1920년대 서구 전래동화의 번역과 번역 주체의 욕망 - 『東明』에 소개된 그림동화를 중심으로

김화선(Hwa-Seon Kim),안미영(Mi-Young Ann) 어문연구학회 2007 어문연구 Vol.53 No.-

  The purpose of this thesis is to research meaning of translation of Grimm fairy tales translated in Dongmyeong at 1923. Sixteen pieces of Grimm fairy tales were presented to Dongmyeong published by Nam-sun Choi.<BR>  The translation is the act of transferring from a language to another language. The translation of western fairy tales in 1920’s was complicated because it included the gaze of modern subject and language and culture of the Western. Through the process of modernization in Korea, the subject is a core of modernity that has been broken up. If we don’t suppose Otherness, we can’t find the childhood. The children who have been produced by separation between adult and child were a mirror.<BR>  Along with the introduction of western fairy tales, Korean literary fairy tales were gathered by Gaebyuk at 1923. Fairy tales have relevance to nation and ethnic.<BR>  Therefore the translation of Grimm fairy tales are very important meanings. Especially Frog Princess, one of the Grimm fairy tales has been translated in Dongmyeong and Eoriny. A translator of Dongmyeong translated Grimm fairy tales with versatility unlike Jeong-whan, Bang of Eoriny. Sixteen pieces of Grimm fairy tales were presented to Dongmyeong showed the point of coexistence with instruction and aesthetic autonomy at 1920’s. That is the unconsciousness of translation of Grimm fairy tales. In addition, A translator of Dongmyeong translated Grimm fairy tales created abundant narrative discourse.

한국 전래동화에 나타난 설화 다시 쓰기의 문제

오세정 한국문학이론과비평학회 2014 한국문학이론과 비평 Vol.65 No.-

The most typical example of today’s rewriting folk tale is writing traditional fairy tale. The traditional fairy tales can be said rewritten folk tale again today. The original form of the fairy tale is a traditional folk tale. The traditional folk tale is one rewritten folk tale for educating children who are required to be new members of the modern society. By newly discovering the folk tales in the modern society, the fairy tales were born. When the fairy tales came to gradually take a seat, they built own area to be distinguished from the folk tale. In Korea, writers were devoted to writing traditional fairy tales without understanding the folk tale itself and the relationship between folk tale and traditional fairy tale. And they arbitrarily chose and interpreted the folk tale as original version. These issues should be resolved quickly for the development of folk tale research and writing fairy tale. Writing of the traditional fairy tale should be conducted on the basis of the understanding folk tale, the concept of different version about folk tales, and the relationship between folk tale and traditional fairy tale. Rewriting folk tale, in other words writing traditional fairy tale is necessary to be based on the reflection for the Korean’s lives and thoughts appeared in the folk tales without obsession of didacticism. 문학 영역에서 설화만큼 해석과 창작의 영역에서 끊임없이 다시 쓰기가 활성화된 경우도 찾기 어렵다. 설화 다시 쓰기의 가장 대표적 사례는 ‘동화’ 영역으로, 이른바 ‘전래동화’는 오늘날 다시 쓰여진 설화라 할 수 있다. 근대는 민족별, 공동체별 정체성을 요구했는데, 문학으로 인정받지 못했던 설화가 이 시기에 새롭게 발견되었다. 또한 근대는 새로운 사회 구성원으로서 아동의 출현을 요청했으며 아동 교육을 목적으로 새로운 문학 갈래인 전래동화를 탄생시켰다. 결국 전래동화는 민간에 전승되던 설화를 아동 교육의 목표 아래 개작한 것이었다. 동화가 연구와 창작의 영역에서 어느 정도 자리를 잡게 되자 자신의 정체성을 새롭게 수립하고 전통을 만들기 시작했다. 한국 동화 영역에서는 (전래)동화를 설화와 동의어로 보거나, 그와 대등한 수준으로 간주하기에 이르렀다. 설화에서 탄생한 동화는 설화와의 차별화를 시도하면서 독자적 영역을 구축하기에 이른다. 오늘날 전래동화는 모본이 되는 설화, 그리고 설화와의 관계에 대한 정확한 이해 없이, 설화에 대한 자의적인 해석과 취사선택으로 개작되어 왔다. 설화 연구 및 동화 연구와 창작의 발전을 위해서 이 같은 문제는 해결되어야 한다. 향후 전래동화 쓰기는 설화 갈래에 대한 올바른 이해, 모본이 되는 설화 텍스트의 이본에 대한 이해가 필수적이다. 또한 글쓰기 단계에서는 교훈성에 대한 강박관념을 버리고 설화에 형상화된 한국인의 삶과 사유에 대한 진지한 성찰과 이를 바탕으로 한 다시 쓰기가 이루어져야 할 것이다.

