한국과 독일 설화 속 원조자의 형상과 의미 -신령과 난쟁이의 거리에 얽힌 세계관적 편차

신동흔 ( Dong Hun Shin ) 한국고전문학회 2015 고전문학연구 Vol.47 No.-

In diesem Aufsatz wird eine vergleichende Analyse der Tendenzen der Helferfigur in Koreanischer und Deutscher Marchenliteratur und die damit verwobenen kulturspezifischen Grunduberzeugungen durchgefuhrt. Den Mittelpunkt dieser Auseinandersetzung bilden die reprasentativen Helferfiguren aus der Literatur der beiden Lander, namlich der Shin-Lyung“(신령; der heilige Geist) und der Zwerg“. Diese sind Helferfiguren mit großer Kraft und spielen eine konstitutive Rolle in der Losung der Konflikte des Protagonisten. Was bei dieser Analyse zu erst ins Auge gefasst wird, ist die Analogie der Bedeutungsdimensionen der zwei Figuren. Sie unterscheiden sich zwar erheblich in ihrer außeren Erscheinung, weisen aber ein par wesentliche Gemeinsamkeiten auf. Beide befinden sich jenseits unserer alltaglichen Welt. Folglich ist der Kontakt des Protagonisten mit diesen Figuren, ein Kontakt mit einer fremden Welt. Die große Kraft des Shin-Lyungs und des Zwergs symbolisiert die Kraft, die der anderen Welt innewohnt. Es ist wahrlich nicht einfach Kontakt mit dieser Welt herzustellen. Der Shin-Lyung zeigt sich nur selten in unserer Welt und der Zwerg ist wegen seiner Erscheinungsform leicht zu ubersehen. Die Verbindung mit der Kraft der Helferfiguren, setzt eine besondere Konzentration und ein außergewohnliches Interesse des Protagonisten voraus. Das Wesen der Kraft, welche durch die Helferfiguren verkorpert wird, ist die Natur. Wie der Shin-Lyung kann auch der Zwerg, der oft als Inhaber vom Wald, Boden oder Brunnen beschrieben wird, als eine Art Reprasentant der Natur gesehen werden. Allerdings ist die symbolische Bedeutungsdimension des Berges oder des Waldes nicht auf Elemente der Natur zu beschranken. Diese Orte konnen stets auch als die Gesellschaft“ oder die Anderen“ interpretiert werden. Dies lasst folgern, dass der Shin-Lyung und der Zwerg Figuren sind, deren Bedeutung auf die große Macht, die der Welt innewohnt“ erweitert werden kann. Die Geschichte, die mit den Helferfiguren verwoben ist, ist eine Geschichte uber die Relation zwischen dem Subjekt und seiner Umgebung. Die konkreten Tendenzen dieser Relation weisen in der Koreanischen und Deutschen Marchenliteratur erhebliche Unterschiede auf, die auf die Unterschiede in den kulturspezifischen Grunduberzeugungen zuruckzufuhren sind. Der Shin-Lyung aus den Koreanischen Marchen erscheint oft alleine und die Konfrontation mit ihm ist außerst selten. Der Zwerg aus Deutschen Marchen hingegen erscheint oft als Gruppe und die Konfrontation mit ihnen ist leichter und variabler. Wenn koreanische Marchen die Kraft der Welt in einer konzentrierten und fundamentalen Form darzustellen versuchen, wird dasselbe in deutschen Marchen in variablerer und handfesterer Form verbildlicht. Interessanterweise ist die Kraft des Shin-Lyungs aus den Koreanischen Marchen absolut, so dass die Verbindung mit ihm meistens zu der automatischen Losung aller Probleme und Konflikte fuhrt. Der Zwerg aus den Deutschen Marchen hingegen ist in dieser Hinsicht neutraler, vielfaltiger und polarisierender. Dies macht die individuelle Entscheidung des Protagonisten zum Katalysator der Konfliktlosung. Die archetypische Form der Reaktion des Protagonisten gegenuber den Helferfiguren in Koreanischen Marchen ist die einseitige Unterwerfung und Akzeptanz. Im Deutschen Marchen hingegen wird die Interaktion selbst, die vom Handschlag bis zur Bandigung reicht, umfassender und in variabler Form thematisiert, was auf eine realistische, subjektive und individuelle Ansicht hindeutet. Was bei der Betrachtung der Unterschiede in den kulturspezifischen Grunduberzeugungen besonders beachte werden muss, ist die psychologische Symbolik der Helferfiguren. In Koreanischen Marchen ist der Shin-Lyung die Verkorperung des inneren Glaubens und Willens, die oft als große Sorgfalt“ ausgedruckt wird. Der Moment der Verbindung mit dem Shin-Lyung bedeutet die Verschmelzung der inneren und außeren Krafte. Dies ist eine Eigentumlichkeit von Koreanischen Marchen, die in Deutschen Marchen nicht leicht zu finden ist. Der Zwerg aus den Deutschen Marchen ist eine externe Instanz, die als Objekt betrachtet wird und angewendet werden muss. Dies deutet auf die Ansicht der Deutschen Marchen hin, die im Vergleich zu Koreanischen Marchen, welche sich auf die internen und psychologischen Momente konzentrieren, tendenziell realistisch und materialistisch ausgerichtet ist. Es ist ein interessanter Unterschied, der als unmittelbare Konsequenz der Unterschiede in den kulturspezifischen Weltanschauungen interpretiert werden kann.

