CAJ | 학술논문

人神恋的神话由最早的图腾崇拜走出来，寄托人类的理想，满足人类的探奇审美，在文学作品中，特别是小说中逐渐发生着变化，从人神恋的基础模式，到人狐恋的特定模式，到《聊斋志异》发展到顶峰。来源于湖南民间花鼓戏《刘海砍樵》为原型的天门山大型实景山水音乐剧《天门狐仙》，糅合了民间故事与人狐恋的素材，加入了现代元素，体现了独立女性勇于追求的爱情观，有独立的人格和思想，以其深厚的底蕴征服了观众。
인신련적신화유최조적도등숭배주출래，기탁인류적이상，만족인류적탐기심미，재문학작품중，특별시소설중축점발생착변화，종인신련적기출모식，도인호련적특정모식，도《료재지이》발전도정봉。래원우호남민간화고희《류해감초》위원형적천문산대형실경산수음악극《천문호선》，유합료민간고사여인호련적소재，가입료현대원소，체현료독립녀성용우추구적애정관，유독립적인격화사상，이기심후적저온정복료관음。
Originated from the totem worship, myth about romantic love between human being (s) and the immortal is the indicator of human beings’ ideal, can meet man’ s need of curiosity and aesthetics. In Chinese literary works, the development of this kind of myth goes through three stages: the primary model of romantic love between human being (s) and the immortal, the unique model of love between human being (s) and the fairy fox and the crest model in Strange Tales from a Scholar’ s Studio. Stemmed from the prototype in folk opera Liu Hai cuts Firewood popularized in Hunan Province, the large-scale live-action musical drama entitled Tianmen Fox Fairy has been fascinating the audience by the integration of folktale, the love between human being (s) and the fairy fox and contemporary factors, by the love view, independent personality and thoughts of the independent female protagonists.