아시아동화집 출판과 콘텐츠활용 연구- 아시아인의 상호이해와 교감을 위한 성찰 -

권혁래 동아시아고대학회 2018 동아시아고대학 Vol.0 No.52

In this paper, I reviewed the aspects of Asian fairy tale collection published in Korea and Japan and proposed the development of contents using fairy tales. In the first half of the 20th century, Japanese scholars translated Western children's literature for the purpose of educating children' s ethics and adapted their tales to fairy tales. It should be noted that the The Great East Asian Fairy Tales Collection(1942-1944) published by the Japanese military are an expression of imperialism. In Korea, the translation of Asian fairy tales began in the 21st century, and at the same time, the concept of 'multi-cultural fairy tales' and 'East Asian representative fairy tales' appeared. We should look for ways to systematically research, translate, and publish the Asian fairy tales collection based on the list of Asian stories that are found in the multi-cultural fairy tale books, The collection of world folktales, and Hundreds of Asian Story. I have presented the purpose of Asian people's understanding and sympathy, the compilation of publications by age group, the develop ment of Asian characters, and the publishing of works by themes. 이 논문은 아시아동화집의 개념과 범주를 논하고, 과거 일본의 아시아동화집 편찬 사례 및 다문화동화집을 중심으로 한국의 현 아시아동화집 출판양상을 고찰하고, 아시아의 상호이해를 위한 동화콘텐츠 개발 방향에 대해 제언하였다. 20세기 전반 일본에서는 아동의 윤리․문화교육을 위한 목적에서 서양아동문학을 번역하고 자국의 민화를 동화로 개작하는 한편, 아시아 각국의 동화를 보급하는 등 동화를 적극적으로 활용하였다. 1940년대 초반에 간행된 ‘대동아권동화총서’는 정치적 목적과 문학의 자율성의 관계를 살필 수 있는 아시아동화집의 선례를 보여준다. 한국에서는 21세기에 들어서서 ‘세계전래동화집’ 속에 아시아동화집이 한두 권씩 들어오기 시작했고, 동시에 ‘다문화동화’ 및 ‘동아시아대표동화’라는 개념이 나타나기 시작했다. 다문화동화집을 통해 파악되는 목록과 『세계민담전집』 및 『백 개의 아시아』에서 파악된 아시아 스토리 목록을 바탕으로 아시아동화자료를 좀 더 체계적으로 조사․번역․출판해야 할 방안을 찾아야 할 것이다. 필자는 한국사회에서 아시아동화집 편찬 및 동화콘텐츠 개발방향에 대해 아시아인의 상호이해와 교감이라는 목적설정, 연령대별 출판물 편찬, 이중[삼중]언어 병기방식, 아시아 캐릭터 개발 및 주제별 작품집 기획․출판 등의 방안을 제시하였다.

멀티미디어 전래동화와 생활동화의 구어 속도 및 구문 특성

전희숙 한국언어치료학회 2023 언어치료연구 Vol.32 No.3

Purpose: Multimedia fairy tales are actively applied to children in clinical settings. The purpose of this study is to compare the speech rate and syntactic characteristics that affect the understanding of fairy tales, focusing on traditional and contemporary multimedia fairy tales. Methods: Ten traditional fairy tales and 10 contemporary fairy tales were analyzed. The speech rate was calculated as number of SPM. To compare the syntactic characteristics, the number of utterances, MLU-eojeol, the proportion of complex sentences, and each type of complex sentence were calculated. The utterance of traditional fairy tales was divided into dialogue and narration, and syntactical characteristic was analyzed. Results: First, there was no difference in speech rates between the types of multimedia fairy tales. Second, although the number of utterances per minute of the traditional fairy tale was lower than that of the contemporary fairy tale, the MLU-e and complex sentence proportion of the traditional fairy tale was higher than that of the contemporary fairy tale. In traditional fairy tales, the proportion of conjunctive sentences was higher than that of compound-complex sentences. Third, the narration of traditional fairy tales was 50.45%, and the MLU-e and proportions of complex sentences in narration were higher than in dialogue. Conclusions: There is no difference in speech rates between the types of multimedia fairy tales. However, the MLU-e of the traditional fairy tale is longer than that of the contemporary fairy tale, and there are many complex sentences in the narration. The results of this study suggest that multimedia fairy tales should be selected in consideration of children's syntax and fairy tale characteristics.

