박경리 『토지』 변용작품들의 원작 전유 방식 연구 -밈(meme)으로 읽기-

초록

Unlike genes, memes that are passed on from one generation to the next are difficult to judge by a crackdown. When an original work is transformed, this transformation is conveyed through imitation and mutation. Thus, by abstracting and changing the duration of mementos in literature and transformation, one can determine the preference by age or medium. This thesis analyzes the memes in Park Kyong-Ni’s media-altering novel, Land. The transformation of Land to adapt to various media such as movies, dramas, and cartoons took place over a period of 40 years. The first series of the original work was made in 1969, and was subsequently produced until 2015. Media adaptations of Land are a 1974 film and MBC radio drama, 1979-1987 KBS TV drama, 2004-2005 SBS TV drama, and 2007-2015 cartoon. This study extracts the major memes from the novel and analyzes how they change in the medias transformation process. The representative memes that were taken from the originals and adaptations were “life solidarity,” “destiny pioneer,” “maternal instinct,” “good triumphing over evil,” and “hero myth.” These memes were adapted from the originals and extracted from the variations, where they were hidden in various guises. The memes that were strengthened in the analysis, the stronger memes were found to be are “maternal instinct” and “good triumphing over evil.” In the original book, descriptions of “good triumphing over evil” and “maternal instincts” alternate between being reinforced and deconstructed. In the adapted versions, they are strengthened by getting involved in the subject’s desire to maintain a hierarchy in society and weaken subversion. That is, the memes that were originally written in the novel were mutating in their adaptions because they were being combined with the dominant memes of the time. Reading a work from the perspective of a meme is like reading it in light of human nature and culture. Through a reading of the converted works and original as memes, the original’s subversive traits are reconfirmed. However, the reason why these traits debilitate during their transformation is because of the adaptation of the work to the environment rather than the other way around. As the traits differ between producers of different eras, such as the author, adaptor, and public, the memes are judged as the result of adjusting the work to its environment. This paper is significant as it observes the trends of the times from the viewpoint of a long-term continuation of cultural history, and is an experiment in reading literature and transformation as memetics.

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