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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
비교민속학회 비교민속학 比較民俗學 第35輯
발행연도
2008.2
수록면
239 - 286 (48page)

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초록· 키워드

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Ceremonial form is pleasing the gods through the performance of ‘o-shin’(meaning pleasing the demons). The god-pleasing form is also people-pleasing. Active-form enables the performer to have fun while pleasing the spirits, while passive-form is lowering oneself to serve others. If the act of communal enjoyment is a suggestion to a singing and dancing ceremonial form, the act of observing general courtesy is a suggestion to a blessing-reading ceremonial form.
Even in village-god faith, ceremonial form is distinguished between pleasing gods through music and dance in a singing and dancing ceremonial form and blessing-reading and bowing down to please the gods in blessing-reading ceremonial form. Depending on the ceremonial form, village-exorcism with singing and dancing ceremonial form and ceremony to the village protector god with blessing-reading ceremonial form are oppositely transmitted from generation to generation. If village-exorcism is considered the original tradition, ceremony to the village protector god is a changed tradition post-spread of the Confucian culture.
Folk music instruments play an essential role in village-exorcism. This is because folk music instruments are the foundational support to the tradition of singing and dancing ceremonial form. Even after the conversion of village-exorcism to ceremony to the village protector god, folk music instruments have not entirely disappeared from the scene. Even in ceremony to the village protector god, folk music takes part in village-wide donation-taking round, or trampling on the god of the earth. Trampling on the god of the earth is an activity allowing villagers to take part in serving the village god themselves instead of relying on a priest. Therefore, folk music in trampling on the god of the earth continues the tradition of village-exorcism as well as bringing out the celebrative aspect of the great village exorcism.
A ceremony to the village protector god and a village-exorcism come from different sources tradition. While gentlemen forced villagers to abstain from drunkenness and to be careful by offering sacrifices in ceremonies to the village protector gods, commoners tried to have a good time with singing and dancing in village-exorcisms, free from the order of tradition. As a result, the gentry tried to ban folk music and transform village-exorcism to ceremonies to the village protector god, while the commoners tried to protect and maintain village-exorcism. With the generalization of Confucian culture, village-exorcisms have gradually changed to ceremonies to the village protector gods, and to counter these ceremonies to village protector gods, farmers hosted folk music singing and dancing exorcisms, while fishermen brought in sorceresses to perform folk music singing and dancing exorcisms.
As a result, focusing on the special development and transformation of folk music-centered village-exorcism as a result of integration with Confucian ceremony for the village protector god, and non-religious cultural exorcism also gives an understanding of the history of religion, the history of culture and social changes such as the disengagement of social status. Continuing on the traditional form, transformation into new forms were attempted as needed, and at times, past forms, which had disappeared had been recovered, and this pattern is still true for modern religious life. From traditional Confucian life, people suddenly accept Christianity, or search for the exorcism-culture from the past out of the blue. As a result, the more modern a cityscape is, higher concentration of churches and fortune-tellers exist and higher numbers of non-religious people and Christians prevail.

목차

Ⅰ. 마을굿에서 풍물을 주목하는 뜻
Ⅱ. 마을굿의 제의 양식에 따른 풍물의 역할
Ⅲ. 풍물의 문화적 기능과 ‘가무오신’의 마을굿
Ⅳ. 유교문화와 ‘고사오신’에 따른 동제의 변화
Ⅴ. 고사형 동제에서 전승되는 풍물굿의 기능
Ⅵ. 전승주체에 따른 제의 양식과 풍물의 행방
Ⅶ. 농어촌 별신굿의 두 유형과 무당굿의 지속
Ⅷ. 제의 양식의 변화로 본 마을굿의 이해
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