잡지『문교의 조선(文教の朝鮮)』과 『보통학교 아동문고(普通學校兒童 文庫)』에 실린 ‘동화’ 연구

이현진 한국일본어문학회 2023 日本語文學 Vol.98 No.-

In the special of Education of Chosun fairy tale issue, the Korean fairy tale reveals its humorous laughter and darkness in colonial reality. In the fairy tales written by Japanese who lived in Chosun, we can get a glimpse of the educational use and political nature of fairy tales. In Primary School Children's Book, it can be seen that in Japanese fairy tales, educational tutoring book that make Chosun children grow up as children of the Japanese Empire are clearly revealed through fairy tales. It can be seen that Korean fairy tales contain fairy tales worthy of children's fairy tales, such as diligence, obedient peace attitude, and children's ideals, along with the fun of fairy tales for children. Therefore, in the reality of colonialism at the time, it was confirmed that fairy tales were read by children of Chosun with different directions.

“어른들을 위한 동화” 관점에서 이원수의 동화 『꼬마 옥이』 읽기 시고(試考)

이황진 ( Hwang Jin Lee ) 한민족어문학회 2014 韓民族語文學 Vol.0 No.67

본고는 ‘어른들을 위한 동화’의 개념과 조건에 대해 고찰하고, 그것을 기준으로 하여 이원수의 동화 『꼬마 옥이』가 ‘어른들을 위한 동화’의 관점에서 감상될 수 있는 이유에 대해 분석한 글이다. 보통 ‘어른들을 위한 동화’와 ‘성인동화’를 같은 의미의 다른 표현이라고 인식하며 그 둘을 별다른 구별 없이 사용하고 있다. 하지만 어린이는 읽어서는 안되는, 성인만을 대상으로 하는 동화도 존재하므로 그 둘은 엄격하게 구별되어 쓰여야만 한다. 이에 필자는 성인동화는 ‘성인만을 대상으로 하여 동화의 형식 혹은 동화라는 이름을 빌려 창작된 이야기’로, 어른들을 위한 동화는 ‘어린이와 성인 모두를 대상으로 하여 동화 본연의 특성을 간직하며 창작된 동화’로 분류하였다. 그리하면, ‘성인동화’는 자연스레 아동문학 범주에 포함시킬 수 없는 문학이 될 것이고, ‘어른들을 위한 동화’는 아동문학의 범주에 포함시킬 수 있는 문학이 된다. 그리고 어른들을 위한 동화란 ‘동심을 문학적 이념으로 삼아, 어린이뿐만 아니라 어른들까지도 그 대상으로 하여 창작된 것으로, 어린이와 어른 모두가 각자의 눈높이에 맞는 이해와 감상을 할 수 있는 동화’라고 정의 하였다. 이를 바탕으로 하여 『꼬마 옥이』를 감상해 본 결과 『꼬마 옥이』는 충분히 ‘어른들을 위한 동화’로 인정받을 수 있음을 확인할 수 있었다. This paper analyzed the reason why Lee Won-su`s collection of fairy tales “Kid, Wogi” can be appreciated from the perspective of a “fairy tale for grown-ups”. Ahead of appreciating and analyzing the work, the establishment of the concept of ”fairy tale for grown-ups” was attempted. In general, “fairy tale for grown-ups” and “adult fairy tale” are perceived to be different expressions with the same meaning, and they have been used without clear distinction; however, because there are fairy tales that are aimed only at adults and cannot be read by children these two should be strictly distinguished in use. Accordingly, the writer proposes to indicate adult fairy tales as “stories aimed only at adults created by borrowing the form of a fairy tale or the name of a fairy tale”, while indicating fairy tales for grown-ups as “fairy tales created while keeping the unique characteristics of a fairy tale aimed both at children and grown-ups”. In this way, “adult fairy tale” will be naturally literature that cannot be included in the category of children`s literature, while “fairy tale for grown-ups” will be literature that can be included in the category of children`s literature. Also, “fairy tale for grown-ups” is created not only for children but also for adults; thus, it is defined as being a “fairy tale which both children and adults can understand and appreciate at their own level”. Focusing on these facts, as a result of considering “Kid, Wogi”, “Kid, Wogi” was confirmed to conform sufficiently to be a “fairy tale for grown-ups”.

