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.

초등영어교육을 위한 한국 전래동화 영역본의 어휘 연구

박선호(Park Seon-Ho),안재은(Ahn Jaeeun) 한국초등영어교육학회 2006 초등영어교육 Vol.12 No.2

English story books translated from Korean folk tales can be used as effective materials in elementary English education. This study explores the values of Korean folk tales through investigating the availability of the Korean folk tales in English, and analyzing the types and frequency of vocabulary employed. For this purpose research started from investigating Korean folk tales in English on the markets as well as on the web sites. Then two corpora were built by wording the texts into a corpus program: Korean folk tales in English and western folk tales. The findings from the research are as follows. Korean folk tales in English tended not to be easily available and not to be widely in use. With regards to the number of vocabulary types of Korean folk tales, it was nearly similar to that of western folk tales. However, the English vocabulary was quite strikingly different from the one suggested by the 7th National Curriculum. The frequency of English vocabulary in Korean folk tales was lower than the one from the English textbooks used in schools and the ratio of low-frequency words was comparatively high. It was also found that many words of Korean folk tales in English reflected the source culture, which is expected to be good for developing intercultural communicative competence. Lastly, contents, organizations, and the vocabulary were found to be somewhat different from each version though dealing with the same folk tales. With these findings some suggestions are provided for making the most out of the Korean folk tales in English for elementary school English teaching.

한ㆍ중 설화에 나타난 국왕인식 비교

손지봉 열상고전연구회 2014 열상고전연구 Vol.40 No.-

본고는 한국과 중국의 설화에서 국왕 인식의 차이점과 공통점을 밝히는 것을 목적으로 한다. 국왕은 국가의 우두머리이며, 설화는 서민들의 공동작으로 국왕설화는 역사서로만은 알 수 없는 서민들의 국왕에 대한 정서 를 보여주는 자료이다. 그러므로 본 연구는 궁극적으로 한중 양국의 상호 이해의 폭과 깊이를 확충하는데 기 여할 것이다. 서민들에게 국왕은 어떤 존재인가?, 국왕이 어떤 정치를 수행하고 있는가? 그리고 국왕의 폭정에 대해 어떻게 대응하여 왔는가? 등은 중요한 관심사항이었으며 이는 고스란히 설화로 구연되어 왔다. 본고에서는 이를 국 왕의 자격, 국왕의 정치행위, 국왕의 폭정에 대한 대응 등으로 구분하여 살펴보았다. 첫째, 국왕의 자격으로 한국설화에서는 풍수담 등을 통해 국왕은 하늘이 정한다고 생각했으며, 중국설화에서는 국왕은 비범한 ‘능력’ 이 있어야 한다고 보았다. 둘째, 국왕의 정치행위에 대해 한국설화는 남의 아내를 약탈하는 경우 폭정도 나타 나지만 암행을 통해 민정을 살피고 백성의 소원을 들어주는 선정(善政)이 주를 이루었다. 중국설화에서는 선 정을 베푸는 설화는 많지 않았으며, 폭정을 하는 경우가 많았는데 왕위 유지를 위한 경우가 가장 많았고 기타 재물과 수명연장 등 더 많은 것을 추구하는데 국왕의 권세를 활용하곤 하였다. 셋째, 국왕의 폭정에 대한 대응 으로 한국설화에서는 대응자가 주로 백성이며, 국왕을 물리치거나 죽이는 경우가 많았지만 중국설화에서는 대응자가 공자, 보살 등 초월적 존재이거나 재상, 주지 등 높은 지위의 인물들이 많았고 물리치고 죽이는 경우 보다 국왕을 조롱하는 경우가 많았다. 그 외에 국왕 자신도 모르게 다른 혈통이 후계자가 되게 하는 가혹한 징 치의 양상도 보여주었다. 본고에서는 한국설화에서의 국왕은 왕위 찬탈에 대한 두려움이나 재물과 수명에 대해 욕심낼 필요 없이 백성의 안녕만을 걱정하면 되는 안정과 부귀를 지닌 존재로 여겨진 반면 중국설화에서의 국왕은 백성을 챙기기에 앞서 자신의 안전과 위상부터 확고히 해야 하는 부족한 존재로 인식하였음을 밝혔다. This thesis addresses both commonalities and differences in perceptions about kings as shown in the folk-tales of China and of Korea. A king was a pivotal entity in society presiding over his kingdom in the Middle Ages. In this respect, the perceptions of a king would enhance the understanding of a country. Comparisons of folk-tales about kings in China and kings in Korea would shed light on how kings were regarded in their respective countries. Furthermore, folk-tales, jointly compiled by the hoi polloi, would unveil how the grass-roots of society viewed the kings unlike history books and would contribute to expanding the depth and breadth of understanding of both countries by revealing how the general public thought about their kings. This study is based on a total of 84 volumes of “The Series of Korea’s Literature of Oral Traditions” and a total of 40 volumes of “The Complete Works of Chinese Folk-tales.” It compares the two countries’ folk- tales in various aspects of a king’s qualifications, political actions and autocratic rule. According to Korean folk-tales, a king was considered to be chosen by heaven as shown in tales of geomancy. In Chinese folk-tales, a king was to have an extraordinary “ability.” Korean folk-tales mainly depicted the king as a just ruler who monitors and listens to his people, travelling incognito. Chinese folk-tales were short on this point and even if they were not, kings took precedence over people. Korean folk-tales were characterized by kings who took someone else’s wife as his, while Chinese folk- tales put emphasis on kings maintaining their royal power, using their authority to pursue fortunes and longevity. Korean folk-tales pit ordinary people against tyranny, leading to the defeat and killing of kings. In contrast, Chinese folk-tales show supernatural beings such as Confucius and Buddhist saints or people existing in high social echelon such as prime ministers and chief Buddhist monks challenging the authority of kings. In Chinese folk-tales, kings were ridiculed rather than defeated and killed. Sometimes thrones were usurped by others unbeknownst to the king. Korean folk-tales described kings as a being whose sole responsibility was to take care of the people without fear of usurpation and without having to worry about wealth or longevity thanks to their stable grip on power, while Chinese folk-tales characterize kings as beings preoccupied with their safety and power without regard to people’s welfare.