민속과 문화원형, 그리고 콘텐츠

신동흔(Shin Dong-Hun) 한국민속학회 2006 韓國民俗學 Vol.43 No.-

학문의 세계에 불어온 문화콘텐츠 바람이 밀려닥친 지 몇 년, 그 바람의 복판에 민속학이 있다. 그간 과거사로 치부되던 민속이 미래 디지털콘텐츠의 핵심 자산으로 재조명되는 가운데, 많은 민속학자들이 민속유산을 문화콘텐츠로 옮기는 작업에 나섰다. 과연 민속학자들은 콘텐츠와 관련하여 무엇을 왜, 어떻게 해야 하는 것일까. 민속은 세월의 총화로서의 민간의 생활양식 및 문화라고 할 수 있다. 그것은 그것은 지배층이 아닌 일반 백성의 것이고(민중성), 구체적 생활에 해당하는 것이며(생활성)ㆍ시간적 흐름 속에서 자리 잡아 온 것이다(전통성). 그러한 요소가 한데 만나는 지점, 그것이 민속의 원형이자 본질이라 할 수 있다. 주목할 사실은 그러한 민중성과 생활성, 전통성이 21세기 문화가 찾아가야 할 길로서의 건강한 대중성과 현장성 탈시대적 보편성과 그 의미 맥락이 통한다는 것이다. 양자가 서로 만나는 지점에서 미래 문화의 동력을 찾아나갈 수 있다. 그 과업을 수행함에 있어 민속학자는 책임 있는 당사자라고 할 수 있다. 문제는 민속학자가 그 과업에 있어 어떤 역할을 수행할 것인가 하는 부분이다. 이에 대한 필자의 대답은 학자들이 현대의 문화콘텐츠에 ‘민속의 힘’을, 민속의 원형적 생명력을 불어넣는 역할을 진지하고도 충실하게 완수해야 한다는 것이다. 어설프게 개발자나 사업가 흉내를 내는 것은 바른 길이 아니다. 민속의 제반 요소에 정통한 전공 학자로서 그 전문성을 콘텐츠에 반영해내는 것이 민속학자의 몫인 것이다. 그것은 외면할 수도 없고 외면해서도 안 되는 시대적 과제라고 하는 것이 필자의 생각이다. It has been several years since the trend of cultural content has overtaken the academic world. At the heart of this trend is the study of folklore. Long considered matters of the past, folklore has now been reevaluated as the central asset of the digital cultural content of the future, and many folklorists have set out to tum folk legacies into cultural content. What exactly are folklorists doing with regard to cultural content, how should they do this, and why? As the aggregate of the ages, folklore can be called the lifestyle modes and culture of the people. These are the common people, not the ruling class (folklore’s popular nature), who transmit knowledge of their lifestyles (fulklore’s practical nature) within the flow of time (folklore’s traditional nature). The point ar which these elements meet is the essence of folklore. What is worthy of note is that this popular, practical, and traditional nature is semantically related to the healthy popular nature, “in-the-moment-ness”, and universality that 21st century culture must seek as its way forward. At the place where these meet, we can find the power to drive the culture of the future. Folklorists could be said to be responsible for carrying out this task. The problem is what role folklorists will play in this task. My answer to this is that scholars have to earnestly and faithfully play the role of those who instill contemporary cultural content with “the power of folklore” and the essential vitality of folklore. Clumsy imitation of developers or businessmen is not the tight way. It is the lot of folklorists to express in their cultural contents their professionalism as expert scholars thoroughly versed in the various elements of folklore. It is my belief that this is the task of our time that cannot and will not be ignored.