「토끼전」의 동화화 과정

권순긍(Kwon, Sun-keung),엄은진 우리말교육현장학회 2012 우리말교육현장연구 Vol.6 No.1

오늘날 많은 고전소설은 소설이 아닌 전래동화로 읽히고 있다. 그 대표적인 작품이 「콩쥐팥쥐전」, 「흥부전」, 「토끼전」이다. 이 작품들은 우리의 대표적 고전소설인데 동화로 변모되면서 그 사회성이나 역사성이 제거되고 권선징악의 단순한 이야기로 정착되어 오늘에 이르고 있다. 그 변모의 시점이 1923~24년 ‘전래동화’가 처음 등장했던 무렵이다. 아동문학을 개척했던 소파 방정환은 1923년 2월부터 전래동화를 현상 모집하여 『개벽』지에 싣기 시작했는데, 그 지침이 되는 「새로 개척되는 동화에 관하야」라는 글을 1월에 발표했다. 여기서 방정환은 고전소설이 지니고 있는 현실 반영의 구체적 모습들이나 민담이 가지고 있는 민족성과 역사성의 다양한 요소들을 무시하고 인류 보편적인 영원한 아동성을 내세워 전래동화를 수집하고 재화하였다. 다음 해인 1924년 최초의 전래동화집인 『조선동화집』이 조선총독부에서 발간됐다. 거기에 「흥부전」과 「토끼전」 등의 고전소설이 동화로 개작되어 등장한 이래 그 뒤 나타난 수없이 많은 전래동화의 정전이 되었다. 『조선동화집』에는 「토끼전」과 관련된 두 편의 동화가 있는데, 「심부름꾼 거북이」는 『삼국사기』에 실린 ‘구토지설’을 아이들에 맞게 각색한 것이고, 「교활한 토끼」는 「토끼전」의 창본이나 「토의간」에 등장하는 ‘그물 위기’와 ‘독수리 위기’의 삽화를 수용하여 동화로 재화한 것이다. 원래 이 삽화는 세상의 어려움을 헤쳐 나가는 토끼의 지혜를 강조한 것인데, 여기서는 악한 토끼에게 벌을 주는 것으로 활용되어 「토끼전」의 삽화를 심하게 왜곡시켰다. 『조선동화대집』의 「별주부」는 여러 「토끼전」의 이본을 취사선택하여 속고 속이는 기지담의 형태로 재구성하였다. 자연 봉건 체제에 대한 풍자는 드러나지 않지만 「토끼전」의 다양한 내용을 대부분 수용하고 있다. 한편 동화극 「자라사신」은 「토끼전」의 풍자 구조를 그대로 가져와 일제와 친일파를 근시안적이고 우둔한 형상으로 빗대어 풍자하고 있어 주목된다. 「토끼전」의 풍자 정신이 온전히 수용된 경우라고 볼 수 있다. 고전소설은 풍부한 세부 묘사를 통해 당대의 실상을 반영하고 있다. 하지만 동화는 아이들에게 읽힌다는 이유로 현실과 관련된 사회성이나 역사성이 제거되어 있다. 문제는 대부분의 고전소설이 전래동화로 읽혀진다는 것이다. 이제는 우리의 전래동화가 아동들에게 어떤 의미를 줄 수 있는가를 근본적으로 따져볼 필요가 있다. 이미 전래동화의 정전으로 자리잡은 전래동화에 대한 검토 내지는 재개작이 필요한 이유도 여기에 있다. Nowadays many of Korean classical novels have been read as fairy tales. Some of the well-known works are 「KongjuiPapjui-jeon」, 「Heungbu-jeon」 and 「Tokki-jeon」. Although these works originally represented Korea’s classical novels, they were transformed into fairy tales. The tales tend to encourage good and punish evil but to neglect the features of historical nature. Such transformations initially occurred during 1923 and 1924. In February 1923, Bang Jeong-Hwan collected some fairy tales and published them in 『GaeByek』. In January, he suggested relevant directions in his writing 『On the Newly Explored Fairy Tales』. He intentionally ignored not only real-life images of classical novels but also ethnic aspects of folk tales. His collections of fairy tales were rewritten with an emphasis on characters of child, namely, universal features of human beings. In 1924 『Joseon Fairy Tales』, the first collection of Korean fairy tales, was published under the colonial rule of Japan. The collection included 「Heungbu-jeon」 and 「Tokki-jeon」, which worked as the models for later fairy tales. Regarding 「Tokki-jeon」, this collection introduces two tales: 「Turtle the Go Errand」, a dramatization from ‘Gutojisel’ in 『SamgukSagi』; 「The Cunning Rabbit」, a revised fairy tale from 「Tokki-jeon」 and also an adoption of the illustrations of ‘Net Crisis’ and ‘Eagle Crisis’ from 「Touigan」. The illustrations are originally intended to stress the wisdom of the rabbit. In the collection, however, they are seriously distorted in that they rather give penalties to an wicked rabbit. 「Byeljubu」 in 『The Collection of Joseon Fairy Tales』 was restructured by properly selecting different versions of 「Tokki-jeon」, by making it a witty story which includes episodes of deceiving and being deceived. Although the story does not appear to show sarcasms against the feudal system, to a great extent it apparently accepts its various themes. SongYoung’s 「Terrapin the Envoy」 is also noteworthy because it adopts the same sarcasm patterns of 「Tokki-jeon」 in criticizing the Japanese rule and its followers. It is considered to completely accept the spirit of 「Tokki-jeon」 sarcasm. Classical novels reflect realities of the time through abundant and detailed descriptions. Fairy tales, however, tend to lack social and historical nature simply because they are to be read by children. The problem rises from the fact that most classical novels have been transformed into fairy tales. Therefore, it is worth investigating what meanings our fairy tales essentially can convey to children. This is why previously settled fairy tales require through examinations or re-adaptations.

