<손 없는 색시>설화의 신화적 성격과 심리학적 접근

서지정보

· 발행기관 : 한국구비문학회
· 수록지 정보 : 구비문학연구 / 13호
· 저자명 : 李仁卿

목차

Ⅰ. 서론
Ⅱ. 설화에 나타난 여성의 ‘입문의례’
Ⅲ. 억압된 性의식과 그 극복과정
Ⅳ. 마무리

초록

<손 없는 색시>설화는 계모의 정절모해로 손을 잘린 채 추방된 처녀가 우연히 남자를 만나 결혼하여 아이를 낳은 후, 우여곡절 끝에 손이 재생되어 집으로 귀환한다는 내용이다. 지금까지 이 설화에 대한 학계의 관심은 비교적 적었다고 할 수 있다. 이 설화에 대한 최초의 논의는 조희웅의 한국설화의 유형에서 이루어졌다. 조희웅은 이 설화를 神異譚으로 분류하였는데, <손 없는 아내>(AT706) 유형이 구전 또는 문헌을 통하여 범시간적,범공간적으로 유전되어 왔다고 하였다. 또한 이 설화의 현전 最古의 예는 11세기경까지 소급할 수 있다고 하고, 전 유럽을 비롯하여 중앙 아프리카․북미․라틴 아메리카 및 동양권에서 이 설화가 채록되었음을 보였다

영어초록

This paper reveals the mythological character of the "Girl With No Hands" tale and examines the meaning of this tale psychologically. The "Girl With No Hands" tale is a folk tale in which a maiden is exiled after having her hands cut off when her stepmother plots against her and accuses her of infidelity. She happens to meet a man, gets married, and has a child, and after many twists and turns her hands are regenerated and she returns to her home. This tale shows a feminine right of initiation, beginning with the first menstrual period, and at the same expresses an adolescent girl's interest in and fear of sex.
The protagonist of the tale safely completes the "initiation rite" of 'regeneration from death,' is reborn as a mature woman prepared for motherhood and returns home. Her hands are regenerated, she returns home with both her husband and her son, and she punishes her stepmother. The immature character of the protagonist, which had been continuously weighed down by the super-ego, finally achieves a harmony between the "id, ego, and super-ego," and this hints at the ultimate union of the ego (union with the spouse). The protagonist, who overcomes the oppression of her stepmother (parents) or mother-in-law, escapes from the mental stage of the "little girl" who relied absolutely on her parents and always feared their authority. Not only does the protagonist escape from the perversion of excessive attachment to sexual desire, but she is no longer ashamed of her libido and accepts them naturally. Also, her driving out the violent stepmother who cut off her hands and reconciliation with her parents shows that the protagonist has finally been freed from the superego that had overly oppressed her. Now the protagonist is no longer overly attached to her libido, nor does she excessively repress these instincts, and thus she is reborn as a mature adult woman who has achieved harmony between her id and her superego.
Unlike male storytellers, who enjoy telling legends, the repertoire of female storytellers consists largely of fairy tale-like folk tales (fantasy tales). This is probably related to the fact that women have traditionally told many fairy tales while raising children. Accordingly, fairy tales have a deep influence on a child's emotional development, and have a definite educational function. It can also be inferred that, through the hearing of this sort of tale, children psychologically experience "rites of passage" or "initiation rites."

참고자료

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