일반논문 : 박영만 『조선전래동화집』의 스토리텔링 기법 연구

박현숙 ( Hyeon Suk Park ) 한민족문화학회 2015 한민족문화연구 Vol.49 No.-

본 논문은 일제강점기 3대 동화집 중 하나인 박영만의 『조선전래동화집』(1940)의 스토리텔링 기법을 분석하여 전래동화 스토리텔링의 나아가 야 할 방향을 모색하는데 목적이 있다. 박영만의 .조선전래동화집.에 수록된 75편의 작품을 분석해 보면 세 가지 서사적 특성이 드러난다. 첫째, 동일 유형군에 해당하는 다양한 변이 각편의 설화를 다수 수록하 고 있다. 둘째, 독자층을 성인까지 확장하여 성인 독자를 고려한 다수의 설화를 수록하고 있다. 셋째, 한국의 구전설화에서는 등장하지 않는 생소 한 장소나 인물, 신이물이 등장하는 하는 낯선 설화, 즉 번안 동화 일부가 수록되어 있다. 박영만의 .조선전래동화집.의 스토리텔링 기법은 구술문화로서의 연행적 구술성ㆍ현장성과 문자문화로서의 문자성과 소설적 특성으로 나타난다. 구술문학으로서의 연행적 구술성과 현장성은 첫째, 서술자가 서사 전 개과정에서 다양한 방식을 사용하여 적극적으로 개입함으로써 나타난다. 둘째, 다양하고 참신한 음성상징어, 서사 상황에 적절한 노래삽입과 같은 다양한 운율적 표현방식을 사용함으로써 나타난다. 셋째, 구전설화에서주로 표현되는 다양한 결말의 공식적 표현양식을 적극 수용하고 있다. 문자문학으로서의 문자성과 소설적 특성은 첫째, 인물의 감정, 성격, 외 모에 대해 구체적으로 묘사하고 설명하는 소설적 표현방식에서 나타난 다. 둘째, 각각의 단일서사를 결합하여 하나의 완결된 서사를 만드는 복합 서사화와 서사길이의 장편화 경향이 두드러진다. 설화 전승적 관점에서 전래동화 스토리텔링이 나아가야할 방향을 제시 하면 다음과 같다. 첫째, 옛이야기의 구술성, 현장성, 연행성이 살아날 수 있도록 작가만의 개성적 문체를 최대한 살려야 한다. 둘째, 전래동화는 그림책으로 재화할 때, 설화 서사 진행상의 간극을 그림이 아닌 독자나 청자의 상상력으로 메 워나갈 수 있도록 글과 그림의 조화로운 강약조절이 필요하다. 셋째, 전래 동화 작가 한 명 한 명이 설화 각편을 생산하는 창조자가 되어야 한다. This paper aims to find storytelling``s future from traditional fairy tales by analysis of Park Youngman``s Collection of Chosun traditional fairy tales(1940) which is one of three best collections of fairy tales during the Japanese Colonial Rule. I tried to analyze the 75 pieces of work that have been recorded in Park Youngman``s Collection of Chosun traditional fairy tales(1940), and three of the narrative characteristics were revealed. First, this collection includes many folk tales which are various changed that fall under the same type. Therefore, the reader is able to experience diverse variations of the same type. Second, this collection includes many folk tales which is considered only the adult readers, because it expanded its reading public not only children but also adults. The folk tales are the ones that adult readers can only truly understand, because the stories deal withan unfaithful wife, a test of wife``s chastity, a man who wants married woman or sexual desire of humans. Third, this collection includes partly unfamiliar folk tales which strange places, strange characters or strange things appeared, these things do not appear in Korean folk tale. This seems to be recorded parts of the adapted fairy tales, because it correspond with the epic of the German fairy tale. Park Youngman``s Collection of Chosun traditional fairy tales(1940) reflects the traditional fairy tale``s literary genre characteristics that bring the oral literature and documentary literature together. Technical characteristics of this collection``s storytelling can be divided into two categories. For one thing is the oral and field characteristics of directing and performance as the oral statement culture. For another thing is the literal and novelistic characteristics as the letters culture. First, the oral and field characteristics of performance as the oral statement culture appears by active intervention of the narrator in development process of story. The narrator attempts to interactive communication with the reader, using the method of answering one´s own question or throwing a question to the reader. Second, it appears by using various prosodic expression methods such as diverse and fresh onomatopoeia and mimetic words, the unique dialect of the region where the folk tale is recorded, inserting appropriate song to epic status. Third, it accepts wholeheartedly official modes of expression in different ending which is expressed mainly in oral folk tale to numerous works in the Collection of Chosun