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The Genre Convention of Heroine Narrative and Feministic Views of Banghanlimjeon

  • Journal of Korean Literature
  • 2022, (46), pp.85-110
  • DOI : 10.52723/JKL.46.085
  • Publisher : The Society Of Korean Literature
  • Research Area : Humanities > Korean Language and Literature
  • Received : September 30, 2022
  • Accepted : November 10, 2022
  • Published : November 30, 2022

KWAK BOMI 1

1서울대학교

Accredited

ABSTRACT

Banghanlimjeon has been noted, because it has no male character and the marriage between two women. In view of the genre convention of heroine narrative, it has been antithetically evaluated. However, there are two problems: 1)The marriage between two women is the motif commonly found in Heroine Narrative. 2)Banghanlimjeon is discussed without specific standards of the genre convention of heroine narrative. In fact, if there are motifs generally used between the narratives, it’s possible to assume that these belong in the same category. Actually, there are primary motifs & narrative patterns in the heroine narrative. It means Banghanlimjeon is based on the genre convention of heroine narrative. However, the changes of bond order and position of primary motifs in the epic make differences. The important thing, these changes are caused by an author who has a critical mind. It is supported by using same-sex marriage and setting antagonist, Joo Yu-Rang, who has a typical character in the heroine narrative. Above all, Yeong Hye-bing is recreated from the female characters who are ruled out of marriage. She comes out of them who are reproduced by the patriarchal system and Confucianism. With this, the same-sex marriage is becoming a solidarity between women who want to live each gender role without patriarchal control. In the end, Banghanlimjeon is created by an author who has a critical mind of the genre convention of heroine narrative.

Citation status

* References for papers published after 2022 are currently being built.