<구운몽> 액자의 외화인 성진 단계에는 작은 단위의 액자들이 양파처럼 겹을 형성하며 장치되어 있다. 본고는 이것을 다포액자라고 이름하였다. 여타의 고소설에서는 보기 힘든 액자 형태이다. 본고는 액자의 개념으로 기능을 중시했다. 형식론적 관점이든 의미론적 관점이든 액자의 내화와 외화는 서사문맥 속에서 작품 전체, 또는 다른 서사 단위 및 작품 요소와 연계하며 어떤 기능을 수행할 때 액자로서의 진정한 존재 이유와 비중을 확보한다고 보았기 때문이다. 물론, 어떤 일정한 기능을 수행한다고 하여 그것을 액자로 인정한 것은 아니다. 내화의 앞과 뒤에 장치되어 내화의 유도와 형성, 그리고 수렴과 통합을 통해 내화의 서사나 의미를 감싸 포괄하는 것들을 액자로 규정하였다. 이와 같은 개념을 적용하면 <구운몽>의 작은 외화액자들은, 그것이 비록 하나의 어휘이거나 소재일지라도, 이유 있고 비중 있는 액자로 그 존재 가치가 분석되었다. 이들은 단순한 어휘액자나 소재액자로서의 기능적 함량을 초월하고 있었다. 이들은 작품의 전체 구조와 서사 문맥, 다른 서사 단위 및 서사 요소, 전체 액자와 다른 작은 외화액자들과 연계하며 스스로의 기능을 충실히 수행하고 있었다. 그 기능은 서사기능과 의미기능으로 분석ㆍ종합 되었다. 서사기능은 서사의 전개와 반전의 암시, 서사 개방의 유도, 서사의 종결과 수렴 등으로 확인되었다. 의미기능은 의미의 암시와 상징, 의미의 생성, 의미의 수렴과 통합 등으로 분석되었다. <구운몽>의 다포액자는 여타의 고소설처럼 우연이나 타성에 의해 기계적으로 장착된 장식액자가 아니라, 작가의 치밀한 구성과 조직의 구도에 의해 의도적ㆍ독창적으로 구조화된 기능액자로 판독되었다. <구운몽>의 다포액자가 담당하는 모든 서사기능과 의미기능은 불교의 현상론과 실상론을 원리적 근거로 하고 있었다. 현상론은 연기ㆍ윤회이고, 실상론은 空ㆍ中道이다. 연기와 윤회는 다포액자의 서사기능 원리로, 공ㆍ중도는 의미기능의 원리로 작용하고 있었다. <구운몽>의 다포액자는 불교사상의 근본과 궁극 모두에 대한 서사적 허구화라고 할 수 있다. 그렇다고 하여, <구운몽>에 대한 이해와 감상이 전적으로 불교적 관점에 의거해야 한다는 말은 아니다. 결국은 불교적 관점으로 통합이 이루어지겠지만, <구운몽>에는 또 다른 관점으로 수용 될 수 있는 요소도 공존하고 있기 때문이다. 이에 대하여는 수용미학적 관점이나 독자반응비평적 관점의 논의가 필요하다. <구운몽>의 액자 단위는 여러 겹의 작은 외화액자와 그것들의 총합인 큰 외화액자, 그리고 내화액자로 구성되어 있었다. 크고 작은 단위의 모든 외화와 내화는 각각 그 자체로서의 기능을 감당하면서, 상호간에 내포와 외연의 긴밀한 문맥을 연계해 냄으로써, <구운몽>의 구조와 미학적 실상은 유기적 전체로서의 통합상을 지향하고 있었다.

