본 고는 고전소설 심청전의 서사를 조셉 캠벨의 ‘영웅의 여 정’ 17단계 이론을 적용하여 분석하였다. 연구 대상은 경판 24 장본을 사용하였으며, 심청의 이야기를 캠벨이 제시한 출발, 입 문, 귀환의 세 가지 주요 단계로 나누어 고찰하였다. 출발 단계에서 심청은 눈먼 아버지를 위해 쌀 삼백 섬을 마 련하기 위해 자기희생을 결심하고, 결국 인당수로 향하게 된다. 이는 캠벨이 제시한 ‘영웅의 부름’과 ‘초자연적 도움’ 단계와 명 확히 부합하며, 심청이 일상의 세계를 떠나 미지의 세계로 나 아가는 신화적 순간임을 의미한다. 입문 단계에서는 심청이 인당수에 투신하여 죽음과 재탄생을 경험하고, 연꽃 속에서 부활하여 용궁에서 초자연적 존재들과 만나는 과정을 캠벨의 ‘고래의 뱃속’과 ‘시련의 길’ 단계로 분석 하였다. 특히 용궁에서의 경험과 유혹은 ‘여신과의 만남’과 ‘유 혹자로서의 여성’ 단계에 해당하며, 이를 통해 심청이 영웅적 존재로 성장하는 과정을 밝혔다. 귀환 단계에서는 심청이 인간 세계로 돌아와 황후가 되어 아 버지와 재회하여 그의 눈을 뜨게 하는 궁극적 보상을 얻는 과 정을 분석하였다. 이는 캠벨의 ‘아버지와의 화해’ 및 ‘궁극적 보 상’ 단계와 정확히 대응하며, 초월적 지위와 현실적 역할을 통 합한 심청의 모습은 ‘두 세계의 지배자’ 단계를 잘 나타낸다. 본 고는 심청전의 효라는 윤리적 주제가 단지 동양적 가치관 에만 머무르는 것이 아니라, 인류 보편의 신화적 원형구조를 충실히 따르고 있음을 규명하였다. 또한, 한국 고전소설이 지닌 신화적 잠재력을 재조명하여 동서양을 막론하고 모든 인류가 공감할 수 있는 근원적 정서와 상징이 심청전 속에 내재되어 있음을 밝혔다.

북한의 김일성 신화는 현대 사회에서도 신화가 여전히 생산되고 있으며, 강 력한 힘을 발휘하고 있음을 보여주는 중요한 사례이다. 북한이 건설되고 김일성 을 중심으로 권력 구조가 형성되는 과정에서 김일성 신화는 핵심적인 역할을 담당하였다. 갑작스러운 해방을 맞아 혼란스러운 상황에서 북한 주민들의 절망 과 이를 극복하고자 하는 열망, 그리고 초월적 영웅에 대한 갈망이 북한 정권의 정치적 기획과 만나 창조된 것이 김일성 신화이다. 김일성 신화는 건국 신화와 영웅 신화로서의 속성을 가지고 있다. 김일성 신화는 김일성을 ‘민족의 태양,’ ‘민족의 해방자’로 묘사함으로써 그를 건국의 시조로 위치시키고, ‘백두산’이 갖 는 상징성에 주목한다는 점에서 공간의 신성함을 토대로 하는 건국 신화적 속 성을 보여준다. 또한 김일성이 항일 무장 투쟁 과정에서 보여주었던 비범한 육 체적 능력을 강조하고, 그가 가진 정신적 강인함과 뛰어난 지적 능력을 신성화 하며, 토지 개혁을 단행하고 농업에서부터 수산업, 공업에 이르기까지 생산성 향상을 위해 그가 제안한 방안들을 높이 평가함으로써 김일성의 문화 영웅적 면모를 부각시킨다.