빅토리아 시대 켈트 동화의 사회문화적 배경 연구

서혜숙 한국예이츠학회 2008 한국예이츠 저널 Vol.30 No.-

This study examines Celtic fairy tales relating to the sociocultural background of Ireland in Victorian Age. W. B. Yeats's Fairy and Folk Tales of the Irish Peasantry, 1888 and Irish Fairy Tales, 1892, The Celtic Twilight, 1893, and Joseph Jacobs's Celtic Fairy Tales, 1892 and More Celtic Fairy Tales, 1894 are correlated with the Irish celtic history, religion and culture. They are best known as collectors of fairy tales at that time. Jacobs thought that the fate of the Celt in the British Empire bids fair to resemble that of the Greeks among the Romans, they went forth to battle, but they always fell, yet the captive Celt has enslaved his captor in the realm of imagination. And he insisted that nowhere else was there so large and consistent a body of oral tradition about the national and mythical heroes as amongst the Gaels, and especially concerned that the Irish tales and ballads had this peculiarity. The aim of Jacobs's volumes is to present to English children the vision and color, the magic and charm, of the Celtic folk-imagination. While Yeats's volumes show his interest in spiritual beings and his nationalism. Yeats who believes that faith to perpetuate in the three early Cycles of Irish folktales taught by the Druid sees in Tir-na-n'Og, the land of the Sidhe, Plato's and Plotinus' yonder when our souls descend whither they return. The Celtic beliefs in rebirth and in the otherworld are connected with beliefs surrounding the burial mounds of the Megalithic people. Among the Celts these tombs were connected with religious usages, chiefly with a cult of gods and fairy-like beings. Beginning with the Ulster Cycle, the sidhe and the Tuatha de Danann merge and become one, and renamed fairy. A tale entitled Connla and the Fairy Maiden chosen by Jacobs is the earliest fairy tale of modern Europe and contains an early account of one of the most characteristic Celtic conceptions, that of the earthly paradise, the isle of Youth, Tir-na-n'Og. And in Fairy Folk Tales of the Irish Peasantry there are also new characters like changlings, merrow, leprechauns, banshee, pookas. Samain, the first of November is the beginning of Celtic Year and the biggest festival of Ireland. On the November Eve the sidhe dance with the ghosts and witches make their spells. When the soul has left the body, it is drawn away, sometimes, by fairies. The souls of the dead sometimes take the shapes of animals. And there are 'ghosts' in fairy tales. Yeats chose Lady Wilde's The Black Lamb in his volume. And there are 'witches' and 'fairy doctors' in Irish fairy tales. The Horned Women of Lady Wilde chosen by the two collectors is the famous tale of witches. Witches and fairy doctors receive their power from opposite dynasties; the witch from evil spirits and her own malignant will; the fairy doctor from the fairies. Samain was adopted by the Christian missionaries to serve their own purposes and renamed All Souls Day. When the Christian missionaries came to Ireland in the fifth century AD they were able to infiltrate the oral traditions of the Celtic people and infuse Christian beliefs through process of recording the Celtic tales in written form. And the Christian missionaries create the biographies of Christian saints known as The Legend of the Saint. So there are 'Saints' and 'Priests' in Irish fairy tales. When the pagan gods of Ireland, Tuatha de Danann, robbed of worship and offerings, grew smaller and smaller in the popular imagination, until they turned into the fairies, the pagan heroes grew bigger and bigger, until they turned into the giants. So there are 'giants' in Irish fairy tales like A Legend of Knockmany. In three major Irish tales cycles (the Mythological cycle, the Ulster Cycle, and the Fenian Cycle) there are so many kings and queens and princesses. Beliefs in the fairy faith, the remnants of an earlier faith than Christianity, have influenced the more modern motifs and characters of Irish Celtic fairy tales.

