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--------------- ¿ÀµðºÏ ºÏ + ÀÌºÏ = ÀÔüÀüÀÚÃ¥ ----------------- - ¿µ¾î ÇнÀÀ» À§ÇÑ ÃÖ°íÀÇ ÀÔü ÀüÀÚÃ¥ÀÔ´Ï´Ù. - ÀÐÀ¸¸é¼ ÇÑ ¹øÀÇ Å¬¸¯À¸·Î µ¿½Ã¿¡ µè½À´Ï´Ù. (Å©·Ò ȯ°æ ÃÖÀû°Ý) - ÁÖÁ¦(Chapter) ¸¶´Ù ÇÑ ¹øÀÇ Å¬¸¯À¸·Î Æí¸®ÇÏ°Ô µéÀ» ¼ö ÀÖ½À´Ï´Ù. - ÇÚµåÆùµµ Æí¸®Çϸç CD°¡ ÇÊ¿ä ¾ø½À´Ï´Ù. - ÀÛÇ°°ú ÀÛ°¡´Â »çÁø°ú ¿µ¹®À¸·Î ÀÚ¼¼È÷ ¼Ò°³ÇÕ´Ï´Ù. - ÃßõÀÛÀÌ¸ç ¾ö¼±µÈ ÀÛÇ°ÀÔ´Ï´Ù. ------------- Audio book + e book = solid book -------------- º»°í´Â ºÒ»çÁ¶¿Í ¾çźÀÚ(The Phoenix and the Carpet)¿¡ ³ªÅ¸³ ȯ»ó°ø°£ÀÇ Æ¯Â¡À» »ìÆ캸°í ÀÌ¿¡ µû¶ó ¹ß»ýÇÏ´Â ¼»çÀû È¿°ú·Î¼ÀÇ À¯¸ÓÄڵ带 ºÐ¼®ÇØ º»´Ù. ¶ÇÇÑ ºÒ»çÁ¶¿Í ¾çźÀÚÀÇ È¯»ó°ø°£¿¡ ÀÇÇØ ¾î¸°ÀÌÀÇ À̹ÌÁö°¡ ¾î¶»°Ô Çü¼ºµÇ´ÂÁö¸¦ ºÐ¼®ÇÏ¿© ¾î¸°ÀÌ È¯»ó¹®ÇÐÀ¸·Î¼ÀÇ °¡´É¼ºÀ» Ž±¸ÇØ º¸µµ·Ï ÇÑ´Ù. ÀÌ ÀÛÇ°Àº ÀüÅë µ¿È¿¡¼ ±¸ÇöµÇ´Â ȯ»ó°ø°£°ú´Â ´Þ¸® Çö½Ç°ú ȯ»óÀÇ °ø°£À» °¢°¢ ±¸º°ÇÏ¿© ȯ»óÀû Çö»óÀÌ Çö½Ç¼¼°è¿¡ ħÀÔÇÏ´Â ÇüŸ¦ Áö´Ï°í ÀÖ´Ù. ºÒ»çÁ¶¿Í ¾çźÀÚÀÇ È¯»ó°ø°£Àº Çö½Ç¿øÄ¢À» À§¹ÝÇϴ ȯ»óÀû Çö»óÀÌ Ä§ÀÔÇÏ¿© Çö½Ç¼¼°è¸¦ È¥¶õ½º·´°Ô ¸¸µé±â ¶§¹®¿¡ ºÒ¿ÏÀüÇÑ ¸¶¹ý¿¡ ÀÇÇØ ¹ß»ýÇÏ´Â »óȲÀÇ À¯¸Ó°¡ ¹ß»ýÇÒ ¼ö ÀÖ´Ù. ÀÌ ¶§ ¹ß»ýÇÏ´Â À¯¸Ó¿¡´Â ÀÏ·ÃÀÇ ±ÔÄ¢ÀÌ Á¸ÀçÇϴµ¥ Çö½Ç ¼¼°è¿¡ ¹ß»ýÇϴ ȯ»óÀû Çö»óÀ¸·Î¼ÀÇ ¸¶¹ýÀº ºÒ¿ÏÀüÇÏÁö¸¸ ³í¸®ÀûÀ̾î¾ß Çϸç, ³í¸®ÀûÀÎ ¸¶¹ý¿¡ ¿¹»óÄ¡ ¸øÇÑ °á°ú°¡ µµÃâµÇ¾î¾ß¸¸ ÇÑ´Ù. ºÒ»çÁ¶¿Í ¾çźÀÚ´Â Çö½Ç¿øÄ¢°ú ȯ»óÀû »çÀÌÀÇ ±äÀå°¨°ú ±ÕÇü°¨À» ÅëÇØ È¯»ó°ø°£¿¡ ÀÇÇÑ À¯¸ÓÄڵ带 »ý¼º½ÃŲ´Ù. ºÒ»çÁ¶¿Í ¾çźÀÚÀÇ È¯»ó°ø°£Àº ¾î¸°ÀÌ ¹®Çп¡ ³ªÅ¸³ª´Â ¾î¸°ÀÌÀÇ À̹ÌÁöµµ ³¶¸¸ÁÖÀÇ ¿µÇ⠾Ʒ¡¿¡¼ ¼ø¼öÇÔÀ» Áö´Ñ ÀÌ»óÈµÈ Á¸Àç°¡ ¾Æ´Ñ ½ÇÁ¦ÀûÀÌ¸ç ´Éµ¿ÀûÀÎ Á¸Àç·Î ±×·Á³½´Ù. ÀڽŵéÀÌ ¿øÇÏ´Â ¼Ò¿øÀ» ¸¶¹ý¹°¿¡°Ô Áö½ÃÇÏ°í ¸»ÇÏ´Â ÇàÀ§, ºÒ¿ÏÀüÇÑ ¸¶¹ýÀ¸·Î ÀÎÇØ ¾ÆÀ̵鿡°Ô ´ÚÄ£ °ï°æÀ» Àû±ØÀûÀ¸·Î ÇØ°áÇÏ·Á´Â ¸ð½ÀÀº ¹«ÁöÇÑ Á¸Àç°¡ ¾Æ´Ñ ÁöÀûÀÎ ´É·ÂÀ» Áö´Ï°í ÀÖ´Â Á¸Àç·Î, ¸¶¹ý¹°¿¡ ÀÇÇÑ ¼öµ¿ÀûÀÎ Á¸Àç°¡ ¾Æ´Ñ ´Éµ¿ÀûÀÎ Á¸Àç·Î ±×·ÁÁø´Ù. --------------- The purpose of this article is to investigate the fantastic space of The Phoenix and the Carpet and to analyze the humor codes as the narrative effect. In addition I want to examine how the concept of childhood is constructed depending on the fantastic space. First, the fantastic space of The Phoenix and the Carpet features the intrusion of the magical things into the real world. This shows that the magical things have the limitations on performing magic because there are conflicts between the fantastic phenomenon and the reality principle. Second, the imperfect magic in the real world makes it possible for humor to be produced, provided two conditions are satisfied: to sustain the tension between the fantastic phenomenon and the reality principle and to produce unexpected results of the logical process. Third, the fantastic space of The Phoenix and the Carpet represents the