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The Spatiality of the Pan and the Narrative Aesthetics of Pansori: Via the Madang and a Maternal Conception of Space

  • International Journal of Glocal Language and Literary Studies(약칭: IGLL)
  • Abbr : IGLL
  • 2026, 23(23), pp.192~208
  • Publisher : Glocal Institute of Language and Literary Studies(GILLS)
  • Research Area : Humanities > Other Humanities
  • Received : July 20, 2026
  • Accepted : August 20, 2026
  • Published : August 30, 2026

Kang Hyejin 1

1광운대학교

Accredited

ABSTRACT

This study examines the distinctive character of the pan as a space to discuss the aesthetics of pansori-based fiction (pansori- gye soseol). The pan, “constituted” by the psychological boundary of those who gather around it, contrasts with the proscenium arch, a sharp physical boundary. The greater the weight placed on the stage, the more audience seats had to be fixed in advance “to suit the stage,” differentiated by perspectival principles. By contrast, as seen in the painting Pyeongyangdo, the Korean pan showed strong homogeneity between stage and audience: spectators, standing or seated, could become assimilated with the performers. This is rooted in Korea’s madang (courtyard) culture. Embracing the aesthetics of the madang, the pan is (1) empty; ( 2) thereby a site of generation; and (3) therefore free to cross boundaries. This spatiality also shaped pansori-based fiction, yielding two principles. The first is “the power of generation that precedes rationality.” Through the 84-leaf Wanpan Yeollyeo Chunhyang sujeolga and the 71-leaf Wanpan Simcheongjeon, this study shows that figuration in pansori-based fiction is a maternal mode that seizes upon empty space and brings forth generation from it. The second is “assimilation across boundaries.” In Bak Heungbo jeon and Yeollyeo Chunhyang sujeolga, characters and settings crossed their boundaries freely, generating an atmosphere like a festive janchi-pan (celebration)—a point deserving particular attention.

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