도깨비의 귀환: 드라마 ‘도깨비’에 내재한 韓 · 中 전통 괴담서사의 원리

Abstract

This thesis will deal with the Korean drama ‘Tokkaebi’, which was broadcasted at the beginning of 2017, to prove the principle behind the traditional Korean · Chinese horror narratives inherent in the drama. This paper suggests that the drama ‘Tokkaebi’ is based on the principle of traditional Korean · Chinese horror narratives for the following reasons. First, this drama is based on the principle of 'Rengui's love story(人鬼戀愛)' and the grammar of 'Caizijiaren(才子佳人)'. The drama ‘Tokkaebi’ is related to the traditional narrative of 'Rengui(人鬼)'s love story' as it used the love story between a female human and a male Tokkaebi as the main motif. Also, there is a mutual understanding with 'Caizijiaren' narratives in terms of the love story between a talented man of high class, and a beautiful underprivileged lady. Second, the set up of the drama's main male and female characters follow the principle of the traditional Korean · Chinese horror narratives which has been passed down since Tang Chuanqi(唐傳奇). Chracters has been established by male writers of the traditional East Asian horror narratives which reflects their Lolita Complex. Despite the fact that the writer of this drama is a female, the story still follows the familiar principle of traditional Korean · Chinese horror narratives by arranging the main female character to be young. Third, the traditional horror narratives used the method of fantasy in order to avoid the unethical situation. Accordingly, this drama established the main male charater as 'Tokkaebi', a fantastic existence, to contradict the unethical situation. This drama used technique of narrative, what we called, Familiarizatnarrion and Defamiliarization. Moreover it contains important features including characters like Samsin an old grandma from Korean fables and the transformation of the previous life and life after death of Buddism. The drama 'Tokkaebi' receives fervent appreciation and response from the viewers of Chinese amidst the ‘Xianhanling(限韓令)’ circumstances. This is because the drama is based on the principle of traditional horror narratives which was shared with between East Asians. And this drama constructed a new narrative format where the original drama procduct a novel, opposing the general format where a drama is made from an original novel. Furthermore, the settings of the drama became a tourist attraction presenting its value for practical use. These phenomenons can be said to be the evidence of the vaulue of currency in traditional Korean · Chinese horror narratives.