지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The ritual of summoning God to the place of human is common forms of plays in all ethnic groups, although there are differences in its form. Especially, the Gut of Korea, Nouxi of China and the Kagura of Japan are similar in a few points. Although all these rituals call the God, respect them, enjoy together and bringing back to their place, these rituals have differences due to geographical, histological and the way of lives of each country. These ceremonies are the parties for the God and human beings, which have been continued for more than thousands of years. However, there are differences in language, song and dances which are the tools for communications.
This article aims to study how the stories are accepted whether the story with songs, songs of the insertion Play, or the background stories for the dances, in shamanism ceremony of three countries of the East Asia. There are various stories accepted about the God that are song or talked, but this article targeted only well known novel or myths accepted in Gut. The Simcheong Gut of Donghaeanbyulshin Gut, Bang Yang of Nouxi, Iwatomai of Kagura are independent steps of the one of the major Guts. there might be a reason of making well known stories as the independent Gut. There might be a reason of accepting and playing the well known stories in Gut, and the common points and differences would exist among three countries. Ths article researches role of the process of expressing a story in the Gut played in shamanism ceremony of three countries.
Stories arc almost always included in Oshin (which means to play sprit) of Gut played in anytime and anywhere. The Oshin is aimed to have fun and enjoy. The parts of the Gut, including stories, are focusing on dancing, laughing and enjoying with the stories. Tnere is no vitality in the world of the God and human beings without laugh.
The stories accepted in Gut, Nouxi, and Kagura have something in common and reflects the spirits of the community members. All gut of communities hopes the peace of the community and richness of members in it. So they play Gut and maintain the community. They all deal with family conflicts with female suffering in center of the story. In the East Asian countries, female are the weak. By making these weak people as the heroine, the audience would have been moved and delighted.
This article aims to study how the stories are accepted whether the story with songs, songs of the insertion Play, or the background stories for the dances, in shamanism ceremony of three countries of the East Asia. There are various stories accepted about the God that are song or talked, but this article targeted only well known novel or myths accepted in Gut. The Simcheong Gut of Donghaeanbyulshin Gut, Bang Yang of Nouxi, Iwatomai of Kagura are independent steps of the one of the major Guts. there might be a reason of making well known stories as the independent Gut. There might be a reason of accepting and playing the well known stories in Gut, and the common points and differences would exist among three countries. Ths article researches role of the process of expressing a story in the Gut played in shamanism ceremony of three countries.
Stories arc almost always included in Oshin (which means to play sprit) of Gut played in anytime and anywhere. The Oshin is aimed to have fun and enjoy. The parts of the Gut, including stories, are focusing on dancing, laughing and enjoying with the stories. Tnere is no vitality in the world of the God and human beings without laugh.
The stories accepted in Gut, Nouxi, and Kagura have something in common and reflects the spirits of the community members. All gut of communities hopes the peace of the community and richness of members in it. So they play Gut and maintain the community. They all deal with family conflicts with female suffering in center of the story. In the East Asian countries, female are the weak. By making these weak people as the heroine, the audience would have been moved and delighted.
목차
1. 서론
2. 굿·나희·가구라의 절차
3. 굿·나희·가구라에 수용된 이야기 드러내기
4. 이야기 수용의 특징
5. 이야기 수용을 통한 무속의례의 차별성
6. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2013-710-003203541