변화와 지속: ≪聊齋志異≫에 대한 ≪醒夢駢言≫의 改編 연구 ― 서사내용의 ‘첨가’와 ‘삭제’를 중심으로

Abstract

In the process of remaking the works of Liaozhaizhiyi (聊齋誌異), Liaozhaizhiyi (聊齋誌異) and Xingmengpianyan (醒夢駢言) show distinct differences with regard to not only their narrative forms and structures but also the contents of the narratives and the themes. What is the most fundamental and important while studying the ‘samenesses’ and ‘differences’ between those two works is ‘the changes in contents of the narratives’. Over the course of the change, there appear ‘addition’ and ‘deletion’ in the ‘completion stage of the change’, and they are operational techniques with which we can look into the narrative contents change processes from multiple perspectives, because the addition and deletion of contents are easy to recognize and the degree of modifying the contents of the original and reproduced work is very precise and direct. The ‘addition’ of narrative contents consist of ‘insertion’ and ‘supplemetation’, and even though they somewhat differ in the process of adding new stories and in the range and the connection of the contents, but it is true that both of them include addition of some contents. In the process of reproducing Liaozhaizhiyi (聊齋誌異) into Xingmengpianyan (醒夢駢言), ‘addition’ is the characteristic that appears the most frequently, and it shows ‘polarization’. The reason that ‘polarization’ appears so remarkably is because the ‘manner of writing’ with which ‘the writer wants to succeed the ‘original’ as it is’ and the ‘intention of reproduction’ with which he wants to reproduce the work into the other that satisfy the tastes of the public. The ‘addition’ of narrative contents is more than mere expansion of a simple story, but rather it is insertion of another independent story, and therefore it is making the original plot richer and more complex. ‘Deletion’ also is an important characteristics that appears in the process of reproduction; it is profoundly related to ‘whether the major contents is included or not’ and ‘whether the narrative organicity is maintained or not’. Even though ‘deletion’ takes place less frequently compared to ‘addition’, it is widespread over the ‘introduction’, ‘development’, and ‘conclusion’ part of Xingmengpianyan (醒夢駢言), and it shows the change process more clearly. Looking into these phenomena of ‘addition’ and ‘deletion’ comprehensively, it is easy to figure out that the writer tries to achieve ‘organicity’ and ‘consistency’ of the contents by reproducing the work. Such ‘empirical arrangement’ and ‘narrative strategy’ is closely related to the narrative contents, rhetorical techniques, narrative forms, and narrative structure, and so on, and also has direct relationship with the reaction and responses from readers, the completeness and artistic result of the work, emphasis of the theme, and implication of meaning. This research is to comprehensively look into what differences and distinctions are made between two works by ‘addition’ and ‘deletion’ that appear in the narrative contents change process, and what narrative perspective is projected in the process. In addition, this research offers opportunity to study the correlation between the original work and reproduced work in fine detail, and to look into the organic relation among the writer, readers, and the work comprehensively and closely.