1920년대 『별나라』 동요 연구

정진헌(Jeong Jinheon) 한국아동청소년문학학회 2015 아동청소년문학연구 Vol.- No.17

When first published by unknown teachers and rising journalists & publishers in the early and mid 1920s, ‘Byeolnara’ had weak literary ground. Even so, it was able to evolve into our of the top 4 children’s magazines in the 1920s thanks to strenuous efforts by the editor and publisher Ahn Joon-sik and found members (ex: Choi Hui-myeong, Yeom Geun-soo, Choi Byeong-hwa, etc.). As Modern Boys Club members, they took part in various children’s story and song events organized by juvenile literature organizations in addition to creative activities and magazine editing and strengthened their position as children’s book writers. In addition, they attempted to develop the magazine by inviting renowned writers. They also solidified bonding by founding Kkotbyeolhoe (1927),’ ‘Byeoltaphoe (1927)’ and ‘Joseon Children’s Book Writers’ Association (1929).’ To attract more leaders, ‘Byeolnara’ opened its branch across the nation. In addition, it opened a ‘Byeolnim Group’ column to discuss the future direction of the magazine with readers and offered a space to share public opinion by delivering regional juvenile movements and literary news. Furthermore, it would hold literary exhibitions and open ‘Special Coverage’ column to give readers an opportunity to participate in. As a result, juvenile writes treated as ‘dongin’ emerged as leading writers in children’s literature in the early 1930s. In the early stage of ‘Byeolnara’ in the 1920s, the main writers of the magazine (ex: Ahn Joon-sik, Choi Hui-myeong, Yeom Geun-soo and Choi Byeong-hwa) write children’s songs under their pen names. Since then, the following writers joined the magazine: Han Jeong-dong, Park Se-yeong, Shin Goh-song who was treated as ‘dongin’ with, Song Wan-soon, Seung Eung-soon and Hyeong Dong-lim. In children’s songs, it is important to pay attention to the followings: introduction of children’s song composition method (Han Jeong-dong); criticism on children’s songs (Kang Byeong-joo, Park Se-yeong); introduction to the world’s renowned children’s songs (Park Se-yeong); children’s songs with pictures (Yeom Geun-soo). Moreover, it was young students (age 15 thru less than 20) and members of the Juvenile Literature Organization who created and contributed children’s songs to ‘Dokja Mundan (Readers’ Contribution of Literary Works).’ They also released children’s songs in the newspaper ‘Eorini Chaji’ and honored to be awarded at Literature Contest. However, the children’s songs contributed to ‘Dokja Mundan’ had limitations in sentimentality in terms of theme and in schematism (7-5 rhyme) in terms of form. As stated above, the expression of exaggerated emotions by juvenile writers in the 1920s revealed the loss of artistic value. Even so, they personally had an opportunity to start their literary career and help people get over their grueling routine during the colonial period.