문학치료를 위한 설화의 서사적 분기점과 서사 반응 분석 -<선녀와 나무꾼> MMLT를 중심으로-

신동흔 ( Shin¸ Dong-hun ) 한국문학치료학회 2021 문학치료연구 Vol.61 No.-

이 연구는 설화 작품을 적용한 문학치료 실행 체계의 수립을 위한 것이다. 현장 활동가들이 상담 과정에 실질적으로 활용할 수 있는 새로운 문학치료적 도구를 마련하고 작품서사에 대한 사람들의 다양한 반응을 체계적으로 데이터화하는 길을 찾고자 했다. 설화에 대한 작품론적 분석과 문학치료적 인간 탐구를 실행적으로 연계한 연구에 해당한다. 선행 연구를 통해 개발해서 활용중인 MMSS가 다양한 설화를 통해서 기초적이고 종합적인 자기서사 진단을 추구하는 것과 달리 새로운 문학치료 상담 도구는 본 회기 상담활동을 위한 것으로, 작품 단위의 다양하고 밀도 높은 소통을 추구한다. 그 도구에는 MMLT(Magic Mirror for Literary Therapy)라는 이름을 붙였다. MMLT는 설화의 서사내용을 충실히 담고 주요 변이까지 포괄한 작품 텍스트를 제시한 뒤 이야기의 핵심 포인트를 둘러싼 다양한 질의응답을 거쳐 이야기 다시쓰기 활동으로 나아가는 구성을 갖추고 있다. 표준화된 텍스트와 질문들을 축으로 삼아서 작품에 대한 치료적 소통을 행함으로써 선행 참여자들의 서사 반응 결과를 상담용 데이터로 삼을 수 있도록 했다. 본 연구는 <선녀와 나무꾼>을 첫 작품으로 삼아 MMLT 작품서사 반응지를 만들어 배포한 뒤 93명의 참여자로부터 답변서를 받아서 서사적 쟁점들에 대한 다양한 반응을 분석했다. 참여자들의 반응은 예상을 뛰어넘을 정도로 다양했으며, 새롭고 유용한 정보를 폭넓게 집적할 수 있었다. 성별, 연령별 차이도 일정하게 드러났으며, 개인에 따른 차이도 무척 컸다. 이를 종합함으로써 이 설화에 대한 일반적 반응과 특수한 반응을 다각적으로 분석해낼 수 있었다. 참여자들의 반응 가운데는 실제 상담에서 요긴하게 참조하고 활용할 만한 것들이 많았거니와, 본 연구에서는 이를 충실히 담아내고자 했다. 서사적 쟁점에 따른 분석 외에 참여자별 사례분석을 함께 제시함으로써 데이터 해석과 활용을 위한 가이드라인으로 삼을 수 있도록 했다. 이 연구는 MMLT의 첫 발자국에 해당한다. 앞으로 다년간에 걸친 공동 작업을 통해 100개 이상의 MMLT 반응지를 개발하고 작품에 대한 다양한 서사 반응을 상담용 데이터 형태로 체계화하는 작업을 수행할 것이다. 분석 결과는 작품별 매뉴얼로 반영해서 문학치료 현장에서 활용할 수 있도록 할 것이다. 일련의 공동작업을 통해 데이터의 양적·질적 충실성이 확보되면 문학치료 상담의 신뢰성과 유효성이 대폭 증대될 것이다. 이를 통해 문학치료의 보편화와 세계화를 위한 하나의 큰길을 찾을 수 있을 것으로 기대한다. This study aims to prepare a literary therapy practice system that applies folktales in developing a treatment tool for on-site counseling activities and to collect data on the range of people’s reactions to the story of a folktale. Unlike MMSS (Magic Mirror for Story-in-depth of Self), which pursues a comprehensive story-in-depth diagnosis through multiple tales, this new treatment tool is for counseling activities in legitimate sessions. It pursues deep and diverse communication about a single folktale type. This tool, which I named MMLT (Magic Mirror for Literary Therapy), consists of a detailed story text of the folktale, questions about narrative issues, and a story rewriting section. Standardized texts and questions were used as a medium to derive valid counseling data. In this study, 93 participants’ responses to 선녀와 나무꾼 (Fairy and Woodcutter), the first MMLT work, were obtained and carefully reviewed. The story responses of the participants were diverse and filled with new and useful information, of which those with counseling effectiveness were selected and organized systematically. This study contains a multifaceted analysis according to the narrative issues and presents case analyses for several participants to serve as a guideline for the use of counseling. This study is the first step in MMLT. Over the next several years, collaborative work will be used to develop more than 100 MMLT papers. Furthermore, we will analyze people’s reactions to stories, systematize them as data for counseling, and produce manuals. If the fidelity of the data is secured through a series of counseling cases, the reliability of literary therapy counseling will be greatly increased. This will constitute a stepping stone for the globalization of Korean-style literary therapy.

