문화 다양성 시대의 『山海經』과 스토리텔링

초록

This paper examines the recent trends in the utilisation of Shan Hai Jing in cultural content and analyses how Shan Hai Jing reflects the emotions and psychology of modern people in the storytelling process. With the advent of the new media era and the development of various media, social interest in classical texts is steadily increasing. In particular, Chinese classics with strong elements of fantasy, such as Shan Hai Jing, Sou Shen Ji, and Liaozhai Zhiyi, provide much inspiration for cultural content creation. Thanks to this, classics have met modern readers in a popular and accessible way. Classics, though unfamiliar, approach readers with a sense of familiarity, enriching their emotions, and what was once regarded merely as relics from the past continues to offer us wisdom. The problem lies in the fact that there are many cases where people try to use it merely as a material without properly understanding the classics. Shan Hai Jing, with its bizarre imagination and unique illustrations, is a work that attracts the interest of many creators, but there are quite a few contents that have been reinterpreted in a too fragmented way. Of course, there are cases of success arising from various attempts and failures, but Guan San Hai is noteworthy in that it treats Shan Hai Jing not as something grotesque or ridiculous, but as an object of aesthetic appreciation. Recently, inspired by the Shan Hai Jing, works that offer a unique storytelling approach have begun to emerge, reflecting the sentiments of the times in various ways. Firstly, Monstrous Detective Group is a B-grade comic book that reflects the anxieties and fears of Korean children, while Fei Ren Zai depicts the daily lives of gods in a webtoon, capturing the emotions of the MZ generation. The Secret of Bokhee's Bathhouse also reflects the pain of the marginalised. Shan Hai Jing is always an open text, changing in various ways according to the flow of the times, and constantly interacting with contemporary culture.

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