In the stage of Sungjin, external narrations of <Guwoonmong> frame, small units of frames are formed as manifoldly as a onion. Each of them is a vocabulary and a material itself. This thesis named it '多包額字(manifolded frames)', which is rarely found in other ancient novels. This thesis attaches much importance of a function as a notion of frame. The reason is that whether it is a viewpoint of formalism or semantic, internal and external narrations of frame, when connected with overall pieces of work or other epic units & elements and perform some function, can be seen to ensure genuine value and priority of existence. This concept adapted, small external narration frames of <Guwoonmong>, even though each of them is small vocabulary or material, its existence value is analysed as valuable and significant frame. They rise far above simple vocabulary or material frame of function. Each of them associates with entire structure of work, epic contexts, other epic units and elements, and overall and other small frames to perform its functions faithfully. Its functions are analysed and integrated into epic and meaning functions. Epic function is identified to involve epic development and allusion of turnover, induction of epic open, epic end and convergence. Semantic function is analysed as allusion and symbol of meaning, generation of meaning, convergence and integration of meaning. The '多包額字' of <Guwoonmong> is not mechanically decorated frame by accidence or inertia usually seen in other ancient novels, but interpreted as function frame which is formed intentionally and creatively by author's elaborate composition and organization. Every epic and semantic function that the '多包額字' of <Guwo-onmong> contain is based on phenomenology and real image theory of Buddhism. Phenomenology is karmaㆍreincarnation, and Real image theory is 空(naught)ㆍ中道(mulamadhyamakakarika). Karmaㆍreincarnation is working on the principle of epic function, whereas 空(naught)ㆍ中道(mulamadhyamakakarika) semantic function. The '多包額字 of <Guwoonmong> can be called epic fictionalization to the both the basis and the ultimate of Buddhism. But that doesn't mean that the comprehension and appreciation about 'Guwoonmong' should be done entirely on the basis of buddhistic viewpoint. Although ultimate integration would be made from a standpoint of Buddhism, there may be elements together which can be accepted from another standpoints. Further discussion would be necessary from the receptive aesthetic viewpoint or critical viewpoint from reader responses. The Units of frame in <Guwoonmong> consist of small manifold external, internal narrations. Every external, internal narrations of all dimensions has its function to work itself and, by connecting close context of connotation and denotation with each other, the structure and aesthetic reality <Guwoonmong> aims at integration as organic whole.

In the stage of Sungjin, external narrations of <Guwoonmong> frame, small units of frames are formed as manifoldly as a onion. Each of them is a vocabulary and a material itself. This thesis named it '多包額字(manifolded frames)', which is rarely found in other ancient novels. This thesis attaches much importance of a function as a notion of frame. The reason is that whether it is a viewpoint of formalism or semantic, internal and external narrations of frame, when connected with overall pieces of work or other epic units & elements and perform some function, can be seen to ensure genuine value and priority of existence. This concept adapted, small external narration frames of <Guwoonmong>, even though each of them is small vocabulary or material, its existence value is analysed as valuable and significant frame. They rise far above simple vocabulary or material frame of function. Each of them associates with entire structure of work, epic contexts, other epic units and elements, and overall and other small frames to perform its functions faithfully. Its functions are analysed and integrated into epic and meaning functions. Epic function is identified to involve epic development and allusion of turnover, induction of epic open, epic end and convergence. Semantic function is analysed as allusion and symbol of meaning, generation of meaning, convergence and integration of meaning. The '多包額字' of <Guwoonmong> is not mechanically decorated frame by accidence or inertia usually seen in other ancient novels, but interpreted as function frame which is formed intentionally and creatively by author's elaborate composition and organization. Every epic and semantic function that the '多包額字' of <Guwo-onmong> contain is based on phenomenology and real image theory of Buddhism. Phenomenology is karmaㆍreincarnation, and Real image theory is 空(naught)ㆍ中道(mulamadhyamakakarika). Karmaㆍreincarnation is working on the principle of epic function, whereas 空(naught)ㆍ中道(mulamadhyamakakarika) semantic function. The '多包額字 of <Guwoonmong> can be called epic fictionalization to the both the basis and the ultimate of Buddhism. But that doesn't mean that the comprehension and appreciation about 'Guwoonmong' should be done entirely on the basis of buddhistic viewpoint. Although ultimate integration would be made from a standpoint of Buddhism, there may be elements together which can be accepted from another standpoints. Further discussion would be necessary from the receptive aesthetic viewpoint or critical viewpoint from reader responses. The Units of frame in <Guwoonmong> consist of small manifold external, internal narrations. Every external, internal narrations of all dimensions has its function to work itself and, by connecting close context of connotation and denotation with each other, the structure and aesthetic reality <Guwoonmong> aims at integration as organic whole.

多包額字(manifolded frames), epic function, meaning function, Bud-dhism, organic whole