‘스토리텔링’이나 ‘OSMU(One Source Multi Use)’ 개발과 같은, 서사 갈래에서의 최근 양상들은 이러한 매체 환경의 변화 때문이기도 하다. 본 연구는 전국적으로 분포하는 <바리무가>를 논의의 출발점으로 삼아 삶의 서사 영역을 살폈다. 왜냐하면, 이 땅 민중들의 나날살이로 빚어진 그 오랜 구전 서사의 결들 속에서, 후기자본주의 사회가 겪는 여러 병폐들의 치유책을 발견할 수 있을까, 하는 기대감 때문이었다. 이러한 가부장제의 폭력에 대해 김선우는 ‘여성성의 둥근 힘’으로 대항한다. 김선우의 『바리공주』는 ‘바리’의 설움을 현대적 서사 맥락 속에 충실히 재현해 내고 있다. ‘바리공주’라는 표제에 굳이 ‘어른이 읽는 동화’라는 단서를 매단 것은, 현대사회를 살아가는 여성들의 지난한 삶을 위무하기 위한 것으로 읽힌다. 반면에 황석영은 『바리데기』에서 그 원형 서사의 틀을 과감히 벗어나 현재의 시공간 배경 위에 ‘바리’를 앉혔다. 이는, 탈북자문제와 다문화사회, 문명충돌 같은 인류의 위기 상황을 우리의 전통서사와 맞물려냄으로써, 전통서사 속에도 범인류적 보편성이 뚜렷함을 확인려는 뜻과 자본주의가 빚어낸 여러 세기말적 징후들에 대한 해결책을 ‘연대’나 ‘합일’에서 찾으려는 이유 때문이다. 본 연구에 대상으로 삼은 두 편의 서사물은, 이런 상황에 대안을 제시함으로써 현대문학이 전통서사와 발전적으로 만날 수 있는 가능성을 보여준다.

This study has its objective in acknowledging how they is being accepted and used differently, based on the ‘Origin Narrative’, which the general public scattered on their base from generation to generation. ‘A shaman song of Bari’ is one of them. Princess Bari, fairy tale, written by Kim, Seon-woo, and Bariddegi by Hwang, Seok-yeong are taken as examples of the contemporary versions of it. Princess Bari by Kim, Seon-woo is absorbing the basic pattern of ‘A shaman song of Bari’ description. Compared to this, Bariddegi, by Hwang, Seok-yeong, reproduces every single scene on the contemporary setting, ranging from the birth of the character to marrying and childbirth. Another clear descriptive axis in ‘Bari narrative’ is ‘separation’. The separation in human life refers to going through the state of parting and being fragment, which only enhances the tragic element in ‘a shaman song of Bari’. To reveal the meaning which the description of oneness and separation implies in ‘a shaman song of Bari’, this study used ‘arche-pattern’ as its approach. The core of this approach lies in ‘non-detachability’. Literature is what happens during the course of human life. Thus, whether they are called exorciser, conceived as fiction, or represented as the genre of fantasy, they are the stories of us living on this land. Therefore, reading works of literature is not merely reviving the past in the present day, but also looking ahead at the next life based on it.

This study has its objective in acknowledging how they is being accepted and used differently, based on the ‘Origin Narrative’, which the general public scattered on their base from generation to generation. ‘A shaman song of Bari’ is one of them. Princess Bari, fairy tale, written by Kim, Seon-woo, and Bariddegi by Hwang, Seok-yeong are taken as examples of the contemporary versions of it. Princess Bari by Kim, Seon-woo is absorbing the basic pattern of ‘A shaman song of Bari’ description. Compared to this, Bariddegi, by Hwang, Seok-yeong, reproduces every single scene on the contemporary setting, ranging from the birth of the character to marrying and childbirth. Another clear descriptive axis in ‘Bari narrative’ is ‘separation’. The separation in human life refers to going through the state of parting and being fragment, which only enhances the tragic element in ‘a shaman song of Bari’. To reveal the meaning which the description of oneness and separation implies in ‘a shaman song of Bari’, this study used ‘arche-pattern’ as its approach. The core of this approach lies in ‘non-detachability’. Literature is what happens during the course of human life. Thus, whether they are called exorciser, conceived as fiction, or represented as the genre of fantasy, they are the stories of us living on this land. Therefore, reading works of literature is not merely reviving the past in the present day, but also looking ahead at the next life based on it.

Bariddegi, Princess Bari, A shaman song of Bari, woman, mas's violence, arche-pattern, seperation, non-detachability, union