불경 본생담 아난다 서사의 문학치료적 독해

신동흔(Dong-hun Shin) 한국불교상담학회 2023 불교상담학연구 Vol.18 No.-

<옥루몽>과 정명(正名)의 철학, 그리고 치유

신동흔(Shin, Dong-hun) 국어국문학회 2016 국어국문학 Vol.- No.176

This study has analyzed the philosophical ideas of a 19th century classic novel called <Okrumong(玉樓夢)> based on the perception that it is an outstanding philosophical literature, and identified its meanings and implications. In addition, a multidisciplinary approach that combines literal and philosophical aspects has been taken to discuss relevant issues. The philosophical background of <Okrumong> can be found in theory of the Rectification of Names(正名論), which is an ethics seeking a life suitable to one’s duties while in pursuit of cause and practice. The novel emphasizes the universal virtue beyond the boundaries of gender and class with ‘’living a humanlike life as a human” taken as a core element of the Rectification of Names. The life in true sense of the Rectification of Names is characterized by self-esteem and grandiosity. In addition to male aristocrats, women and those in lowest class in society could become noble persons equipped with such qualifications. The antagonists in the work are classified into the category of inferior persons characterized by meanness and inferiority who cause confusion by living a life of vanity against cause and practice. The life based on the Rectification of Names that has escaped vanity leads to the Way of Heaven(天道) and rectifies the world. <Okrumong> depicts the reality dotted with conflicts and scars incurred from violence in the mist of power and desire and presents ways to get over heal it. The novel reaffirms that cunningness can never beat righteousness while emphasizing the power of the life based on the Rectification of Names. The novel embodies the ‘relation network of true friends’ as a driving power to protect justice and happiness against violence of vanity. It is a network established by the Rectification of Names combined with human trust. The novel vividly depicts the process of the relation network of true friends correcting contradiction and healing life while expanding its presence. This narrative composition carries huge implications on today’s life.

새로운 한국어문학으로서 이주민 설화 구술의 성격과 의의

신동흔(Shin, Dong-hun) 국어국문학회 2017 국어국문학 Vol.0 No.180

The purpose of this study is to consider the characteristics and significance of multicultural immigrants telling tales as a response to this current trend: the globalization and futuristic development of Korean language culture. According to the results of conducting filed wok on oral literature targeting immigrants, they are becoming the new and meaningful agents of Korean literature. The tales they tell have great cultural significance equipped with both ethnic specialty and prototype universality. As the essence of oral culture, folk tales vividly exhibit aesthetic power as well as valuable world view. It is particularly noticeable as it forms a new territory of Korean literature in terms of narrating agents and contents. In fact, it can be the drive and stimulant to recover folk tale telling culture that is in crisis now in a new way. What this study specially focuses on regarding immigrants telling folk tales is the process of cultural communication and extension. The process that immigrants and settlers sit down together and tell and listen to a tale itself is characterized as a field to actualize culture vividly. Multicultural communication grounded on folk tales is noteworthy in the following aspects. First, it is where knowledge and information of language and culture can be extended most effectively and densely. Second, through insight about the hidden context of culture, one can understand other culture more deeply and objectively. Third, tale-telling realizes bidirectional understanding and extension of culture through mutual communication and communion effectively. Fourth, cultural communication grounded on tale-telling actualizes deep and natural humane communion and harmony. Communication with immigrants through folk tales can be said to be the best way to enhance multicultural literacy which is a new trend of language and literature education. Racial migration and encountering extraneous culture create precious opportunities to re-create culture in a more developmental way. It is necessary to accept immigrants’ tales as Korean literature positively and secure them as our cultural property wisely. This will help immigrants to solidify their own identity and elevate their self-esteem, and it can also be the drive to revive and develop Korean language and literature. Breaking the border between Koreans and immigrants, we should vitalize literary communication overall through folk tales. It would be the shortest and most effective path to unfold happy and beautiful language culture.

