김요섭 동화론 연구

전지선 동국대학교 대학원 2002 국내석사

The purpose of the thesis is to investigate the developmental process of essays on Dong-wha(story for children) of Kim Yo-sup who was a writer, critic, and scholar in the area of literature for children, and how the genre of Dong-wha came to secure its literary and genre value. Lots of Dong-wha books are being published and the vocablary, Dong-wha also is used widely, but it does not take a clear position yet. This is attributed to the circumstances that at first Dong-wha was defined as "the stories for the children" in the 1920s when the first Dognwha book was released, and resultingly considered as an area of "literature for children" which names the literature of "needed to the children" and "suitable to the children". The fact that Dong-wha is an area of literature for children implies a problem that how the two objects, "literature" which names the category of creative and imaginary writings and "children" who, unlike the adults, premises cautious education and protection, could be combined. Especially, one question has been raised ceaselessly that whether or not the identity of literature considered as having an aesthetic autonomy which will not interfered by moral and commercial aims would be damaged. Since around 1940s, publishing of literature for children became difficult as numbers of literary magazines were discontinued, but after independence from Japan, new magazines were founded and separate volumes were published, resultingly far more works than ever before were released. But, the writers of literature for children of the day were worried out the aesthetic value of literature for children itself, pointing out that quantitative increase of works failed to go to qualitative increase. According to them, the works of the day were excessively popular in its nature and telling just presentational things only on the premise of the nostalgia of adults rather than the realistic features of the children. They set forth that those style is apposed to the true nature of Dong-wha as well as literature for children, but couldn't leave any products to sustain their assertion. Kim, Yo-sup, one of the writers of literature for children, basically agreed to other writers' recognition on the problems of the works of literature for children of the day. And, he thought that literature for children could solve the problems by securing ultimately a free position from the other conditions except aesthetic aim. Kim, who had written himself already lots of Dong-wha pieces, took notice of the genre of Dong-wha, and developed his suggestions. He revealed that Dong-wha of the day having the author of the story is the genre succeeding to the genealogy of fairy tale which recorded the oral legends. According to him, fairy tales is the genre which has supernatural and non-realistic "marvellous" elements, and wild "vitality", the vigorous challenge spirit toward the life. He suggested that present day Dong-wha should demonstrate its acting power challenging actively to the problems occurring in reality, keeping away properly from the realistic logistics, by accepting the two elements. The chance that his above suggestion was revealed to more whole surface lied in his attention toward the "fantasy" as proper to Dong-wha. Kim emphasized that fantasy is composed of imagination as opposed to rational and logical thought, and pointed out that a space beyond the value system of reality could be formed through the fantasy. This assertion paved the ground on which the genre of Dong-wha, keeping away from practical goal, could be faithful to its aesthetic goal, with the help of fantasy which keeps away form realistic value system. But, it should not be overlooked that Kim's fantasy paid attention to was a kind of methodological and ideal concept which could be defined through the contrast with realistic logistics. Thus, there is a risk that the value or the definition of Dong-wha he imposed is estranged from realistic position, or that the function of fantasy could do dual role of solidification of realistic logistics without disclosure and purification through the distance from reality system.

