한국 고전 서사문학의 아내 연구
고전 서사문학 아내 남편 주체 타자 성리학 성 역할 전통이념 삼대 중년;
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This thesis discusses the korean people's consciousness of women, especially wives, and how it was reflected and enjoyed in the classical narrative literature. To this end, focus was put on the dominant participant of the decision process before marriage and the conflicts between wife and husband. Above all, whether wife's volition was reflected or not is the main factor which is examined. The thesis closely examines how wives were objectified and subjectified in various layers in the narrative literature when the conflicts occurred and were resolved. The reader and writer have showed respect for women as wives and dealt with independent and active wives through the classical narrative literature. It can be said that the bear-woman, Ungnyeo, was active and independent in that she had femininity for giving birth to a progenitor and needed a man for the pregnancy. The Goddess of Mt. Jiri, who descended from heaven, was assumed to be a strong, tall and omnipotent being. Something negative or secondary about her was not found anywhere and she did not perform any role as deity's assistant. It was found that the narrators described wives subjectively enough for the wives tales to help her husband to diverge from the Narrative literature. The respectful attitudes toward wives had been dealt with in the various genres of literature ranging from foundation myths to the wives tales to help her husband. In the early classical narratives, characters of wives tales to help her husband appeared and women superior to men were found in some narrative shaman songs. This tells us that the characteristics of shamanic Myths were found in wives tales to help her husband as well. The wives tales to help her husband became a type of narrative in which wives were described as respectable beings. The characteristics of the wives tales to help her husband that were affected by ancient tales and shamanic myths can be clearly seen in the Cheongi-soseol, and also continues to be found in the heroine novels. In the Cheongi-soseol, there are instances of a wife selecting a husband herself or to help her husband. In most heroine novels, the argument that the heroine who was superior to man tried to achieve self-realization as a male by imitating men's deeds is dominant. On the other hand, it can be said that those tales failed to represent ideal wives because traditional ideology was still rooted in the tales. Yet, it is worthwhile to pay attention to the independent and active roles that the heroine wives exhibited while they were solving the conflicts. It is noticeable that female heroines were considered as others at home but they played active roles in the society. The epic novels could be evaluated as an advanced literature genre in terms of their social participation. The three generation series of korean long piece novel diverged from the original novels with a clear purpose: it was one style of the epic novels which dealt with the anxiety of upper classes. The upper class tried to intensify patriarchal ideology through women's otherization to resolve their anxiety caused by the weakening of Neo-Confucianism, which was the foundation of their philosophy. To spread this agenda of the upper class effectively, Princess Bari appears as a main character in the three generation series of korean long piece novel. Princess Bari was the best character who could meet the demand of the narrator of the three generation series of korean long piece novel, who considered passivity, heteronomy and obedience as the top virtues wives should have. In addition, to convey the ideology that he thought was valuable, the narrator of the three generation series of korean long piece novel introduced a middle aged character who could play a very effective role in spreading the values of the society. Those who are in their middle age try to pass down something desirable to their descendants to overcome the limitation of being mortal. The middle aged adults are expected to take the significant responsibility of passing the ideology of the previous generation down to the next generation. The middle aged males took the roles of passing down the ideology by using the narrative structure of three generations. In the three generation series of korean long piece novel, the traditional gender roles of husband and wife were much more strengthened without the middle aged men's traditional gender switch. Likewise, the narrator of the three generation series of korean long piece novel otherized wives by keeping the traditional gender roles of the middle aged husband and wife. It is shown that the narrator of the three generation series of korean long piece novel has a strong will to pass down the ideology that can support himself. The main narrative structure is consistently repeated and similar narrative structures with different characters are developed, exhibiting the overlapping aspect. For relatively long time, the narrative structure of otherizing wives had been introduced in the three generation series of korean long piece novel, which implies a strong will to keep and strengthen the patriarchal ideology and disproves the notion that Neo-Confucianism was weakened. The climax of the otherization of wives is found in the story of the princess who chose her husband by her own will: She was described as a wicked or a lascivious woman. This type of female character tries to escape from being otherized and change herself from repeating evil deeds, only to fail to be admitted to her husband's family and faces miserable death. The mass production of the literature strengthening patriarchal ideology is closely related with the ups and downs of the state ideology of the Joseon Dynasty, Neo-Confucianism. It is thought that the narrators of the three generation series of korean long piece novel were males who intended to worship and intensify patriarchal ideology. The narrators emphasized the male's roles in managing home and justified their succession of patriarchal ideology by putting male ability as a factor for critical success in stable and peaceful family life. The narrators of the three generation series of korean long piece novel genres reflected patriarchal ideology systematically and intensely through the narrative literature. As a result, the typical character model of the wife in the three generation series of korean long piece novel has influenced Korean society until now.