사명당 설화에 담긴 역사인식 연구-역사인물 설화의 서사적 문법을 통한 고찰-

신동흔 ( Dong Hun Shin ) 한국고전문학회 2010 고전문학연구 Vol.38 No.-

This paper considered the oral tales about a Korean historical hero Samyeongdang as a high priest in the Yi Dynasty and analysed into historical consciousness in the tales. Samyeongdang is a man who is most well-known in Buddhist monk tales. There are fictional elements in the tales, and this study considered the ways that general people could approach to historical truth through the fictional elements. People have regarded Sameoungdang as a miraculous man of the enormous ability, and have shown a deep trust and togetherness about him as their representative or spokesperson. People have overcome the wounds of war and have recovered the pride to get the strength for rising again by the action of Samyeongdang. Especially, the fact that Samyeongdang is a Zen priest who cultivated his moral sense in mountain but a man belongs to ruling circles of aristocratic class gave a motivation for the people to accept him with deeper sympathy and trust in their heart. It can be said that people have found a representation of a big power which makes history from the bottom of the world behind the power system of real society by Samyeongdang as a people`s hero. The tales which are widely known among the people includes different contents from historical facts or which is against the natural law. But the stories include efforts and penetration which can see right through the historical truth in the special narrative grammars and logic systems independently. I think that the balanced perspective on the history can be only obtained by respecting and accepting these things.

전통 이야기꾼의 유형과 성격 연구

신동흔(Shin Dong-Hun) 비교민속학회 2011 비교민속학 Vol.0 No.46

이 글에서는 전통적 이야기꾼의 양상과 성격을 유형적으로 고찰하는 작업을 수행하였다. 전통 이야기문화의 주역을 담당해 왔던 이야기꾼에 대한 인식을 확장하여 체계화하는 것을 기본 목적으로 삼은 작업이었다. 다양한 형태로 활동해온 이야기꾼에 대하여 그 유형을 변별하고 특성을 가늠하는 작업은 크게 세 가지 기준에 의하여 이루어졌다. 먼저 활동공간 및 활동형태에 따라서 이야기꾼의 유형을 집안 이야기꾼과 동아리 이야기꾼, 빈객 이야기꾼, 광장 이야기꾼, 무대 이야기꾼, 매체 이야기꾼 등 여섯 가지로 나누었으며, 주 종목으로 삼는 이야기 종류에 따라서 옛날얘기꾼(고담가) 유형과 재담-만담꾼 유형, 역사-야담가 유형, 경험담-세간담 유형, 복합형 등 다섯 유형을 설정하였다. 그리고 이야기 구연 동기 내지 소통방식에 주목하여 표출형, 인정-과시형, 도락-유희형, 친교형, 계몽형, 수익-생계형, 예술가형 등의 다양한 유형을 제시해 보았다. 이 글에서는 새롭게 설정한 유형분류 체계를 바탕으로 약 스무 명의 현장 이야기꾼에 대해 그 유형적 특성과 정체성을 살피는 보는 작업을 수행함으로써 서로 개성을 달리하는 다양한 이야기꾼들이 활발한 활동을 통해 이야기문화를 이끌어온 양상을 단면적으로 가늠해 보았다. 이 글에서는 필자가 직접 현장에서 만난 이야기꾼에 한하여 유형적 특성을 살폈거니와, 차후에 또 다른 수많은 이야기꾼들에 대해서도 이와 같은 방식의 고찰이 유효하게 진행될 수 있을 것으로 기대한다. 수백 수천 년을 이어져온 이야기문화의 전통 속에는 이야기문화를 새롭게 살릴 수 있는 다양한 힘이 깃들어 있다. 이야기꾼은 그 핵심적 요소 중 하나라고 할 수 있다. 다양한 유형적 정체성을 지니며 활동해온 전통 이야기꾼에 폭넓고도 체계적인 연구를 바탕으로 이야기꾼을 새롭게 발굴하고 양성하여 미래 이야기문화의 장을 열어나가는 노력을 전개할 필요가 있다. This study conducted the typical consideration of aspects and characteristics of traditional storytellers. The basic objective was to expand understanding of the storytellers who played a principal role in the culture of traditional storytelling and systematize them. The operations that discriminated the types and determined the characteristics of the storytellers who have acted in various forms were conducted according to the three main standards. First, according to the space and form of the activities, the types were classified into (1) domestic storyteller, (2) group storyteller, (3) guest storyteller, (4) square storyteller, (5) stage storyteller and (6) media storyteller. Also, according to the kind of main stories, they were classified into (1) old storyteller type, (2) joke teller-comic storyteller type, (3) historian-historical storyteller type, (4) experiences-chat storyteller type and (5) complex type. In addition, with a focus on the narrative motivation and communication method, they were divided into various types such as expressive type, recognition-display type, dissipation-play type, intimate type, enlightenment type, earnings-living type and artist type. These three standards and the following specific type setting were a new attempt, and it can be said that it has taken the understanding of the storyteller one step further. Along with this, this study made it possible to actually understand what kind of storytellers and how they have developed storytelling culture by observing the typical characteristics and identities of the approximately 20 on-site storytellers based on this type system. This study observed the typical characteristics limited to the storytellers with whom this author met in person and on site. It is expected that the checking and organizing work can be effectively applied to many other storytellers in the future. The storytelling traditions that have continued for hundreds of years or thousands of years have various powers that can give new life to the storytelling culture. It can be said that storyteller is one of the essential role. Based on the wide range and systematical study of traditional storytellers with various typical identities, it takes effort to break new ground for storytelling culture in the future by discovering and fostering new storytellers.

