본 연구는 한국의 전설적 존재인 구미호와 서구의 초자연적 존재인 뱀파이어의 현대적 변용을 비교 분석한다. 연구 대상으로는 2020년 tvN 드라마 <구미호뎐>과 영화 <트와일라잇>을 선정하였다. 과거 구미호와 뱀파이어는 인간을 위협하는 부정적 존재였다. 이들은 인간이 될 수 없다는 한과 슬픔 속에서 비극적으로 형상화되었다. 그러나 두 작품에서는 이들의 모습이 달라진다. 이제 그들은 인간에게 해를 끼치지 않는다. 오히려 인간 세계의 균형을 유지하는 역할을 한다. 또한 여주인공에게 헌신적인 사랑을 보여준다. 이를 통해 현대 사회에서도 영원한 사랑이 가능함을 암시한다. 여주인공이 수동적이고 나약하게 그려진다는 비판도 있다. 하지만 강한 남성이 여성을 보호하는 서사는 현대인의 심리적 안정을 반영하는 요소로 볼 수 있다. 경쟁 사회 속에서 많은 사람들이 기댈 곳을 원하기 때문이다. 본 연구는 구미호와 뱀파이어가 긍정적인 영웅으로 변모한 점에 주목한다. 이들은 과거 어둠의 상징이었으나, 현대에서는 세상을 지키는 존재로 자리 잡았다. 또한 오랜 시간의 흔적이 재산과 뛰어난 능력으로 표현된다는 점도 흥미롭다. 이를 통해 신화적 존재의 현대적 재해석과 그 사회적 의미를 조명하고자 한다.

Kim Yong Ik, a first-generation Korean-American writer, stands out among his contemporaries, such as Younghill Kang and Richard E. Kim, for his unique literary contributions and his nuanced portrayal of geographical spaces. While all three authors incorporate autobiographical elements into their works, Kim Yong Ik distinguishes himself by consistently drawing inspiration from his childhood in Tongyeong, South Korea—a small coastal town—and by maintaining a bilingual writing practice. Unlike Kang and Kim, who ceased creative activities after a few major works, he sustained a literary career spanning nearly four decades, producing over 50 short stories, novels, and plays. Kim’s portrayal of Tongyeong transcends its role as a mere physical location, becoming what Pierre Nora terms a “site of memory”—a symbolic space where personal and collective identities are reconstructed. Stories such as Happy Days and “From Here You Can See the Moon” depict Tongyeong as an idealized homeland that anchors his fragmented identity amidst cultural hybridity. Through vivid representations of coastal villages, fishing harbors, and traditional Korean customs, Kim reimagines his hometown as a space that bridges his longing for belonging in a foreign land. In contrast to Kang’s focus on assimilation into American society or Richard E. Kim’s exploration of ideological conflicts during the Korean War, Kim Yong Ik’s works focus on themes of nostalgia and imaginative reconstruction of childhood landscapes. His literature reflects a deep connection to his roots while engaging with broader diasporic themes. This geographical imagination is further enriched by his bilingual writing practice. Unlike most Korean-American authors who rely on translators, Kim translated his English works into Korean himself, ensuring the authenticity of his narratives across both languages. Critics have praised Kim for establishing a tradition of short stories within Korean-American literature and for addressing themes of identity through the lens of geography. His works explore the intersections between personal memory and cultural displacement by situating characters in specific spatial contexts—both real and imagined. For instance, while Tongyeong serves as an emotional and poetic foundation in stories like “The Smuggler’s Boat,” American settings such as Maine and Florida in “Sheep, Jimmy and I” and “They Won’t Crack It Open” reflect themes of alienation and cultural negotiation. Kim’s ability to use geography not merely as a backdrop but as an active agent in shaping identity underscores the distinctiveness of his literary contributions. His works reveal how geographical spaces can serve as sites of reconciliation and self-discovery for diasporic individuals. By transforming geography into a narrative framework that reflects the complexities of displacement and belonging, Kim offers a nuanced perspective on diasporic consciousness. In conclusion, Kim Yong Ik’s literary achievements lie in his sustained creative practice rooted in both personal memory and cultural geography. His works not only highlight the complexities of diasporic identity but also contribute to a richer understanding of Korean-American literature through their unique geographical imagination.