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Ⅰ. 序論 6

1. 問題提起 6

2. 硏究史 檢討 9

3. 硏究範圍와 方法 14

Ⅱ. 〈報心錄〉의 傳承系統과 製作의 推移 17

1. 傳承의 系統 18

1) 原形的 敍事 系統 19

2) 敷衍的 敍事 系統 23

3) 創作的 敍事 系統 29

2. 製作의 推移 39

1) 翻案小說的 實態 41

2) 創作小說的 實態 45

Ⅲ. 〈報心錄〉의 文學的 樣相과 敍事 類型 50

1. 文學的 樣相 50

1) 構成의 樣相 51

2) 表現의 樣相 76

3) 思想의 樣相 87

2. 敍事 類型 92

1) 報恩小說의 類型 92

2) 友愛小說의 類型 96

3) 英雄小說의 類型 100

4) 奇逢小說의 類型 104

Ⅳ. 敍事 類型을 통해 본 文學史的 意義 109

1) 小說의 製作史的 意義 109

2) 小說의 傳承史的 意義 112

Ⅴ. 결론 116

參考文獻 120

ABSTRACT 122

초록보기

 The main focus of this study is to comprehensively understand the literary character of Bosimnok produced in the late Joseon Dynasty. Bosimnok is based on the literary embcxiiment of righteousness, and is shaped by converging various subtypes of classical novels. Thus, Bosimnok is a classic novel adaptation of Jossikoa in China. Jossikoa is based on the appearance of assistants after the murder of an important figure, Jo Ja-k, and the foundation for the family of Cho. However, Bosimnok is about Yang Se-chung, an important figure, being helped by his assistants, and his son calms down the rebellion of his fellow handwriters and ascends to a high rank. Thus, the subject of the action has changed, as well as the consequences of the action. Therefore, this point was examined in terms of the Korean novel transformation of Chinese historical stories. In other words, the main goal was to examine the transmission system and literary status of Bosimnok and to view the significance of literary history based on this.

Various classical novels are created after Chinese circular text is introduced to Korea. They can be divided into translational and creative novels. The former includes works that have transformed into novels while faithfully inheriting the contents of Dongjuyeolgukji a Chinese performance, or historical literature. The latter may be a Korean novel in the category of Bosimnok.

The literary aspects and narrative types of Bosimnok were reviewed. The literary aspects of Bosimnok were identified in terms of composition, expression, and subject matter. The composition was again reviewed by dividing it into figures, backgrounds, and events. First of all, a wide variety of characters have organic relationships, and the background is also expanded around the Yang Se-chung family, the main character. On the other hand, the case was complicated with the importance of causality. Historical recordings and performances were applied to Chinese texts, but Korean classical novels, especially Bosimnok follow the typical expression of Korean novels. The theme emphasizes medieval ideologies by adding military and heroic stories as well as Gi Bong-dam in Bosimnok which emphasizes only friendship and Boeun.

By re-creating Chinese works into Korean novels, it is mobilizing many subtypes of Korean classical novels. Such subtypes of classical novels include Boeun novels, fraternal novels, hero novels, and Gibong novels. The Boeun novel emphasized Boeun and Xieun, which was also the core of China's history and performance narratives. Friendship novels depict fraternity between brothers, not brothers, as a key idea in Chinese history and performance nanatives. The novel deals with the heroic performance of outstanding characters and follows the tradition of Korean classical novels. The Kibong novel is an interesting portrayal of the separation and union of family members and brothers, and it also inherits the composition of Korean classical novels.

The significance of this literary history was confirmed through the narrative type. First, it is the historical significance of the novel. Through this work, one can understand the tendency of a novel to be produced in the late period of classical fiction. Since the emergence of new or modern novels, classical novels have sought to find new ways beyond existing practices. One of them was to process Chinese literature into a new novel. That's how the book appeared. However, there is a difference in that it was created as a new work by making a big change instead of applying the existing work as it is.

Next is the epic significance of the novel. After being transformed into a performance narrative, Jossikoa entered Korea and was transformed into a novel reading narrative. In China and other countries, the text of the performance was mainstream, but in Korea, the text of the novel was the key. It was possible to adjust Chinese works in a Korean way, reflecting the cultural characteristics of Korea. In other words, it sought a novel change by converging on the subtypes that were popular in the distribution of Korean classical novels. In this regard, this work is regarded as a literature that penetrates East Asia and as having a status as a special Korean literature.

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