드라마 <도깨비>의 융합적 상상력과 판타지: 도깨비 캐릭터를 중심으로

Abstract

The purpose of this study was to analyze the achievements of doggabi: The Lonely and Great God from the perspective of convergence between traditional imagination and modern sensitivity. doggabi are familiar to the public through old stories with complex and multi-level origins and personalities. There are various opinions about their origins including the tree deity that originated from Mokrang and the divinity of abundance and good fortune. The complicated theories about the origin of doggabi reflect that they have no single transmission and system. The various origins of doggabi serve as an opening factor to create doggabi characters and also atypical characters based on the convergence of diverse elements. It can be understood through the various personalities of doggabi in folktales, in which doggabi are friendly to humans and also bewitch or play a trick on them. doggabi have strange and marvelous abilities to accumulate wealth, transform into fire to control it, and predict the future of humans, but they also have a naive aspect, being easily deceived by humans. The multi-level nature of doggabi is the result of their different acceptance and variation styles according to the groups that enjoyed them among different regions and social classes as their divinity became differentiated and extinct. doggabi: The Lonely and Great God develops its story in a three-dimensional fashion based on the crossing of the former and current life and the mixture of transcendent and daily beings by making use of doggabi' open and multi-level personality. In the drama, Kim Shin's fictionalized stories about his former life are turned into information to embody the specific character called the doggabi Kim Shin and promote the convergence of traditional imagination about doggabi in folktales and modern people's sensitivity formed since the modern times. In addition, the drama accepts the imagination of a webtoon series called The Bride of the doggabi and secures the probability of Cinderella-style romance and tragic love. The drama creates fantasy through the characters based on traditional imagination, unrealistic settings, and backgrounds severed from the reality and makes it converge with the genre grammar of melodramas. This approach to fantasy generates a storytelling effect of presenting a new story based on the stale setting of melodramas, “a woman in a difficult environment and a man to save her.” Furthermore, the drama expands the horizon of melodramas by embodying the human values that contradict and coexist with each other including fate and will, immortality and mortality, and tragedy and comedy in the genre custom of romantic fantasy.

The purpose of this study was to analyze the achievements of doggabi: The Lonely and Great God from the perspective of convergence between traditional imagination and modern sensitivity. doggabi are familiar to the public through old stories with complex and multi-level origins and personalities. There are various opinions about their origins including the tree deity that originated from Mokrang and the divinity of abundance and good fortune. The complicated theories about the origin of doggabi reflect that they have no single transmission and system. The various origins of doggabi serve as an opening factor to create doggabi characters and also atypical characters based on the convergence of diverse elements. It can be understood through the various personalities of doggabi in folktales, in which doggabi are friendly to humans and also bewitch or play a trick on them. doggabi have strange and marvelous abilities to accumulate wealth, transform into fire to control it, and predict the future of humans, but they also have a naive aspect, being easily deceived by humans. The multi-level nature of doggabi is the result of their different acceptance and variation styles according to the groups that enjoyed them among different regions and social classes as their divinity became differentiated and extinct. doggabi: The Lonely and Great God develops its story in a three-dimensional fashion based on the crossing of the former and current life and the mixture of transcendent and daily beings by making use of doggabi' open and multi-level personality. In the drama, Kim Shin's fictionalized stories about his former life are turned into information to embody the specific character called the doggabi Kim Shin and promote the convergence of traditional imagination about doggabi in folktales and modern people's sensitivity formed since the modern times. In addition, the drama accepts the imagination of a webtoon series called The Bride of the doggabi and secures the probability of Cinderella-style romance and tragic love. The drama creates fantasy through the characters based on traditional imagination, unrealistic settings, and backgrounds severed from the reality and makes it converge with the genre grammar of melodramas. This approach to fantasy generates a storytelling effect of presenting a new story based on the stale setting of melodramas, “a woman in a difficult environment and a man to save her.” Furthermore, the drama expands the horizon of melodramas by embodying the human values that contradict and coexist with each other including fate and will, immortality and mortality, and tragedy and comedy in the genre custom of romantic fantasy.