바람의 멜로디

이화영 광주대학교 대학원 2019 국내석사

외할머니는 내가 심부름을 잘 하거나 마음에 드는 행동을 하면 ‘너는 터를 잘 팔아 예쁘고 착하다’는 이해하기 어려운 칭찬을 했다. 반면 둘째 언니는 뭔가 조금만 잘못을 해도 ‘너는 터도 못 팔고 고집도 세다’며 혼이 났다. 둘째 언니가 터를 잘못 팔아 태어난 사람은 나고, 내가 터를 잘 팔아 태어난 사람은 남동생이었다. 할머니의 이론대로라면 나는 잘못 태어났지만 터를 잘 팔아 남동생을 낳게 했으니 잘못 태어난 것에 대한 구제를 받은 셈이다. 그러나 터를 잘못 판 둘째 언니는 영원한 죄를 지었기 때문에 구제받을 방법이 없었다. 그래서 언니는 늘 고집이 세다는 누명을 쓰고 나는 늘 착하다는 단어에 억눌린 가면을 쓰게 되었다. 가장 가까운 가족이 특별한 악의 없이 한 말들이 언니와 나를 정신적으로 건강하지 못하게 만든 것이다. 정신적으로 건강하지 못한 건 남동생도 마찬가지였다. ‘장남’이라는 굴레는 늘 아버지를 대신해야 하는 막중한 임무였기에 모든 것을 누릴 수 있었지만 뭐든지 잘해서 부끄럽지 않은 ‘장남’이 되어야 했다. 결국, 우리 모두 가족이 만들어 놓은 굴레에서 자유롭지 못했다. 아동문학을 시작하면서 가족서사에 가장 많은 관심을 갖게 된 이유도 바로 이런 굴레들이 지금의 나를 만들었다는 생각 때문이다. 그리고 이런 굴레의 대부분은 우리 가족 스스로가 만든 것이 아니라 가부장제가 만든 모순이었다. 가부장제는 남성가장이 아내와 자식들을 지배하는 가족제도로서, 농경시대부터 시작하여 근대까지 견고하게 이어져오고 있는 것이다. 결국 따지고 보면 인류 역사의 가족 제도는 모권 사회의 붕괴 이후 줄곧 가부장제의 지배를 받아왔다고 할 수 있다. 근대가 표방하는 평등과 자유라는 가치도 역시 가정 내에서 통용되지 않았고, 오히려 가족이 가부장제라는 사회적 이데올로기를 유지시키는 도구로 작동하면서 여성과 아이에게는 억압과 질곡이 된 측면이 있다. 이러한 억압은 여성에게는 강요된 ‘모성애’로 아이에게는 ‘동심 천사주의’로 재탄생 되었다. 여성은 ‘모성애’를 가진 존재이기 때문에 자신의 모든 것을 희생해서라도 아이를 돌보고 지킬 수 있다는 억지스런 ‘모성애’ 이론은 여성에게 직업과 가정이라는 두 개의 짐을 안겨 주었다. 더군다나 ‘모성애’를 느끼지 못하는 여성들은 죄책감에 시달려야 했다. 어린이도 ‘동심 천사주의’라는 왜곡된 이데올로기에 시달려야 하기는 마찬가지였다. 우리는 흔히 어린이를 순수하며 정직한 존재라고 기대한다. 이 점에서 어린이는 ‘인간’이라는 현실적 실체이기보다는 ‘천사’라는 이념적 가상물에 근접해 있는 것처럼 여겨진다. 그 때문에 어른들은 현실의 어린이가 영악하고 때로는 교활하기까지 하며 잔인하면서 무신경한 태도를 보임으로써 자신들에게 친숙한 ‘어른’의 모습을 보여줄 때, 도리어 그들을 낯설어하고 어색해하며 놀라움과 거부감이 교차된 감정 속에서 배신감마저 느끼곤 한다. 이 모든 것은 어린이에게 투영된 ‘어린이라는 관념’에 강박된 결과로서, 어린이의 세계는 더러움과 악, 잔인함과 불순함으로부터 표백된 세계라는 어른들의 관념은 어린이를 옥죄고 죄책감에 시달리게 한다. 어른들이 만든 ‘동심천사주의’는 아이들이 시기, 질투, 미움 등의 인간의 자연스러운 감정을 느낄 때, 마치 해서는 안 되는 무언가를 한 것처럼 자신의 생각을 표현하지 못하게 하는 또 하나의 굴레이다. 특히 부모에게 억압을 받은 아이일수록 더욱 감정을 숨기고 어른들이 생각하는 착한 어린이의 가면을 쓰게 된다. ‘착한 사람들’은 누군가로부터 많은 억압을 당했다는 뜻이며, 그 억압에 제대로 저항하지 못했다는 의미도 된다. 아이가 어른의 말을 잘 듣는다는 것은 그가 ‘순응적’ 이고 ‘순종적’ 이라는 것이지, 도덕성과는 무관하다. 그럼에도 불구하고 말 잘 듣는 아이를 착한 아이라고 길들이는 것은 이러한 모든 사실을 분별해낼 수 없는 아이에 대한 어른들의 거짓말이다. 어른들은 아이들이 말을 잘 들어 통제 가능한 존재가 되기를 바란다. 통제 가능한 존재는 어린이에게만 국한된 것은 아니다. 국가는 ‘가부장제적 가족’을 행복한 가족의 밑그림처럼 제시하고 통제 가능한 사회를 만드는 것이다. 개인의 다양성을 인정하지 않는 사회야 말로 얼마나 통제 가능한 사회인가. 이렇게 자신도 모르게 통제된 사람들은 통제되지 않은 사람들에게 불안감을 느낀다. 말 잘 듣고 착한 아이는 반항하는 아이에게 불안감을 느끼고 가부장적 질서로 이뤄진 가족은 한 부모 가족이나 다문화 가족, 소년, 소녀가족에게 불안감을 느끼며 폭력을 행사하기도 한다. 아이들은 학교에서 조금만 달라도 왕따로 몰리고, 제도권에 들어가지 못한 가족은 그들의 폭력을 피하기 위해 비밀리에 가정을 유지하는 경우도 많다. 나는 많은 아이들이 자신과 다른 환경의 아이들에게 쉽게 폭력을 행사하고 다름에 주눅 들어 하는 모습에 주목했다. 그런 아이들의 대부분은 어른들이 만들어준 틀을 자연스럽게 받아들이기 때문에 죄책감을 느끼지 못한다. 당하는 아이들 역시 자신이 그 틀 안으로 들어가지 못한 자격지심으로 폭력을 받아들인다. 당당하게 폭력과 맞서는 아이들도 많이 있지만 그 아이들 역시 사회적 편견과 폭력이 힘든 건 마찬 가지이다. 가족이 조금이라도 사회가 만든 틀을 지워버리고 아빠, 엄마, 남편, 부인, 자식이 아닌 ‘인간’대 ‘인간’의 만남으로 소통하길 바라며 7편의 작품을 묶었다. 「내 푸름이」, 「엄마 곰, 아기 곰」, 「날지 못하는 새」, 「천사의 음성」, 「바람의 멜로디」 5편은 미혼모 가족의 은지와 입양가족의 영서가 주인공으로 등장하는 연작동화이고 「잠긴 문」, 「아빠가 돌아왔다」 2편은 고학년 소설이다. 모두 가족에 대한 왜곡된 편견과 사랑으로 괴로워하는 아이들의 이야기며, 주제에 따라 세 부분으로 분류했다. 첫 번째, ‘가족, 관계의 양상’에서는 미혼모 가족, 입양 가족, 한 부모 가족, 사고로 신체와 뇌의 일부를 인공 이식한 아버지와 가족이 되어가는 ‘AI가족’의 모습 등 다양한 가족의 모습을 그렸다. 두 번째, ‘폭력과 상흔’에서는 가부장제와 모성애, 가족에 대한 사회의 편견이 폭력이 되는 모습과 상흔이 되는 과정을 썼다. 