일제강점기 염근수 아동문학 활동 연구

정진헌 ( Jeong Jinheon ) 건국대학교 동화와번역연구소 2018 동화와 번역 Vol.36 No.-

Yeom Geun-su attended the ‘children’s story contest’ and the ‘mothers’ contest’ as a speaker, working for ‘Munhwasonyeonhwi’ and ‘Hyundaesonyeongurakbu’ from 1925. Doing this activity, he had a key part not only in story-telling for children but also in literary movements for boys and girls and parent education. He also founded the ‘Ggotbyeolhwi’(1927), a children’s literature research society and the ‘Joseon Writers’ Association of Children’s Art’(1929), a group for research and propagation of children’s art, while working for the Byeolnara magazine. On the other hand, Yeom Geun-su compiled and wrote, mainly focusing on Saebeot, Byeolnara, Eorini, and Baekdusan and released various genres of works, including biography, children’s song, children’s story, science story, and comics. Especially, he became interested in science fairy tales in the 1930s. Science stories that were introduced to newspapers from the late 1920s served as the foundation for the establishment of Baekdusan(1930), a juvenile science magazine. Yeom Geun-su provided curiosity about science and a variety of scientific knowledge to children by publishing the magazine. Yeom Geun-su released children’s songs, children’s stories, science stories, and comics in Dong-A Iibo and Chosun Ilbo, in addition to the magazines. Aesop's Fables and science fairy tales are noteworthy things of his works published in newspapers. Aesop's Fables published by Yeom Geun-su in Dong-A Iibo convey instructive message of life to children, with simple epics and allegories. 『Jeumsaengiyagi』 and science fairy tales published in Chosun Ilbo depict mysterious and interesting ecosystems of animals or plants living in different countries all over the world. He also introduced unique living cultures of various countries of the world by creating stories. In those days, there was an absence of encyclopedia or pictures books to arouse interest in knowledge of natural science, unlike today. Yeom Geun-su offered children reading matters for building up a variety of scientific knowledge and arousing curiosity, based on his children’s stories and poems. Working as one of primary writing staff, with the establishment of Byeolnara, Yeom Geun-su took charge of book binding, illustrations, children’s songs with pictures, and comics in Chosun Ilbo. By doing so, he played a crucial role in improving the recognition of Korean pictures books and developing, along with Jeon Bong-je and Im Hong―eun. Most of the works published in children’s magazines or newspapers centered on writings, rather than pictures by the middle 1920s. Yeom Geun-su made a contribution to enhancing visual effects of magazine editing and children’s understanding of writings as well by inserting pictures into children’s songs or children’s stories.

아동문학의 장르 분화와 유년문학의 등장 : 1930년대 미발굴 유년문학 텍스트를 중심으로

정진헌 ( Jeong Jinheon ) 건국대학교 동화와번역연구소 2017 동화와 번역 Vol.34 No.-

This study investigated the perception, writers and characteristics of early childhood literature and its intention by journal through an empirical review of juvenile magazines published in the 1930-40s. These include Eorini, Sinsonyeon, Byeolnara, Donghwa and Sonyeon. In the 1930s, early childhood literature was used to help young children with poor literary skills to develop their literary sensitivity as well as for educational purposes. This was possible thanks to the writers who emphasized the need for juvenile literature including Hong Eun-sung(1927) and Jeon Sik(1934). Despite the perception of and disputes over early childhood, however, it was far from easy to publish picture books or juvenile magazines. Just like Song Wan-sun’s Debate, they were released via the ‘Juvenile Column’ in most magazines. It was Yoon Seok-jung who revealed a great passion and enthusiasm despite unfavorable circumstances. He showed his interest in juvenile literature by writing children’s songs and stories for the newspaper. When he was working for the Chosun Ilbo as the managing editor of Sonyeon, he published the ‘Special Edition of Children’s Story’ in June 1937. In September, he released Korea’s first juvenile picture magazine Yuyeon. Juvenile literature grows and develops with participation from preschool teachers as well as writers’ activities. The children who show some talent in writing among those graduated from kindergarten release juvenile literature via newspaper or magazine. After participating in Kyungsung Broadcasting Station’s children’s program ‘Kid’s Time’, in addition, they sang a solo or recited a children’s story. These include Lee Soon-I(Choyang Kindergarten), Jang Hyo-joon(Hyehwa Kindergarten), Yeom Gwi-rye(Suwon Jimmyung Kindergarten) and Baek Hwa-seon (Kyungsung Broadcasting Station). When considering the characteristics of juvenile literature published in children’s magazines, the words were large and pictures were added. The contents of juvenile literature start to show a difference before and after the disbanding of the KAPF in 1935. Before its dissolution, the misery of the lives of proletarian children under bourgeois tyranny was described in Eorini, Sinsonyeon and Byeolnara. According to Donghwa and Sonyeon, published after 1936, however, themes changed to innocent literature, considering juvenile developmental psychology and characteristics. In addition, fun and educational messages were delivered through juvenile lifestyles, play culture, improvement of living habits, dreams and fables. The emergence of juvenile literature following 1930 encouraged children to come out as those who enjoy literature, not those to be protected anymore. Furthermore, their diverse works describing their lifestyles have enriched juvenile literature. In the end, it can be said that the planning of juvenile literature was the ground for the development of Korean picture books.

