저자소개
김광영
목차
1부 불교와 樂舞 · 百戱
1장. ≪佛國記≫와 ≪大唐西域記≫ 중의 佛敎 樂舞
1. 불교 악무의 의미 ··················································13
2. 불교 악무 개황 ·····················································15
3. ≪불국기≫ 중의 불교 악무 ······································19
4. ≪대당서역기≫ 중의 불교 악무 ································34
5. ≪佛國記≫와 ≪大唐西域記≫ 중 불교 악무의 의의 ······43
2장. ≪낙양가람기(洛陽伽藍記)≫ 중의 희곡(戱曲) 活動
1. ≪낙양가람기≫ 중 戱曲 活動의 의미 ·························47
2. ≪낙양가람기≫의 저술 배경 ····································49
3. ≪낙양가람기≫ 중의 희곡 활동 ································53
4. ≪낙양가람기≫ 중 戱曲 活動의 의의 ·························67
3장. 魚龍曼延 - 佛敎와의 연관성을 중심으로
1. 魚龍曼延의 의미 ···················································69
2. 시대별 魚龍曼延의 양상 ·········································71
3. 魚龍曼延과 불교 ··················································75
4. 魚龍曼延의 의의 ···················································91
2부 불교와 度脫劇
1장. 元雜劇 〈忍字記〉의 度脫 - 通過儀禮를 중심으로
1. 원잡극 〈忍字記〉 度脫의 의미 ··································97
2. 분리의례(分離儀禮) ················································100
3. 전이의례(轉移儀禮) ················································103
4. 통합의례(統合儀禮) ················································120
5. 원잡극 〈忍字記〉 度脫의 의의 ·································122
2장. 元雜劇 〈度柳翠〉의 度脫 - 통과의례를 중심으로
1. 원잡극 〈度柳翠〉 度脫의 의미 ·································126
2. 분리의례(分離儀禮) ················································129
3. 전이의례(轉移儀禮) ················································132
4. 통합의례(統合儀禮) ················································150
5. 원잡극 〈度柳翠〉 度脫의 의의 ·································154
3장. 元雜劇 〈猿聽經〉의 度脫 - 통과의례를 중심으로
1. 원잡극 〈猿聽經〉 度脫의 의미 ·································157
2. 분리의례(分離儀禮) ················································160
3. 전이의례(轉移儀禮) ················································162
4. 통합의례(統合儀禮) ················································177
5. 원잡극 〈猿聽經〉 度脫의 의의 ·································180
4장. 元雜劇 〈東坡夢〉의 度脫 - 통과의례를 중심으로
1. 원잡극 〈東坡夢〉 度脫의 의미 ·································183
2. 전이의례(轉移儀禮) ················································185
3. 통합의례(統合儀禮) ················································200
4. 원잡극 〈東坡夢〉 度脫의 의의 ·································205
3부 불교와 元雜劇
1장. 元雜劇 중의 佛敎劇 - 三敎合一을 중심으로
1. 원잡극 중 불교극의 의미 ········································211
2. 三敎合一의 내력 ··················································214
3. 원잡극 불교극 중의 유교적 성분 ······························218
4. 원잡극 불교극 중의 도교적 성분 ······························228
5. 원잡극 중 불교극의 의의 ········································233
2장. 雜劇 〈西遊記〉 - 캠벨의 영웅신화 관점에서
1. 잡극 〈西遊記〉의 의미 ···········································236
2. 出發 ·································································239
3. 入門 ·································································245
4. 歸還 ·································································255
5. 잡극 〈西遊記〉의 의의 ···········································261
3장. 雜劇 〈西遊記〉 중 唐僧의 人物形像
1. 잡극 〈西遊記〉 중 唐僧 인물형상의 의미 ····················264
2. 잡극 〈西遊記〉 이전 唐僧의 인물형상 ·······················266
3. 잡극 〈西遊記〉 중 唐僧의 인물형상 ··························271
4. 잡극 〈西遊記〉 중 唐僧 인물형상의 의의 ····················288
4장. 〈大唐三藏取經詩話〉와 雜劇 〈西遊記〉 비교 - 三藏法師와 孫行者의 인물형상을 중심으로
1. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의미 ············292
2. 〈取經詩話〉 중의 인물형상 ·····································295
3. 잡극 〈西遊記〉 중의 인물형상 ·································306
4. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의의 ············317
5장. 〈大唐三藏取經詩話〉와 雜劇 〈西遊記〉 비교 - 喜劇性을 중심으로
1. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의미 ············320
2. 諧謔的 희극성 ·····················································322
3. 諷刺的 희극성 ·····················································334
4. 〈大唐三藏取經詩話〉와 잡극 〈西遊記〉의 의의 ············339