세 번째, ‘사랑, 그리고 희망’에서는 사회 편견과 틀을 벗어나 사랑이라는 주제를 통해 ‘희망’을 담아 보았다. I started “Children's Literature” because of the expectation that I could find my true self in my childhood. However, as time went by, I felt that even my childhood self was not my genuine self. There was no me in my personality, choices and, actions. How did myself as this person, come to be? When I was young, the fairy tales I read were “Cinderella”, “Snow White”, or folklore like “Kongjwi and Patjwi”. The main characters in these tales all had pretty faces and kind hearts and were dreaming of knights in shining armor to come rescue them. I despaired while reading them because unlike pretty Snow White or kind Kongjwi, I could not wait to be saved from my reality. Furthermore, my parents had too many daughters that they were ashamed of me for being a girl. They dressed me in boy’s clothes every time we went out. My family and I were constantly changed and sacrificed to the ideology that someone else had created. How I grew up became a starting point of my writing seven works. My five-part series, “My Blue”, “Mother Bear, Baby Bear”, “The Voice of the Angels” and “Melody of Wind” has children from an adoptive family and a single parent family as main characters. The other two books, Locked Door and Daddy's back are for upper elementary students. All my novels portray children suffering from prejudice and distorted love, and I divided them into three parts based on the main themes. The first theme, “Family and Relationships” depicts a variety of families, including single mothers, adoptive families, one parent families, and an “AI Family” family with a father whose body and brain are artificially transplanted after an accident. Second, “Violence and Scars”. This theme is about the patriarchal system, maternal love, and social prejudices against family members becoming violence and trauma. Third, "People and Hope" depicts hope through the idea of love, going beyond social prejudices and stereotypes. I left a lot of regrets when organizing my work. In the five-part series, I wrote that Eun-ji understood her mother and dreamt of happiness with her stepdad, but I couldn't get over the idea that writing her like this was of itself an act of violence. Also, in “Locked Door” I didn't like the way Min-gi justified his mother’s violence. Anna's behavior in "Daddy's Back" is also too passive. Anna's portrayal did not make headway above understanding her abusive mother and hating her father. At the end, Eunji, Young-seo, Min-gi, Anna and their families were myself in ideology. I couldn't deny that they were no longer a portrayal of myself, no matter what role they had in their work. Imagination in my works doesn't allow me to go beyond what I've ever experienced. And to write unique stories I will need way more experience in life, reading, and constant thinking out of the box. If you don’t endeavor, you will have to be content with writing within your boundaries. I will constantly ask the child in my stories whether that is how you really want to be, in hopes I don't have to struggle with my passive image anymore. My literature will always be progressive and growing with my expectation that someday I will meet the real me.