21세기 사회문화적 상황과 고전문학 연구의 과제 -자본과 욕망의 시대, 존재와 가치의 근원으로-

신동흔 ( Shin Dong-hun ) 한국고전문학교육학회 2011 고전문학과 교육 Vol.22 No.-

This article theoretically searches for how classical literature research deals with trend of the times and explores its own way in the 21st century that can be said the era of the capital, technology and cultural industry. It aimed to find out the ground of the study for future by critically examining the discussion related with the cultural contents that has recently become the most important issue of the classical literature and looking back reflectively the essential tasks that the classical literature research should deal with. The recognition that the classical literature converged with the cultural contents and could be the darling of cultural industry has brought the contents fever to the academy. Many classical literature researchers have participated in the planning and development of the contents with the expectation that they could lead the real culture and have promoted active research. However, that work has lost its power without achieving results commensurate with the motivation. Above all, this seems to be the main problem that researchers have handled classical literature as a tool or method for the contents involved in the paradigm of capital and desire. A given task to the study and education of classical literature is considered to go back to the basics and identify the root cause of existence and value. Especially, it is necessary to strive to search for the 'philosophy of life' as the 'philosophy of literature.' This article suggested the essential communication with the universe, the providence of Heaven and the moral justification, the healing of emotional damage and pursuit of utopia, and then specifically described an aspect which the philosophy was embodied through the example of 'Baridegi.' These essential and philosophical semantic factors in classical literature have achieved the primary value not only in the past but also in the present and future, and have enough power to enlighten our life. Even the cultural contents applying classical literature, it will fulfill its role as 'contents for the human and life' when those essential and philosophical factors entirely revive.

인문학의 한류를 위한 세계적 시야의 한국어문확 연구와 교육; 유럽민담 트릭스터에 비춰 본 방학중의 캐릭터 특성 연구 -한국적 인물형으로서의 소시민적 트릭스터-

신동흔 ( Dong Hun Shin ) 겨레어문학회 2013 겨레어문학 Vol.51 No.-

This study examined Bang Hakjoong`s character as a trickster of Korean tales. This study tried to understand trickster characters deeply by finding out if Bang Hakjoong has typical characteristics and special identity as a trickster compared to tricksters in European folktales. Though tricksters appeared in the ancient myth, their character style was completed in folktales. There appeared many tricksters in European folktales which has fantastic imagination and narrative originality. German folktale “Brave Little Seamstress” and French folktale “Puss in Boots”, English folktale ‘Giant hunter Jack’, Russian folktale ‘A fox of Buktan Buktanobitch’, and so on. These are the characters that have ontological characteristics rather than humorous characters that do a trick. They can be called ‘existing’ image to live their lives because they fall down a giants and go their way straight. In their form, there is human being`s essential attribute as an exclusive being. Bang Hakjoong in a Korean folktale has basic characteristics of a trickster. However, we can see rather small and chicken-hearted person in him different from typical tricksters in European folktales. Bang Hackjoong fight with ordinary people rather than giants and he seek small and common desires such as doing a trick to eat food. And we can find that even he can`t achieve his desire many times. We can name Bang Hakjoong`s character that has special identity as ‘petty bourgeois trickster’. Bang Hakjoong as petty bourgeois trickster is the person in a borderline between desires and reality, joy of conqueror and sorrow of ordinary people. I suggest that Bang Hakjoong as Korean character has special, esthetic, and cultural values.