traditional fairy tales. First, the literal and novelistic characteristics as the letters culture appears from novelistic expression methods which describe and explain concretelyabout person``s feelings, personality, appearance. Second, it is noticeable tendency of a long narration and complex narration which made one of the completed epic by combining different epics of folk tales having a common property. Within the folkloric perspective of folk tale, the direction of traditional fairy tale``s storytelling must proceed as follows. First, we should try to develop the most of author``s individual style to show the oral, field and performative characteristics. Second, making a traditional fairy tale with picture books requires a good sense of dynamics about writings and pictures. Should bridge the gap of the folk tale``s epic progress with reader``s or listener``s imagination, not the picture. Third, each folk tale writers should be a creator to produce each of the folk tales. When folk tale writer reinterpret folk tale from traditional fairy tale with their own values and perspectives, it will be a lively story with a vitality and power of transmission.

황구연 구연설화의 문화적 의미 고찰

권기호(Quan, Ji-Hu) 동북아시아문화학회 2019 동북아 문화연구 Vol.1 No.59

This study aims to investigate the cultural meaning and value of Hwang Gu-yeon’s orally narrated folk tales. The study on Hwang Gu-yeon and the folk tales he talked about began in the late 80’s, and over 200 orally narrated folk tales were published in the magazines such as 〈Arirang〉, 〈Art World〉, 〈Chinese Folk Tale〉, etc. starting from 1938, and in 2007, [The Complete Works of Hwang Gu-yeon] was arranged and published by Kim Jae-gweon. Hwang Gu-yeon is the 22nd descendant of Minister Hwang Hui. He was born in Gyeonggi-do of Korea, and when he was a child, he studied Chinese classics very much. He had lived in Korea until 1937 and then emigrated to China during the Japanese colonial period, and died at the age of 79. Since he accomplished a wide range of achievements, such as spreading not only Korean folk tales but also Chinese folk tales, he was honored with “China’s three major kings of Story” by China’s Civilian Literary Institution and [The Complete Works of Hwang Gu-yeon] containing 947 stories was published by Kim Jae-gweon, etc. The folk tales of [The Complete Works of Hwang Gu-yeon] regarded as his achievements have been intangible cultural heritages formed through a long history, and valuable assets like a treasure house indicating the development aspect of Korean folk tales and the combination of Chinese and Korean folk tale cultures. Accordingly, the study, by considering the cultural meaning in Hwang Gu-yeon’s orally narrated folk tales, intends to explore the values as the original contents his orally narrated folk tales have, and discover the possibility of using them as the original forms of various cultural contents. Orally narrated folk tales have the elements to change excellent Korean traditional folk tales into the contents for showing Korean children their dream and fantasy world and delivering the national ideology for them to understand and love the knowledge of Korean history and Korean ancient cultures, and to develop various cultural products to boast of Korea and the characteristics of Korea. Especially, the study will identify its significance in that developing the original contents of Hwng Ghu-yeon’s orally narrated folk tales can raise availability in providing the resources for creation of Korean cultural archetypes as creative sources to develop various content products by using this.

