판소리와 ≪태평천하≫의 서사시학적 거리

Abstract

It’s very common idea that “Taepyeongcheonha” written by Chae Man-sik in 1930s succeed the tradition of Pansori narrative. This study aims to confirm the error of this common idea and represcribe the literary aspect of “Taepyeongcheonha”. The dominant logic of the existing research about this topic is as follows. ; “Taepyeongcheonha” is the successor of Pansori narrative from a perspective of the mode of narration. Because Pansori narrative and “Taepyeongcheonha”. share the similar narrative feature for example the oral style and free indirect discourse. But the oral style concluding infinitive maker and interjection, oral final ending almost don’t exist in Pansori saseol. It’s rare actualization is so arbitrary and extemporaneous. The direct presentation of writer is the same. The free indirect discourse is very universal speech mode in Pansori narrative. But it is not a exclusive feature of the Pansori narrative but a common narrative mode in modern novels. Additionally free indirect discourse in Taepyeongcheonha” is different from Pansori narrative in that narrator’s voice is overlap with the voice of malefactor. Since free indirect discourse in Pansori narrative is actualized in the case of hero or good character representing the expectation of community. In short, common idea that “Taepyeongcheonha” succeed the tradition of Pansori narrative is based on only the universal discourse or very arbitrary and extemporaneous. So this study intend to prescribe the style of “Taepyeongcheonha” as storytelling. In the field of storytelling, oral speech act, editor’s comment, free indirect discourse, direct presentation of storyteller is very general way of telling. Additionally, it can be said that Pansori narrative and “Taepyeongcheonha” have familial similarity in a collateral line.