<영이록(靈異錄)>의 여성적 상상력과 남성인물의 의미

초록

This study clarify that the Taoist element that appeared in the "Young I-rok" is an alternative to Confucian secular values, and that this alternative is a mixture of the desires and expected horizons of the female enjoyment class. While examining the narrative of "Young I-rok" step by step, it wasrevealed that the purpose of using various Taoist elements (Jade Emperor, Sinseon, Taoist, Taoist, etc.) and their use is to embody a Taoist hero.Son Gi, a Taoist hero who emerged in this way, gained family andnational recognition by solving problems that could not be solved usingthe secular values of Confucianism.At this time, Taoist abilities were intentionally opposed to those thatfollowed Confucian secular values or those that Confucian values valued,and Taoist heroes and abilities appeared as an alternative to solving theproblem of Confucian worldview.This study speculated that the appearance of this Taoist element asan alternative influenced the desire of the female enjoyment class andthe expected horizontal, and analyzed "Young I-rok" Consequently, itwas found that male characters, including Son Ki in "Young I-rok",were friendly to their wives. Son Ki was positioned as a son-in-law who could keep his wife's lifestable and formed a female-centered kinship community through anexclusive affection relationship. Male characters other than Son Ki also prioritized family safety and listend to his wife's opinions. "YoungI-rok" reveals the desire and expectation of the female enjoyment classfor a husband who is both friendly and socially recognized. However,the two desires and expectations were difficult to use together in termsof the value of time, and the Taoist element was used as a solution. In this process, a negative view of Confucianism secular values andthe shape of Taoism emerged as alternative resulting in the passiveoverthrow of current values. However, it only created a small crackbecause it was not intended for overthrowing. With the arrival of the late Joseon Dynasty, the novel marketgradually expanded. Therefore, the typical characteristics and schematic narratives that appearing in each work are unattractive. To create anattractive narrative again, various creative methods, such as refutationof the original, the emergence of differentiated characters, and acombination of various narratives, including folktales, were needed. In this process of creation, works like "Young I-rok" were born.Therefore, the small crack that appeared in "Young I-rok" did not endin a single work, but continuously created a larger crack through thecombination of heterogeneous materials.

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