한국과 몽골 설화의 비교연구

장장식(Jang Jang-Sik) 비교민속학회 2007 비교민속학 Vol.0 No.33

There has been a growing demand for comparative studies on the folk tale from Mongolia and Korea since both countries have similarities from linguistic, racial, folk, historic perspectives. In this sense this comparative study on folk tales was initiated. In order to carry out this study, it is vital to access original texts and fortunately we could acquire a series of translation works of Mongolian folk tales. The extant six volumes of folk tale collections may help to understand the characteristics of the Mongolian folk tales. Features of the Mongolian folk tales are as follows: it mainly consists of fables and magical stories which have common motif, ‘journey to the under world’. Other distinctive features in structure and content can be summarized below: Firstly, frequent uses of fixed phrases in a verse form. In particular fixed phrases in a form of verse are easily found in the beginning part and by mixing verse lines in the middle it gives an epical effect to readers.; Secondly, frequent uses of idiomatic phrases.; various linguistic expressions. This feature can not be interpreted before fully understanding Mongolian culture.; frequent uses of indirect narration. In other words, the folk tale speaker delivers words of a third person.; Finally, frequent uses of specific numbers: 3, 9, and 81. The founding myth has been a good research source in comparing folk tales in both countries since they have closely similar motifs. One of the most commonly found motif is that there are a number of Buddhist deities who fight each other to occupy the human world and the final winner would control the human world. In this sense it is easy to conclude the features were caused by the introduction of Buddhism but there is still a significant space for further research through comparative studies on the folk tale and its depicting worlds. When it comes to comparing individual versions of folk tales, there are a number of folk tales which have drawn much attention. It is because the versions are similar stories and developed in the same way which is based on a specific motif. For instance, a mythical tale,「legend of Bear ferry」, would be comparable in a more expanded category of ‘Bear myth’,「a story of one boy's wishing lucks」would be compared「tale of a journey for seeking fortune」telling that a poor person's successful ‘fortune-seeking journey.’ When we collect folk tales from the two countries which are able to compare each other, we will found a long list of comparable cases. It means there are a number of comparable folk tales in the two countries. The atmosphere of comparative studies in literature between Mongolia and Korea which sees raising cultural awareness toward Mongolian culture and good relationship between two countries, has made a cornerstone to access Mongolian folk tales. If this academic trend proceeds, different discourse and perspectives can unveil similarities and differences between the two cultures. In doing so, this pioneer study on folk tales from Mongolia and Korea can be expanded to the whole area of Northeast Asia and at the same time it will provide ways of understanding of cultural heritage of Northeast Asia in a systematic way.

『팥죽 할머니와 호랑이』민담과 옛이야기 그림책의 등장인물 비교

박영아(Park, Young-Ah),조미현(Cho, Mi-Hyun),유애순(Yu, Ae-Soon) 한국영유아보육학회 2020 한국영유아보육학 Vol.0 No.122