1930년대 과학교양과 소년과학잡지 『백두산』

정진헌 ( Jeong Jinheon ) 건국대학교 동화와번역연구소 2019 동화와 번역 Vol.38 No.-

This study examined science culture for children of those days focusing on newspapers and magazines of the 1930s and children’s science magazine Baekdusan, released as part of efforts for this. Scientific knowledge was intermittently introduced by newspapers or magazines until the 20s, but the spread of and research on scientific knowledge for children began to be boosted by the older generations in the 1930s. Yeom Geun-soo, Kim Tae-oh, etc. from children’s literary circles emphasized the importance of science, such as inventions and discoveries for the future of the Joseon Dynasty. Also, Lee Baek-gyu, Park Gil-yong, etc. claimed that it was important to foster children’s attitudes towards scientific studies by providing Joseon children with science education, including reading, observations and experiments in their childhood. To meet the needs of the times, juvenile literature groups laid the foundation to learn and study scientific knowledge by organizing reading clubs and debate forums. In addition, Chosun·Dong-A Iibo made a contribution to the delivery of scientific common sense to children and its research by providing knowledge about natural sciences through the ‘children’s science’ columns. Even children’s literary circles inherited science fairy tales that had been created since the mid-20s and conveyed professional knowledge to children by changing it to easy and interesting stories. Paying attention to visual images along with the first publication, Baekdusan, published by Baekdusan Natural Sciences Society in October 1930 provided children with diverse knowledge of science. In order to enrich the substance of the magazine, they employed not only with writers from children’s literary circles but also experts in natural sciences. They also attracted a lot of readers holding essay writing contests, recruiting managers of its branches and opening a discussion lounge. After the resignation of Yeom Geun-soo, who was an executive editor in April 1931, Yang Jae-eung held the post and the magazine switched its editing direction from a science magazine to a general literary magazine. The magazine was developing with consecutive participations of child readers, but sadly, it ceased with the May and June issues. Although only six issues were published during a short period of time, this magazine fulfilled all of its duties to implant strong natural consciousness in children, spread scientific knowledge and inspire the spirit of scientific inquiry.

1930년대 과학교양과 『별나라』

정진헌 ( Jeong Jinheon ) 건국대학교 동화와번역연구소 2021 동화와 번역 Vol.41 No.-

This paper performs a discussion focusing on the scientific common senses and related literature included in Byeolnara of the 1930s. As shown in its title, ‘Children’s Science Culture Magazine’, the KAPF writers, who wrote for the magazine infused the proletarian ideology into juveniles by supplying literary works or scientific knowledge. Especially, not only did the Marxist ideology, materialism, the theory of evolution and the theory of religion introduced by Park Young-hee, Gwon Hwan, Kim Byeong-je, Lee Gap-gi, Song Young, etc. boost class consciousness of juveniles but also laid the foundation for literary application and practice. Also, Yeon Seong-heum, Song Young, Kim Byeong-ho, Park Sang-woo, Choi Byeong-hwa and others, who published children’s songs or children’s stories in magazines wrote for the ‘Science’ column of Byeolnara to convey scientific common senses related to physics, astronomy, animals and plants, electricity, chemicals and hygiene to juveniles. In so doing, Byeolnara made a contribution to improvement in science culture and fulfilled its duties as a ‘Children’s Science Culture Magazine’ that the magazine aimed at. On the other hand, Byeolnara of the 1930s adopted the personification and fairy tale-based narrative strategy through literary works or characters like science fictions or science plays for providing difficult scientific theories and common senses. The science fiction by Park Se-young, Ahama’s Memoirs is a serial novel consisting of 31 episodes about a journey of Doctor Kaburan from Mars and his nephew Ahama to the earth by Jayoobisangik(free flying wings, ). Their 自由飛翔翼 global travel story from England to China displays histories, geographies, customs and lifestyles of different countries via Doctor Kaburan’s narrative. Song Yougn, Park Il and Eom Heung-seop dramatized scientific knowledge. This strategy was to convey scientific knowledge about the earth, human body, spring and summer to juveniles in an easier way. Also, Gwon Hwan, Yeon Seong-heum, Park Sang-woo and Song Young used the personification and narrative strategy so juveniles could understand science easily. In the 1930s, the importance of science came to the fore in the field of society and education. Byeolnara fulfilled its duties, even under poor circumstances due to the absence of science education and the extreme shortage of scientific books. The series of scientific common senses and scientists’ stories introduced in the ‘Science’ column made juveniles realize the importance of science, such an invention and discovery, and the science fiction and knowledge narrative strategy aroused intellectual curiosity about and interest in difficult science. Moreover, it played a part in diffusion of scientific knowledge and goal attainment of class consciousness that the magazine pursued.