남북한 초등 국어교과서 수록 전래동화 비교 연구

박금숙 ( Keumsook Park ) 건국대학교 동화와번역연구소 2016 동화와 번역 Vol.31 No.-

This paper has investigated into how many traditional fairy tales are introduced in Korean textbooks used in South Korean elementary schools and North Korean elementary, middle and high schools and has compared how they are utilized in both regimes. Firstly, this study has looked at the situation of traditional fairy tales included in Korean-language textbooks of North and South Koreas. There are a total of 27 traditional fairy tales in South Korean elementary schools`` Korean textbooks. To figure out how many old tales are in North Korean textbooks, I had collected recent data from the Information Center on North Korea at the National Library of Korea. The result shows that a total of 21 traditional fairy tales are included in textbooks of the North. Secondly, this study has looked into similarity of using traditional fairy tales in both Koreas and difference between the two Koreas in utilizing traditional fairy tales in comparative aspect on the use of traditional fairy tales by North and South Koreas. Similarities in traditional fairy tales included in the textbooks of North and South Koreas are that they promote the good triumphing over the evil, poetic justice, filial piety and brotherly love. Differences are that the South focuses on nurturing creative ideas through encouraging imagination using traditional fairy tales in class while the North uses traditional fairy tales to instill the regime``s ideology into students`` mind. Just after the division of Korea, traditional fairy tales included in textbooks were alike. As time passes, however, they started losing similarities and have become more different than before as North Korea changed its strategy and direction of using traditional fairy tales in pursuit of Juche policy(self-reliance), a political ideology of North Korea. Looking forward to reunification, we have to study the history of korean literature for unification first to narrow gaps between the two Koreas while putting aside differences. Prior to that, we need to think about what contains common contents of both regimes and historical events. That is very traditional fairy tales.

