The initial period when Dokkebi was recorded can be said as the late Korea when 『SamGukYuSa』 was written, but the history of Dokkebi itself starts from Shilla era, which is the historical background of 『SamGukYuSa』. History of Dokkebi might begin before the Shilla era, but it cannot be verified due ...
The initial period when Dokkebi was recorded can be said as the late Korea when 『SamGukYuSa』 was written, but the history of Dokkebi itself starts from Shilla era, which is the historical background of 『SamGukYuSa』. History of Dokkebi might begin before the Shilla era, but it cannot be verified due to lacking confirmed data. Therefore, realizing the actual figure of Dokkebi with various appearances is very difficult. The study intends to consider the aspect and divinity of how Dokkebi’s function changed presuming that appearance and function of Dokkebi, which has been changing until nowadays, represent the lives of the people.
In the study, its purpose is to figure out the trend of Dokkebi’s transmission, and review the meaning of changed divinity and the thought of people reflected after data of Dokkebi were collected. Therefore, before considering the aspect of divinity of Dokkebi, the concept of ‘transmission of Dokkebi’ should be clarified. ‘Transmission of Dokkebi’ can be explained as a concept of diachronic view of how custom, culture, and etc related to Dokkebi which people made up and enjoyed changed.
To review the transmission of Dokkebi, in Chapter II, the types were classified with the subject of 185 oral literature recorded in 『The Series of Korean Oral Literature』. Based on the common picture element selected from each tale, 21 sub-types were set, and based on the sub-types classified again, they were classified as 10 upper class types. In addition, 8 upper class types, except for the miscellaneous 2 types, were reviewed in order.
In Chapter III, the aspect of orally transmitted Dokkebi considered through Chapter II and the aspect of Dokkebi transmitted in documental data were reviewed together, and the change in it transmission was narrated. As a result, the aspect of divinity of ‘JulGuGongShin-DaeJangShin. YukShin-ByukSaShin.SaGuiShin-SaShin-JaeBokShin’ could be checked, and such function of Dokkebi could be interpreted as the result of realization of strong eager of the people according to the trend of each age.
In Chapter IV, it was reviewed whether the function of Dokkebi mentioned in Chapter II is succeeded even in nowadays. Current aspect of Dokkebi was going through change and constancy. As for its change, especially, there were many cases of modification to be utilized in literature, education, and motion picture literature, but because its transmission occurred much mainly regarding children, it could be checked that it had SaShin-ic aspect which punishes evil after asking guiltiness.
On the contrary, there also existed transmission of Dokkebi as JungShin which succeeded ancestors’ spirit, which can be checked in Chapter III. Like the Dokkebi Daegam, it prayed for individual fortune in the narrow range, and in the wider range, it reflected symbolic meaning hoping for ethnic victory like ‘Red Devils’.
Finally, in Chapter V, it intended to reveal the meaning by arranging how the divinity of changed Dokkebi was transmitted with Dokkebi literature and religion, and by reviewing in what form the changed divinity of Dokkebi is transmitted nowadays and how we should understand the class who enjoyed Dokkebi as oral literature at that time.
The initial period when Dokkebi was recorded can be said as the late Korea when 『SamGukYuSa』 was written, but the history of Dokkebi itself starts from Shilla era, which is the historical background of 『SamGukYuSa』. History of Dokkebi might begin before the Shilla era, but it cannot be verified due to lacking confirmed data. Therefore, realizing the actual figure of Dokkebi with various appearances is very difficult. The study intends to consider the aspect and divinity of how Dokkebi’s function changed presuming that appearance and function of Dokkebi, which has been changing until nowadays, represent the lives of the people.
In the study, its purpose is to figure out the trend of Dokkebi’s transmission, and review the meaning of changed divinity and the thought of people reflected after data of Dokkebi were collected. Therefore, before considering the aspect of divinity of Dokkebi, the concept of ‘transmission of Dokkebi’ should be clarified. ‘Transmission of Dokkebi’ can be explained as a concept of diachronic view of how custom, culture, and etc related to Dokkebi which people made up and enjoyed changed.
To review the transmission of Dokkebi, in Chapter II, the types were classified with the subject of 185 oral literature recorded in 『The Series of Korean Oral Literature』. Based on the common picture element selected from each tale, 21 sub-types were set, and based on the sub-types classified again, they were classified as 10 upper class types. In addition, 8 upper class types, except for the miscellaneous 2 types, were reviewed in order.
In Chapter III, the aspect of orally transmitted Dokkebi considered through Chapter II and the aspect of Dokkebi transmitted in documental data were reviewed together, and the change in it transmission was narrated. As a result, the aspect of divinity of ‘JulGuGongShin-DaeJangShin. YukShin-ByukSaShin.SaGuiShin-SaShin-JaeBokShin’ could be checked, and such function of Dokkebi could be interpreted as the result of realization of strong eager of the people according to the trend of each age.
In Chapter IV, it was reviewed whether the function of Dokkebi mentioned in Chapter II is succeeded even in nowadays. Current aspect of Dokkebi was going through change and constancy. As for its change, especially, there were many cases of modification to be utilized in literature, education, and motion picture literature, but because its transmission occurred much mainly regarding children, it could be checked that it had SaShin-ic aspect which punishes evil after asking guiltiness.
On the contrary, there also existed transmission of Dokkebi as JungShin which succeeded ancestors’ spirit, which can be checked in Chapter III. Like the Dokkebi Daegam, it prayed for individual fortune in the narrow range, and in the wider range, it reflected symbolic meaning hoping for ethnic victory like ‘Red Devils’.
Finally, in Chapter V, it intended to reveal the meaning by arranging how the divinity of changed Dokkebi was transmitted with Dokkebi literature and religion, and by reviewing in what form the changed divinity of Dokkebi is transmitted nowadays and how we should understand the class who enjoyed Dokkebi as oral literature at that time.
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