‘옛이야기’의 환상적 함의와 어린이 ‘독자/청중’의 ‘환상성’에 대한 문화적 재규정

Abstract

The word of ‘old’ amongst ‘old story’ implies some imaginative meaning which are unconcerned ‘past’ nor ‘history’, and also does certain literary category which is discerned between reality and narrative. The genre of ‘old story’ is connected with the essence of the fantasy, by means of permitting positive fictional creativity which never exist in the real world. The fantasy of old story is the passage to accumulate some cultural symbolic experience of children－reader/audience, and also it suggests some opportunity to analyse wonder and mystery of story with some new point of view. However it’s hardly difficult for children－reader/audience to be the subject of reading symbol of narratives. Because they are influenced from the adult who made and offered the story to them as rewritten forms of instructive media; books or magazines. Such a instructive rewriting process is common until now, for example a case of Seo, Jung－Oh, who is contemporary representative rewriting author of old story books for children and adult, from early modern magazine, Aidleboy, published in 1910's. In case of Seo, Jung－Oh, he published two versions of selective old story books for children and everybody including adult. The former contains 12 pieces of old stories. Except one, all the stories compose some instructive and ethical topics, and among them 9 pieces of stories contain fantastic points. The latter contains 100 pieces of old stories, amongst over 90% include fantastic points, and colored with morality and instruction. There is no story by ending with wonder regardless instructive theme. It shows that the author regarded the fantasy as the essential point of old story and also regarded instructive point as the decisive part of of classical canon. In case of Aidleboy, it contains fantastic point over 58% of stories, and most of them have positive instruction and enlightening topic. For example, the text of <woodcutter and mountain wizard> printed in Aidleboy, was ended with happy－ending. However, in the original oral version,s the stories were ended by the couple's tragic relationship. Nevertheless, there were inserted several tragic legend which were sent by the readers in the contribution section. Such cases showed that the modern magazine tried to revise the fantastic point of old stories, however the reader regarded the tragic story as a valuable part of old stories. The fantastic old story as classic is a communicable media for generation sympathy and also is a cultural contents for children－reader/audience which can creatively analyse them. It is essential to develop new reading method of the fantastic old stories, which imply radical questions for composing the world and system, to exist as a meaningful contemporary literary texts with full of imagination.