본 연구는 「팥죽 할머니와 호랑이」를 주제로 한 민담과 옛이야기 그림책 속 등장인물인 할머니, 호랑이, 할머니의 조력자들이 가진 특성을 분석하는 데 목적이 있다. 이를 위해 민담 13편과 옛이야기 그림책 26권을 분석하였다. 그 결과 할머니의 심리적 특성은 민담과 옛이야기 그림책의 글에서 ‘슬픔’이 가장 많이 나타난데 반해, 옛이야기 그림책의 그림에서는 ‘기쁨’이 가장 많이 나타났다. 호랑이의 성격은 민담에서는 대부분 ‘위협적임’ 이 나타났다. 옛이야기 그림책의 글과 그림에서는 ‘위협적임’뿐 아니라 ‘우스꽝스러움’도 나타났으며, ‘우스꽝스러움’은 그림에서 더 빈번하였다. 호랑이의 의인화는 민담과 옛이야기 그림책의 글에서 ‘말을 함’이 가장 많이 나타났지만, 옛이야기 그림책의 그림에서는 ‘사람 같은 자세’가 가장 많이 나타났다. 할머니의 조력자는 민담과 옛이야기 그림책 모두 사물 조력자가 생물 조력자 보다 종류가 다양했고, 의인화 또한 빈번하게 나타났다. 본 연구는 민담과 이를 재화한 옛이야기 그림책의 등장인물에 대한 연구의 폭을 넓혔다는 데 의의가 있다. The purpose of this study is to analyze the characteristics of grandmother, tiger, and grandmother"s helpers, which are the characters in the folk tales, “Red Bean Porridge Grandmother and Tiger”. For this purpose, 13 folk tales and 26 folk tale picture books were analyzed. As a result, as for psychological characteristics of grandmother, ‘sorrow’ was the most common in the folk tales and words of folk tale picture books, whereas ‘joy’ was the most common in the pictures of folk tale picture books. The tiger"s characteristics was mostly "threatening" in the folk tales. In the words and pictures of the folk tale picture books, not only "threatening" but also "funny" appeared, and ‘funny" was more frequent in pictures. In the anthropomorphism of tiger, "talking" was appeared in the folk tales and words of folk tale picture books, but "human-like posture" was the most common in the pictures of folk tale picture books. The objects helpers, in both folk tales and folk tale picture books, were more diverse than the living things helpers, and the anthropomorphism also appeared frequently. This study is meaningful in that it expands the research on the characters of both folk tales and folk tale picture books.

북한 구전설화 연구 - 탈북자들의 구술자료를 중심으로 -

李福揆 동아시아고대학회 2003 동아시아고대학 Vol.8 No.-

Since spring 2002, the author has met the recent defectors from North Korea to investigate the North Korean oral folk tales. The ten North Korean defectors whom the author met confided to him over 100 pieces of folk tale and folk-tale-related information. Collecting these data was a pleasurable experience as the doubts and ambiguities concerning North Korean oral literature were cleared one by one. The project was worthwhile as the reality of North Korean oral tradition, though partially, could be reported before research has been done in any journals, in an independent volume, or in any broadcasting program. Questionwise the whole content could be summarized as follows: (1) Are there any folk tales in North Korea?: The interviews with North Korean defectors show that there are. For instance, the interviewee who grew up at the town of General Eung-seo Kim dictated some related stories and other town-based legends that he had heard in his childhood. Other interviewees also dictated stories that are hard to be found in the existing North Korean folk tale anthology. (2) In what form do the folk tales exist?: North Korean folk tales were viewed as existing in four types. That is: ① traditional oral transmission ② published but changed tales ③ modernized humor ④ tales adapted for fairy tales and digital media. First of all, traditional oral transmission refers to the folk tales that have been narrated since the Partition of the Korean Peninsula. Second, published but changed tales are those created intentionally for a certain ideological purpose after the successful idolization of Chairman Kim. Third, modernized humor refers to those humorous stories floating over the general population just like those in South Korea. In the author's opinion, this is the type in which the oral tales are most widely distributed and galvanized in the North Korean society. Tales in this category include humor castigating the unjust top officials, humor satirizing the corrupted military, humor that surreptitiously expresses the author's discontentment toward the mainstream ideology, and the sexual innuendoes, which only show that the North Koreans have the same sexual tension in their lives as ours. From these types of humor one can infer that the North Koreans live with a due sense of judgment toward the contradiction or corruption of their political system and thus that they are only human just like one of us with the same instincts, desires and sense of humor. In addition, there are also humorous stories using puns. Lastly, tales adapted for fairy tales and digital media refer to those stories that are not original but re-created based on traditional folk tales or classical literature. The interviewees dictated these tales recalling their experience of reading the fairy tales and comics or watching the movies, TV shows or animation. (3) How are the oral folk tales being transmitted in North Korea?: First, such tales as traditional folk tales, modern humor, fairy tale/digital media tales are transmitted in the private sector in such relationships as family or friends. Then, the changed tales are narrated only in public, never among the private relationships. (4) Why are the folk tale publications lacking between 1965 and 1985?: This is the question that the author has brooded on as he searched for the data focusing on the materials housed in the North Korean Materials Library. According to the interviewees, the North Korean authority collected and burnt every volume, especially the translations of the classics and foreign books. This research could be differentiated from the existing literature reviews in that it is based on the testimony of the defectors who grew up and lived in North Korea. The existing researches are, however, based on notes or recollections of what the researchers heard, not the transcripts of the tape-recorded utterances of the interviewees, so the tales adapted and abridged at random are anywhere but some distance from the original content. The direct transcription method adopted in this research is thus believed to be a step forward in this matter.

