캘더콧 수상작에 나타난 동물 형상화의 양상

Abstract

This article aims to discuss animal-focused Caldecott winners in order to explore the way in which anthropocentric perspectives are projected onto animals, the animal wildness erupts through artificial coverings, and animals and humans meet in the wild. The act of feeding and helping animals is based on a highly human-centered setting that makes animals live and feel happy even in hard conditions, as depicted in Make Way for Ducklings, The Big Snow, and Song of the Swallows. The relationship between Genevieve and Madeline in Madeline’s Rescue shows that animals have risen to the status of friends living together, instead of being typified as inferior creatures. On the other hand, references to zoo tigers in Madeline’s Rescue lead to rethinking of the meaning of animals located in a separate space called a zoo, unlike pets, as in The Biggest Bear, May I Bring a Friend?, A Sick Day for Amos McGee, and Finding Winnie: The True Story of the World’s Most Famous Bear. Zoos are exposed to the fundamental problems implied by the observation that the zoo animals have been deprived of wildness. The wild energy of the animal as a “living creature” breaks through the cracks of the homopocentric layers no matter how hard the layers try to cover the energy, which is portrayed in The Three Pigs, Where the Wild Things Are, Jumanji, and Tuesday. A possible union of an animal and a human is hinted in The Girl Who Loved Wild Horses, but it is almost impossible to capture the scene with human language. Owl Moon and Wolf in the Snow demonstrate how hard it would be to try to reach the reality of the animal in the wild under the cover of human language. Not relying on any other human language than onomatopoeia, which translates the sounds of animals into symbols as they are heard, Owl Moon and Wolf in the Snow trace meaningful encounters between animals and humans in the wild.