아동문학의 옛이야기 변용 양상 연구

Abstract

Deeply interested in the Juvenile Literature positively tries to look for novel materials, subject matters, and techniques for original fairy tales from the character features, motives, and forms of Fork Stories, this study aims at proving that Juvenile Literature can be extended not simply by revival but by adaptation. For this purpose, I have examined 26 adaptive works to investigate in what aspects their materials and subject matters are adapted. The materials that Juvenile Literature has commonly adapted include Dokkaebi, Mago Halmi, Baridegi, tigers, dragons and pythons, the 9‐tailed fox, the story of Sim Cheong, Ondal the Fool, stories of heavenly fairies, and domestic gods. Diverse and creative adaptations have been made in the adaptive works. First of all, as for the adaptation of basic materials, we have seen that there are cases where basic stories are drawn without modification, where more than one material is brought, and where Fork Stories are used as basic motives but almost new stories are created. Next, as for the adaptation of character features and supernatural powers, there are cases where the character from Fork Stories are drawn without modification, where features and supernatural powers are more broadly extended and attached than in the originals, and where features and supernatural powers are reduced. As for the adaptation of space and time, which are very closely related to event unfolding, we can divide the stories into three cases where past space and time are set, where present space and time are set, and where genuine fantasist spaces is set. When it comes to the adaptation of subject matters, the stories can be classified into cases where the subject matters of oral literature are maintained or added, where totally new subject matters are contained, and where Fork Stories are interpreted from a new perspective after the original subject matters have been destroyed and the opposite subject matters have been presented. Problems with the adaptive works include lack of understanding of basic materials first of all, for which there are many cases where the significance of drawing the materials disappears as the characteristics and values of the materials are neglected. Next, there are a considerable number of works that remain just ordinary as the modern writers cannot overcome the imagination of the writers of the Fork Stories. There are also quite a few works that make us feel that the writers’ serious reflection is missing about the creation and formation of themes that can increase the adaptive works’ literary fruits. Lastly, we can point out that the writers’ eyes and observation are unsatisfactory in discovering children from Fork Stories. The creation of Juvenile Literature that adapts Fork Stories, repositories of Korean fantasies, is expected to enrich Korean Juvenile Literature. With this study, the current author will go on to deeper study and creation by the extending the scope of the adaptation of Fork Stories.