This essay is a comparison between Celtic myth and Korean myth with emphasis on hero Cuchulain and Jumong. Cuchulain is a Celtic Irish mythological hero who appears in the stories of the Ulster Cycle. In this study the main text of Cuchulain is Lady Gregory's Cuchulain of Muirthemne. Jumong, whose birth name was Dongmyeongseongwang(東明聖王), was the founding monarch of Goguryeo. The best known version of the founding myths of Goguryeo is the Dongmyeongwangpyeon of the Dongguk I Sanggukgip(Collected Works of Minister Yi of Korea) by Yi, Gyu Bo. According to Jeseph Campbell's idea of monomyth the standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation−initiation−return. A hero ventures forth from the world of common day into a region of supernatural wonder, fabulous forces are there encountered and a decisive victory is won, and the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man. Cuchulain and Jumong's hero-journey show the nuclear unit of the monomyth. Their stories exhibit with extraordinary clarity all the essential elements of the classic accomplishment of the impossible task. Cuchulain is the son of the sun god Lugh and Deichtire(a daughter of Maga, the child of the love god of Angus). Jumong is the son of Hae Mosu(解慕漱: the son of heaven) and Yuhwa(柳花:daughter of the river god Habaek(河伯). Cuchulain and Jumong are the child divine yet born of human mather. They are sons of sun and abandoned by their divine father. The characteristic adventure of Cuchulain is winning of the bride, Emma. The adventure of Jumong is going to succeed to his father-the father is the invisible founder of Buyeo. Cuchulain's adventure had given him the capacity to annihilate all opposition. At the age of seventeen Cuchulain single-handedly defends Ulster from the army of Connacht in the Tain Bo Cuailnge. Jumong's adventure had given him the capacity to rule his subjects. At the age of twenty-two, in 37 BC, Jumong established Goguryeo, and became its first "Supreme King." Goguryeo considered itself a successor to Buyeo. Cuchulain, the Irish Achilles, is the symbol of all those who fought for independence of Ireland. Jumong, the korean Achilles, is the symbol of the pride of Korean. The aim of this essay is that my comparative analysis contribute to the sense of universal understanding of the human condition.

This paper is an attempt to practice Jungian ways into a great poem of Yeats’s, “Among School Children,” over which home and foreign academic societies concerned have been under much controversy till now. But it is very regrettable that I have no belief if the views issued from some noted scholars in the societies have been plausible or appropriate. In the sense, as suggested by the title, the encounter between Great psychologist C. G. Jung and Great poet W. B. Yeat is very significant in that they both had pursued the same ultimate subject as a supreme state of humanity respectively represented as archetype of ‘Self’ and ‘Unity of Being.’ For Jungian ways applied to the poem, first symbols, images and psychological situations lurking in it can be useful as the interpretative clues. These representations can function as faithful agents helping us to reach the gate of the poetic truth, urging us to mobilize Jungian esoteric terms corresponded to several kinds of psychological situations people must go through. ‘Great Mother,’ maternal archetype, who stands for earth and womb and takes two characteristics, construction and destruction, possessing opposite qualities of Witch Kali and Virgin Mary, exercises serious effect upon a male child as an earthly hero. Some ideal aim or mission that the hero strives to grasp is just equivalent to hurriedly return to the womb as his biological origin, namely secular realization of the principle of ‘entrophy’ meaning the second principle of thermodynamics; does mean the hero’s life whatever else? It can be associated with the biblical situation, Pieta, the holy picture describing Mary’s lamenting in bitter grief with embracing his dead son, Jesus Christ. In fact, the hero is determined to death resulting from energetic emission of burning libido, which can be embellished with either establishment of duty or sacrifice to community. Thus, ‘Great mother’ longing for the runaway baby from her womb, in turn, is expecting his death to suffice emptiness of womb and heal her chronic complex, hysteria. In conclusion, in the poem, we can find that the destiny that after “children” in the “school” go through a initial step of ‘individuation,’ the perfect state which further can be indivisible, they, absurd beings, are cast into the tough world with each secular mission is just to aid the scheme of ‘Great Mother.’ “school” is a temple teaching “dance” and “children” in it dancers learning “dance.” Accordingly, the enigmatic relation of “dancer” and “dance” in the eighth stanza would be unraveled: The former can come under an archetypal pattern and the latter can correspond to its practitioner. Thus, “dance,” playing a role of ‘complex’ as compelling force and driving us to imitate it, tires us, dancers, finally to death, as an erotic dancer Salome’s dance murdered a spiritual dancer John the Baptist. After all, we can never get to the core of “dance” only to hang around its brink, which Yeats should know. As usual, getting captivated by “dance,” we continually shout hoarse to others: Shall we dance?