현재 고대신화의 제작자, 제작층에 대한 정보는 거의 없다시피 하나 정신분석학 이론을 원용하여 일부 도출할 수 있다. 자크 라캉의 시선(gaze)이론은 물리적인 바라봄(seeing)과 욕망이 결부된 시선(gaze)을 구분한다. 또 주체가 자신의 욕망으로부터 대타자(Other)를 어떻게 보고 있는지를 분석하여 신화의 인물을 바라보는 제작자의 심리적 위치를 이해할 수 있다. 고대의 어머니신화는 신화적 주체가 대타자인 어머니를 상호주체적 시선으로 이해하여 은유와 상상의 방식으로 구성한 서사이다. 한 예로, 어머니와 산은 각기 다른 존재이지만 신화적 주체의 시선에 의해 은유적으로 통합되었다. 나아가 어머니, 자연물, 신, 국가적 조상은 은유적 방식을 통해 하나의 존재로 간주되었다. 여기서 신화 특유의 기의가, 기표들의 클러스터(cluster)를 통해서 형성되고 있음을 보게 된다. 한편 여성거인 신화 중 육체성에 초점이 맞추어진 신화는 외견상 출산을 하지 않은 여신이지만 특유의, 풍요로움은 신화적 모성과 동질적이므로 어머니신으로 분류 가능하다. 다른 여성거인 신화 유형보다 신화적 세계관에 가까운 것으로 보인다. 이 유형은 ‘경이로운, 큰 육체’만을 강조하는데 이렇게 존재 자체의 특징에 대한 관심만으로 서사가 구성되는 것은 신화의 보편적인 특징이다. 거대한 육체는 상대적으로 왜소한 자의 시선에서 바라본 결과로 인간이 모성을 크기로 상상했음을 뜻한다. 어머니신은 자기 완결적인, 완벽한 어머니, 주인공과 상보적 관계에 있는 어머니, 배우자의 팰러스를 희구하는 ‘결핍된 어머니’ 등으로 표현되었다. 이 어머니신들은 각각 신화적 주체의 시선을 투사한다. 이 시선은 오이디푸스 콤플렉스(Oedipus complex)의 단계에서 어머니를 바라보는 유아의 시선에 대응한다. 라캉주의 맥락에서 웅녀는 오이디푸스 콤플렉스의 셋째 단계에 위치한 유아 시선의 국면을 보여주며 유화[주몽의 어머니로 여겨졌던 부여신도 해당됨]와 정견모주는 母子의 二者 관계적 시선을, 서술성모는 첫째 단계 유아의 시선을 보여준다.

Myths have been transmitted without determined authorship in Korea. Mythic subjects59) who created myths in ancient Korea have not been known. However, by the psychoanalyst Jacques Lacan’s theory, information of mythic subjects could be drawn from narratives’ expression and characters of myth, because expressions hold mythic subject’s desire and gaze. In the level of psychoanalysis, mother is the Other who interprets a baby’s desire in its signals. As an infant desires mother, mythic subjects desired mother. In myth, the desire was expressed as ‘mother goddess’. Mother goddess as Other projects the gazes of mythic subjects. At first, Korean mythic subject depicted a goddess as mother nor a spouse nor a maid. Later, goddess expressed as spouse and a maid. Korean mother goddesses are mainly two types: goddess nature and female giant. Goddess nature is a deity who resides in natural beings like mountains, water, a bear and an imaginary animal like a combination of chicken and dragon. The other type is female giants. She was so big she could be laid her body between mountains and island. Mother was regarded as a mountain, at the same time mother regarded as a divine being, a national ancestor of ancient kingdom. All these four different beings treated as ‘one being’ naturally and harmoniously. In this way, mythic signified was formed by layers of metaphor in ancient Korea. The mythic way of combining all four beings is by metaphor and imagination. For example, two different beings, that is, a mother and a mountain were merged into a being by metaphor. Motherhood of mother was transferred into mountain and then, mountain gained the new signified, a mother. Once metaphor is formed, mountain was regarded as a mother. Like this way, mother became a divine being, a national ancestor as well as a mountain. Nationwide found female giant’s narrative has several types. Among the types, the depiction of huge female body is understood as a reflecting mythic world view because mythic subjects have more interests in the features of being itself comparatively. Meanwhile the other types of narrative seem afar from mythic era. The productive motherhood was imagined into enormous volume by the mythic gaze. The motherhood is so great enough to be a giant. Even though the giant does not bear children, her body represented itself a signifier of productivity, creativity as like mother’s body. Therefore, her productivity could be easily connected to female giants’ creative works, such as formulation of mountain, water stream in the other female giant myth. In light of the relationship with amain leading character, the characteristics of mother goddesses are various in Korean ancient myth. A type of self-sufficient goddess is self-regulating. She has no relation with spouse even when she bore children. A type of complementary goddess, aiding son’s mythic task. A goddess with lack asking phallus in Lacanian sense has not her own law or order. The gaze of mythic subjects of ancient Korea, corresponds to child’s gaze who happened to see mother as Other in the developmental times of the Oedipus complex. The Korean mother goddesses can be analyzed in accordance with the gaze as below. Ungnyeo[웅녀, 熊女] of proto-Chosun projects mythic subjects’ gaze at the third time of the Oedipus complex with symbolic father’s intervention. Ungnyeo prayed for her pregnancy to male god Hwanung[환웅, 桓雄]. Yuhwa [유화, 柳花] of Koguryeo and Junggyeon-moju[정견모주, 正見母主] of Kaya project mythic subject’s gaze at the second time of Oedipus complex. The mother and child’s harmonious relationship is dramatized in the events of narrative while the male spouse gods, Haemosu[해모수, 解慕漱] and Ibiga[이비 가, 夷毗訶] are situated behind the events. They are imaginary father at this time. Seosul-seongmo[서술성모, 西述聖母] of Silla projects mythic subjects’s gaze at the first time of Oedipus complex. The goddess bore child without spouse. Seosul-seongmo was an embodied figure of self-sufficient mother by child. Female giants is self-sufficient, independent. She regulates her by her own law. This goddess has no lack which finds her Lacanian phallus from the other god or any other relations. Goddess projects the gaze of mythic subjects. Korean mythic subjects experienced the times of Oedipus complex and bore Korean goddess with mythic imagination, mythic metaphor. The gaze moved from mother to spouse and the third person maid in Korean ancient myths. It means mythic subject’s psychological desires and gaze on mother moved and changed.