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¹ßÇàÇÐȸ : Çѱ¹±¸ºñ¹®ÇÐȸ [The Society Of Korean Oral Literature]
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This paper examines the trick
ster as an archetypal figure in the Jungian sense, drawing on three examples from Korean folk tales¡ªnamely Kim Seondal, Bang Hakjung, and Jeong Manseo¡ªto shed light on the significance of this archetype. First, liminality is introduced as a fundamental characteristic of the trickster, following which specific manifestations of liminality are explained through examples from folk tales featuring the three figures mentioned above.
The first manifestation of li
minality is spatial liminality. This is the most literal interpretation of the concept, and can be seen in the fact that the trickster often demonstrates his abilities or engages in trickery while on the road. His playground is neither the starting point nor the destination, but the space in between. The second manifestation is liminality in terms of the social structure. Put simply, the trickster lives only for himself. He moves and acts within society, but since he acts only to fulfill his own desires, he can never become a true member of society. This is also the reason why he acts in total disregard for the moral code that upholds social order. The third manifestation is temporal liminality; while people normally live with memories of the past and hopes and fears for the future, the trickster lives only in this present moment. He could be seen as a figure who exists in a Bakhtin-esque carnival time. The fourth manifestation is linguistic liminality, exemplified by the trickster\'s use of the ambiguity of language to deceive others. In other words, he plays in a semantic liminal space.
Finally, it was seen that all
these aspects of the trickster figure are actually a mirror into our true human selves. That is, the trickster shows us that even those aspects that have been thought of as negative or evil are in fact part of our nature, and he allows us to laugh at, rather than fear, what we see in ourselves. (ÀÌÇÏ »ý·«)
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