와우산의 비둘기

김영자 광주대학교 산업대학원 2001 국내석사

The aim of this research lies in the offer of the basic meterials for improving the teaching circumstences and the teaching conditions to the physical education teachers in the middle and high schol in the district which is a part of Kyong-gi do, by means of researching and analyzing their degree of contentment in verious fields as following ; their contentment on occupation and pay, valuation on teaching hours a week, the quantity of operations, contentment on the curriculum, and the facilities of physical education. This research sampled 230 physical education teahers among 240 who are in 198 middle school and high school. The statistics kind used for the material analysis was 'one way Anova'. We can get such conclusions as following ; 1) The degree of occupational contentment ; The physical education teachers who have the 2nd grade regular license are content better than those who have the 1nd grade regular license, the married teachers than the unmarried ones, the teacher evaluation on under 30 year than those over 41 aged, in the career aspect, the teachers under 5 years than those over 16 years. There is no difference in the occupational contentment according to sex, type school estabishment, localities, the department of license acquirement, wife's occupation, and teaching hours a week. 2) the evaluation on teaching hours; The physical education teachers who have many teaching hours a week than a thers also evaluate that they conduct too many teaching hours. Mean while, the evaluation according to sex, localities, the department of license acquirement, wife's occupation, marriage, age, and career has no difference. 3) The evaluation on the quantity of operations ; The physical education teachers who have the 2nd grade regular license are content better than those who have the 1nd grade regular license. The teachers who has many teaching hours a week evaluate that have too many operations. Mean while, there is no difference in the evaluation on the quantity of operation according to sex, localities, the department of license acquirement, marriage experience, wife's occupation, age, and career. 4) the degree of the contentment on pay there is no difference in the degree of the contentment on pay according to sex, localities, the department of license acqui4rement, marriage experience, wife's occupation, and teaching hours a week. 5) The degree of the contentment on the present curriculum : there is no difference in the degree of the contentment on the present curriculum according to sex, localities, the present license, the department of license acquirement, age, caree, and teaching hours a week. 6) The degree of the contentment on the facilities and equipment ; The physical education teachers who are in teh country region has less contentment than those who are in the city region. Mean while, there is no difference in the degree of the contentment on the facilities and equipment according to sex, present license, the department of license acquirement, age, career and teaching hours a week.