Earticle

초록

영어

The Ming dynasty marked the full maturation of the Chinese full-length vernacular novel, a period in which narratives centered on heroes and grounded in history and popular tradition flourished. Among these works, Sanguo yanyi (Romance of the Three Kingdoms) and Shuihu zhuan (Water Margin) profoundly shaped Chinese historical consciousness and conceptions of heroism. Rather than merely reproducing historical fact, they function as cultural texts that collectively remember and reconstruct the values and ideals shared by a given era. The figures of Liu Bei, Guan Yu, and Zhuge Liang that most readers recall today derive less from Chen Shou's official history than from the novel, and the same holds for Song Jiang, Wu Song, and Li Kui, who are remembered through the novel rather than through the scant entries of the Song History. From this perspective, the hero is not so much a historical individual as a figure continually reconstituted within social memory and cultural imagination. This study does not treat the two works as members of a single genre called "heroic fiction." In the conventional classification of Chinese fiction, Sanguo yanyi belongs to the historical romance (lishi yanyi) and Shuihu zhuan to the heroic legend (yingxiong chuanqi), and in Korean scholarship the term "heroic fiction" already designates a specific genre of late Joseon novels. The study therefore adopts "heroic narrative" as a cross-generic category, defined as a mode of narration that represents an individual or a group as extraordinary figures worthy of communal veneration, evaluates their deeds in terms of communal values such as loyalty, righteousness, and legitimacy, and circulates with memory practices outside the text, including oral storytelling, drama, religious cults, and proverbs. Under this definition, the generic difference between the two works becomes a key variable of comparison rather than an obstacle to it. Drawing on Maurice Halbwachs's concept of collective memory, Jan and Aleida Assmann's theory of cultural memory, and Astrid Erll and Ann Rigney's notion of remediation, the study analyzes how historical memory is selected and reconstructed in each work and how heroic figures and narrative structures are built in the course of that reconstruction. It argues that cultural memory should not be understood as a final stage in which memory is completed, but as a mode of long-term transmission that persists only through repeated remediation in print, commentary, performance, and ritual. The analysis shows that the difference between the two works cannot be reduced to a binary of official versus popular sources. Sanguo yanyi incorporates storytellers' lore, the Yuan pinghua, and zaju drama, while Shuihu zhuan passes through historical records, miscellanies, and literati compilation. The decisive difference lies in the direction in which heterogeneous sources negotiate with one another. In Sanguo yanyi, the written memory of official history and later historiographical judgments provides the framework, absorbing and at the same time restraining the sentiments and excesses of oral tradition; this interpretive reconstruction produces a hierarchy of a few typified heroes and a careful mixture of fact and fiction that allows invention to be remembered as fact. In Shuihu zhuan, oral tradition supplies both the framework and the characters, while fragmentary historical records, Daoist numerology, and literati compilation integrate them into a single system; this constitutive reconstruction yields a parallel arrangement of one hundred and eight collective heroes, preserving the plurality of the tradition through a chain of individual episodes that converge at Liangshan, a symbolic site of memory. The commentary editions of Mao Zonggang and Jin Shengtan did not complete these memories but remediated them in opposite directions, the former reinforcing Shu-Han legitimacy and the latter dismantling the frame of loyalty by truncating the novel at seventy chapters. Afterwards, storytelling, Peking opera, the Guandi cult, and sequels such as Shuihu houzhuan and Dangkou zhi continued to reshape both memories. The study also briefly examines their reception in Joseon Korea, where the memories of the two works were selected and reorganized within local social frameworks such as the ideology of serving the great and an official-history-centered view of the past, as seen in court debates over the novel, the establishment of Guan Yu shrines, and literati associations between Shuihu zhuan and Korean narratives. By examining two works of different genres as media of memory, this study offers a new interpretation of the interaction between history and literature and of the cultural mechanisms underlying the formation of heroes, and it proposes that generic differentiation in Ming fiction can be understood in terms of the direction in which sources of memory are negotiated.

한국어

명대는 중국 장편소설이 본격적으로 성숙한 시기로서 역사와 민간 전승을 바탕으로 영웅을 중심에 둔 서사가 활발하게 산출되었다. 그 가운데 『삼국연의』와 『수호전』은 중국인의 역사 인식과 영웅관 형성에 지대한 영향을 미쳤다. 두 작품은 역사적 사실을 재현하는 데 그치지 않고 특정 시대가 공유한 가치와 이상을 집단적으로 기억하고 재구성한 문화적 텍스트라 할 수 있다. 본 연구는 두 작품을 영웅소설이라는 단일 장르로 묶지 않는다. 그 대신 역사연의와 영웅전기라는 상이한 장르를 가로질러 작동하는 영웅 서사를 분석 단위로 설정한다. 분석 틀로는 알박스의 집단기억 개념, 아스만의 문화 기억 이론, 에를과 리그니의 재매개 개념을 활용한다. 분석 결과 두 작품의 차이는 정사 기반과 민간 기반이라는 이분법보다 이질적 기억 원천들이 교섭하는 방향의 차이에서 비롯된 것으로 확인된다. 『삼국연의』에서는 정사와 사론의 문자 기억이 골격을 제공하고 강사, 평화, 잡극의 정서가 그 안에 수용되면서 동시에 제어된다. 이러한 해석적 재구성을 통해 소수의 유형화된 영웅이 위계적으로 배치된다. 󰡔수호전󰡕에서는 구연전승이 골격과 인물을 제공하고 단편적 사적 기록과 문인 편찬이 이를 통합한다. 이러한 구성적 재구성을 통해 108인의 집합적 영웅이 병렬적으로 배치된다. 모종강본과 김성탄본은 이러한 기억을 완성한 것이 아니라 각각 강화와 전복의 방향으로 재매개하였다. 이후에도 두 작품의 기억은 설서, 공연, 신앙, 속서를 통해 거듭 재편되었다. 아울러 조선에서 두 작품의 기억이 정사 중심의 사관, 사대 의리라는 사회적 틀 속에서 선택되고 재편된 양상을 간략히 검토하였다. 본 연구는 장르가 다른 두 작품을 기억의 매체로서 통합적으로 조명하였다. 이를 통해 역사와 문학의 상호작용 및 영웅 형성의 문화적 메커니즘을 새롭게 해석하고 기억 원천의 교섭 방향에 따른 장르 분화라는 관점을 제시한다는 데 의의가 있다.

목차

Ⅰ. 서론
Ⅱ. 이론적 배경과 개념 설정
Ⅲ. 기억 원천의 교섭과 재구성
Ⅳ. 영웅 형상과 서사 전략의 비교
Ⅴ. 조선에서의 수용과 기억의 재편
Ⅵ. 결론
참고문헌
국문초록
Abstract

키워드

명대 소설 집단기억 문화기억 재매개 영웅 서사 역사연의 영웅전기 삼국연의 수호전 Ming fiction Collective memory Cultural memory Remediation Heroic narrative Historical romance Heroic legend Sanguo yanyi Shuihu zhuan 明代小說 集體記憶 文化記憶 再媒介 英雄敘事 歷史演義 英雄傳奇 三國演義 水滸傳

저자

• 권운영 [ Kwon Eunyoung | 신한대학교 리나시타교양대학 부교수 ] 주저자
• 이시찬 [ Lee Sichan | 청주대학교 교양대학 교수 ] 교신저자

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