<양산백전>과 <세경본풀이>의 남장, 군담 화소의 양상과 서사적 지향

초록

This study examines the narrative orientations and meanings shaped by differences in genre and audience reception in the Korean Classical novels Yangsanbaekjeon and the shamanic myth Segyeong Bonpuri, both of which share narrative affinities rooted in the Liang-Zhu legend. Previous studies have primarily focused on the relationship of influence between these narratives; however, such approaches have been limited in explaining aspects of Segyeong Bonpuri that do not fully correspond to the Liang-Zhu legend. To address this limitation, the present study focuses on the motifs of “cross-dressing” and “military tales” found in both works. The analysis explores how these motifs reflect the conventions of each genre and the worldviews of their respective audiences. To this end, Pierre Bourdieu’s concept of habitus is employed to examine the characters’ actions and the trajectories of narrative development. The motif of “cross-dressing” functions as a mechanism that enables female characters to enter male-centered spaces while also revealing dispositions formed within the gendered social order. The “military tales” motif serves to validate the characters’ heroism and foreground the forms of practice demanded by each narrative. In Yangsanbaekjeon, Yang san-baek attains heroism through participation in war, thereby conforming to the male-centered social order. This process resolves the disruption in the social order caused by cross-dressing and ultimately reaffirms the patriarchal system. In contrast, Jacheongbi in Segyeong Bonpuri leads warfare to victory and establishes an agricultural order, thereby demonstrating her divine authority. Through this process, Jacheongbi appropriates and reconstructs masculine forms of action, emerging as an agent who transforms the existing oredr. In conclusion, although Yangsanbaekjeon and Segyeong Bonpuri share common motif, they exhibit divergent narrative orientations and structures of meaning according to their genres and audiences. Yangsanbaekjeon ultimately culminates in subordination to the patriarchal order, whereas Segyeong Bonpuri moves toward a reconfiguration of the existing order through the integration of patriarchal and mythological systems. These differences suggest that the social order and worldviews embedded within a work significantly shape the function and meaning of shared narrative motifs.

키워드