동화의 변용을 통한 다시 읽기: ｢개구리왕자｣ 패러디 텍스트를 중심으로

초록

This paper attempts to analyze the ways in which parody texts of a fairy tale distance themselves from the original text and thereby raise issues relevant to contemporary society. Among the tales collected and revised by Grimm brothers, “The Frog Prince” is somewhat extraordinary in that it shows the King-Father figure often erased in other fairy tales and reveals the circulation of a female between men. Anne Sexton’s parody of “The Frog Prince” in her Tansformations focuses on this aspect, effectively addressing the matter of patriarchal control over women. Katharyn Howd Machan’s “Hazel Tells LaVerne,” which delineates a lower-class working woman’s encounter with a frog in a hotel bathroom, modernizes the fairy tale even further. By overtly denying the possibility of a “happily-ever-after” ending achieved through a kiss with a prince, Machan’s parody work appears to respond to the Disney version of fairy tales rather than the original version. Disney’s 2009 animation film, The Princess and the Frog, shares central motives operating in Machan’s re-write of “The Frog Prince.” Tiana, Disney’s first black heroine, is a lower-class woman, who struggles to realize her dream to open her own restaurant in New Orleans in the Jim Crow era. Although her transformation into a frog for the main portion of the running time is problematic in that it seems to elide the issue of racial identity, Tiana’s diligence and independent spirit are quite noteworthy as the entirely new aspects of a Disney princess. Also, her marriage to Prince Naveen, a racially hybrid character, suggests the transient Utopian vision of post-racial society, which stems from the optimistic social atmosphere after the inauguration of President Obama.

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