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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Ureonggaksi-type folktales are widely diffused folk tales that are prevalent in many countries in East Asia including Korea, China, Japan, and Vietnam. Many volumes of these folk tales have been put into record in Korea and China, with five(5) and nine(9) subgroups there of existing in Korea and China, respectively. Since the mid-1990’s, Ureonggaksi-type folk tales have been accepted through various media and have embodied familiar yet unique forms.
In this context, the purpose of this study is to identify the subgroups of Ureonggaksi-type folktales passed down in Korea and China that are being transmitted through modern media, and to highlight the meanings that have newly been given to these folktales in the modern society. The researcher in this study selected works in Korea and China that have accepted the Ureonggaksi folktale in the form of movies, dramas, webcomics, and novels, categorized those works into simple dramatization, adaptation, and alteration depending on the degree of transformation of the original folktale, and identified some unique characteristics as further described below.
To begin with, some unique features have been identified in terms of media. Ureonggaksi-type folktales were accepted through modern media in Korea and China around the same time, and were also significantly similar in terms of the aspect of dramatization depending on the features of each type of media. Secondly, there also were distinctive characteristics in terms of content. As for works that have been simply dramatized or adapted, Korea and China demonstrated clear distinctions in the selection of subgroups. Meanwhile, it must be noted that works which have been altered show differences depending on the characteristics of each media type, rather than being influenced by the difference between Korea and China. While webcomics and web movies have created love stories of the younger generation, novels have realistically depicted the matrimonial challenges experienced by the river snail bride, which had been left as a blank space in the original folktale.
As explained above, instead of simply adhering to the old, Ureonggaksi-type folktales that are widely being passed down in Korea and China are reenacting various subgroups to this day, while inspiring people who are leading complicated lives in the modern society. Furthermore, these folktales are also approaching the masses in a new context, by discussing such issues as the love stories of the younger generation of the modern society and the problems faced by these young people, as well as the matrimonial problems encountered by married women.
In this context, the purpose of this study is to identify the subgroups of Ureonggaksi-type folktales passed down in Korea and China that are being transmitted through modern media, and to highlight the meanings that have newly been given to these folktales in the modern society. The researcher in this study selected works in Korea and China that have accepted the Ureonggaksi folktale in the form of movies, dramas, webcomics, and novels, categorized those works into simple dramatization, adaptation, and alteration depending on the degree of transformation of the original folktale, and identified some unique characteristics as further described below.
To begin with, some unique features have been identified in terms of media. Ureonggaksi-type folktales were accepted through modern media in Korea and China around the same time, and were also significantly similar in terms of the aspect of dramatization depending on the features of each type of media. Secondly, there also were distinctive characteristics in terms of content. As for works that have been simply dramatized or adapted, Korea and China demonstrated clear distinctions in the selection of subgroups. Meanwhile, it must be noted that works which have been altered show differences depending on the characteristics of each media type, rather than being influenced by the difference between Korea and China. While webcomics and web movies have created love stories of the younger generation, novels have realistically depicted the matrimonial challenges experienced by the river snail bride, which had been left as a blank space in the original folktale.
As explained above, instead of simply adhering to the old, Ureonggaksi-type folktales that are widely being passed down in Korea and China are reenacting various subgroups to this day, while inspiring people who are leading complicated lives in the modern society. Furthermore, these folktales are also approaching the masses in a new context, by discussing such issues as the love stories of the younger generation of the modern society and the problems faced by these young people, as well as the matrimonial problems encountered by married women.
목차
1. 들어가며
2. 현대 매체 변용 양상
3. 현대 매체 변용에서 나타난 특성
4. 나가며
〈參考文獻〉
〈Abstract〉
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