한일민담 〈약 되는 간〉과 〈의붓자식의 간 내기(継子の肝取り)〉考

박연숙(Park Yeun-sook) 한국어문학회 2008 語文學 Vol.0 No.100

This study approaches the features of styles and compares the difference and similarities in 22 Korean folk tales from Medicine Liver and 15 Japanese folk tales from Taking Liver from Stepchild. With review on other foreign tales similar to these stories, this study traces the source and spread-route of Medicine Liver and assumes the transition and effects of these stories. There are three sub-styles in Korean adaptation, which consist of non-marriage story, marriage story, and transformed story according to the plot composition. The Korean adaptation does not seem to take a single independent style because it wasn't active in grafting and mixing folk tales from other countries. But the kind of marriage story in Japanese folk tales has some features, especially at the end part of the story, that are characterized as the style in "Cinder Bachelor" In comparison with the forms of non-marriage story and marriage story common in both countries' folk tales, the plot is generally similar to each other though there is a little difference in it. In the motif constitution, the Japanese marriage story is quite different in the respect of appearance of a character who is a dead mother of assistant. The Korean style without this motif reveals more realistic character. The social status of the main character who rises in the world and gains fame through overcoming difficulties and getting married becomes an important condition in the Korean folk tales, while the wonderful performance and handsome looking of the main character appears on the surface in the Japanese folk tales. There are also difference in the thought and desire of the people who are revealed in the stories of non-marriage and marriage. The non-marriage story of Korean folk tales criticizes people in the two upper classes of the old Korean society who present the loss of humanity. The marriage story shows the ability-exhibition will of common people who want to upgrade their social position through success stories told by fallen upper class people. In Japanese non-marriage story there is no certain meaning of folk tales, while in marriage story the desire for wealth and happy marriage is expressed. The source of Medicine Liver, whose plot has a conflict between a stepmother and a stepchild, originates with the same story plot of Indian folk tales. The circulation route of the tale is through China to Korea and Japan and its adaption aspects include Buddhist feature and local folklores as well as local people's conventional thoughts which develop into the ethnic folk tales. The transformed story of the Korean folk tales, which doesn't exist in the Japanese ones, takes some characteristics of Confucian lessons and new reason of modification. The original tale of the transformed story is found in the same kind of Chinese folklore, which was diffused to Korea, added, and transformed into what are like Korean folk tales. Medicine Liver in Korea and Japan has a stepmother plot, which is common with similar folk tales in many other Asian countries. It may be necessary to establish a kind of classification criteria which responds to European folk tales.

백석 시 「古夜」에 나타난 설화적 특성

김수경(Gim Su-Gyeong),이경수(Lee Kyung-Soo) 중앙어문학회 2010 語文論集 Vol.45 No.-

The purpose of this study is to reveal characteristics of folk tale on Baek seok's poem, 「Go-Ya」. Documentary literature replaced oral literature represented as folk tale until the people started using the character widely. So, documentary literature carne from writing down oral literature. Baek seok's poem, 「Go-Ya」 written in the late of 1930s is one of that kind of literature with modern novel which calls as a genre of modern literature. First, he mentioned 「Jomagu」, folk tale in the his poem. We could think of that 「Go-Ya」, accepted 「Jomagu」 folk tale as a content material. This means it also accepted 「Jomagu」, folk tale's original frame, The contents of 「Jomagu」, folk tale in 「Go-Ya」, show off its frame in which the orality are located. This study would classify the orality into three categories in 「Go-Ya」. First, There is a additional · wordy orality like 「Jomagu」 folk tale. This is the repeat of similar phrases into other phrases with different form. Second, There is a collective orality related to stereotype expressions which show off our lingual life. We would find out orality in 「Go-Ya」. In addition, the narrative structure of 「Go-Ya」 seems to be similar to 「Jomagu」folk tale. Definitely, 「Jomagu」 folk tale is a narrative genre but 「Go-Ya」 is lyric genre. But both poems contain same epic constitution that is 'hardship - progressive hardship - tasks given by the guide - compensation from solving tasks - hardship overcome'. It's also found that 「Go-Ya」 involved characteristics of a sort of folk tale. To sum up, I started this study from Baek seok accepted the material of the contents of 「Jomagu」 folk tale into 「Go-Ya」. The contents of 「Jomagu」 folk tale gave the frame of a fairy tale, 'orality' and 'narrative structure' which is the nature of oral culture, to 「Go-Ya」. So, this study is have a significance about analyze of Baek seok's poem.