옛이야기의 활용과 ‘새로운’ 가능성 - 옛이야기와 동화의 ‘아름다운 이별과 재회’를 위해 -

최원오 한국아동청소년문학학회 2019 아동청소년문학연구 Vol.- No.25

옛이야기의 활용의 새로운 가능성을 어떻게 마련할 수 있을까? 본 논문은 이 점을 비판적 관점에서 고찰한 것이다. 주지하다시피 옛이야기는 초등교육의 재제 및 창작 동화의 소재로 지속적으로 활용되어 왔다. 그런데 일제강점기에 형성된, ‘옛이야기=전래동화’라는 잘못된 인식이 아동문학계 및 초등교육계에 만연되어 있어서, 현재에 이르기까지 심각한 문제점을 발생시키고 있다. 옛이야기 저자인 것처럼 행세하기, 옛이야기인 것처럼 소개하기, 옛이야기인 것처럼 교육하기 등이 그것이다. 그리고 옛이야기의 표현이나 소재를 이용한 동화 창작을 ‘옛이야기의 올바른 활용법’이라고 생각하는 경향이 아동문학계에 널리 퍼져 있고, 이렇게 해서 창작된 동화들을 ‘창작옛이야기’라고 지칭하자는 주장까지 제기되고 있는데, 이 역시 옛이야기와 전래동화를 동일시하는 데서 발생한 문제점이라고 할 수 있다. 그렇다면 이런 문제점들을 어떻게 시정할 수 있을까? 필자는 옛이야기가 활용되어 온 역사에서 그 시사점을 얻을 수 있다고 본다. 옛이야기는 고전소설의 형성과 발전에 크게 기여해 왔으면서도, 고전소설과 동일시되지 않았고, 역사의 전면에서도 사라지지 않은 채 그 독자적 면모를 계속해서 유지해 왔기 때문이다. 따라서 옛이야기는 옛이야기대로, 동화는 동화대로 그 독자성을 인정하여, 상호 독자적이고 대등한 관계로 되돌려놓는 것이야말로, 앞서의 여러 문제점을 해결하는 근본적 열쇠가 된다고 할 수 있다. 말하자면 아동문학계, 초등교육계에서 옛이야기를 ‘새롭게’ 활용하기 위해서는, 옛이야기와 동화의 아름다운 이별과 재회의 과정을 순차적으로 논의해야 할 것이라고 본다. 이를 창작 동화의 경우에 한정해 설명하자면, 옛이야기의 소재, 표현뿐만 아니라 그 본질(구술성, 또는 구술성의 정신역학)까지를 담아내는 쪽으로 창작의 방향을 정하는 게 마땅할 것이다. 그래야 옛이야기의 독자적 성격을 제대로 담아내는 동화 창작이 실현될 수 있고, 그런 동화들이야말로 옛이야기와는 별개의 성격을 갖는 독자적 작품으로 평가될 수 있을 것이기 때문이다. 그리고 그런 동화들은 ‘창작옛이야기’가 아니라, ‘옛이야기동화’라는 동화의 한 하위 갈래로 지칭될 수 있을 것이다. 아동문학계에서는 동화의 소재에 따라 역사동화, 현실동화처럼 그 하위 갈래를 명명하는 게 일반적이기 때문이다. 앞으로 일제강점기에 형성된 옛이야기와 동화의 잘못된 관계를 바로 잡을 수 있는 구체적, 체계적 연구가 활발하게 이뤄질 수 있기를 기대한다. How can we prepare ‘new’ possibilities for the use of old stories? This paper considers this point from a critical point of view. As you know, old stories have been used continuously as a material for primary education and creative fairy tales. However, the misconception that ‘old story = traditional fairy tales’ formed during the Japanese colonial period was widespread in the children’s literature and elementary education, causing serious problems to the present day; acting as an old story author, introducing it as an old story, and educating it as an old story etc. In addition, the tendency to think of the creation of fairy tales using expressions and materials from old stories as ‘the right way to use old stories’ is widespread in the children’s literature. This, too, can be said to be a problem in identifying old stories and traditional fairy tales. How can we correct these problems? I think that can be gained from the history of old stories. This is because old stories have contributed greatly to the formation and development of classical novels, but have not been identified with classical novels and have maintained their original features without disappearing from the front of history. Therefore, it is a fundamental key to solve the above problems by recognizing the uniqueness of the old story and the fairy tales according to the old story and returning them to mutually independent and equal relations. In other words, in order to use the old story ‘newly’ in the field of children’s literature and primary education, the beautiful parting and reunion of old story and fairy tale should be discussed in order. To explain this only in the case of creative fairy tales, it would be appropriate to decide the direction of creation to capture not only the material and expression of the old story but also its essence (orality, or psychodynamics of orality). Only then can the creation of a fairy tale that properly captures the original character of the old story be realized, and such fairy tales can be evaluated as an independent work that has a distinctive character from the old story. And such fairy tales can be referred to as a subdivision of a fairy tale called ‘Old Story Fairy Tale’, rather than ‘Creative Old Story.’ This is because children’s literature generally names fairy tales according to subject matter, such as historical and real fairy tales. It is hoped that concrete and systematic studies will be actively conducted to correct the misrelationship between old stories and fairy tales formed during the Japanese colonial period.