた朝鮮とベトナムとも異なる様相を示すものであった。それだけでなく、日本において「牡丹灯篭」以前の先行作品群とも比較した結果、「牡丹灯篭」に至って妖怪退治譚から恋愛譚へと完全に異る性格を持つ作品として主題が替わって再誕生したことが分かった。しかし、このような恋愛譚としての再誕生があったからこそ、結果的には「牡丹灯記」と「牡丹灯篭」がこれほどまで日本人に歓迎され、愛され続け、様々な形として「牡丹灯記」の追従作及び影響作が生まれるようになったと言えよう。

목차

I. 머리말
 II. 「보탄토로」의 번안양상
 III. 『전등신화』에서의 「모란등기」의 성격
 IV. 조선과 베트남에서의 「모란등기」
 V. 아사이 료이의 「모란등기」의 번안과 특질
 VI. 맺음말
 參考文獻
 要旨

키워드

저자

• 김영호 [ 한국외국어대학교 일본학부 강사，일본근세문학 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  일본학연구 [The Journal of Japanese Studies]

• 간기

  연3회

• pISSN

  1598-737X

• eISSN

  2465-8448

• 수록기간

  1997~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 730 DDC 492