1930년대 《동아일보》 유년(幼年)동화 연구

정진헌(Jeong Jinheon) 한국아동청소년문학학회 2016 아동청소년문학연구 Vol.- No.19

This paper examined the differentiation of children, the appearance of children’s literature, writers of early children’s fairy tales published in Dong-A Ilbo and the contents in the 1930s. In 1922, the school system was created after the declaration of the 2nd Joseon Educational Ordinance. In early days, the age category was ambiguous, but in the middle and late 1920s that a proper educational system was constructed, age groups for the school system were established. This led to a discussion on the production of literary works appropriate for age groups of children among many theorists ranging from Hong Eunseong in 1929 to Lee Gujo in 1940. In this situation, age groups of children were divided into infancy, childhood and boyhood by the literary world. Also, literature was divided into early children’s literature, children’s literature and juvenile literature according to the characteristics of each age group. Then the increase in kindergarten pupils, various cultural events at kindergartens and child education views established by modern women in the 1930s promoted new awareness of infancy and growth of early children’s fairy tales and especially, kindergarten songs or kindergarten fairy tales for kindergarten pupils are the examples. On the other hand, a variety of early children’s fairy tales writers ranging from established writers to rising writers published their works in Dong-A Ilbo. In particular, Jeong Woo-Hae, Lim Wonho and Lee Gujo, who created many works actively in the 1930s, were highly interested in children’s stories. Besides, it was ambiguous to differentiate early children’s fairy tales from early children’s novel and the genres were named, based on writers’ creative consciousness. In general, early children’s fairy tales are based on realism rather than romanticism contained in fairy tales. Most of them were life stories to attract interest and improve understanding. This implies the educational meaning to consider specificity of infants and growth development processes. Moreover, early children’s fairy tales dealt with improvement in living habits of children, improvement in morality, wise life, stories in life, friendship, family love and curiosity about natural phenomena.

1930년대 『어린이』와 삽화

정진헌(Jeong, Jinheon) 한국아동청소년문학학회 2021 아동청소년문학연구 Vol.- No.29

1930년대 『어린이』 표지화는 1931년 7월 방정환 사망까지 서양의 명화(名畫)나 엽서 등에 실린 귀여운 어린이 및 인형, 동물 등의 이미지를 차용했다. 이후 1931년 10호부터 신영철이 편집에 참여한 이후 김규택이 그린 창작화를 표지화에 실었다. 당시 무산계급 소년들의 계급주의 탐구 및 현실 비판적 이념을 표명한 농촌소년, 노동소년, 깃발, 망치 등의 이미지가 1년 정도 실렸다. 최영주가 편집을 맡은 이후 낚시, 산책, 널뛰기, 피리 부는 소년과 소녀 등의 여가와 놀이문화를 실었다. 1933년 5월 윤석중 입사 후 『어린이』는 방정환 시절처럼 ‘동심지향주의’적 경향으로 회귀하는데, 1933년 8호부터 안석주가 표지화를 담당하면서 운동하는 소년과 소녀의 이미지를 표지화로 그렸다. 1930년대 『어린이』 목차화는 계절 및 그 달의 잡지 내용에 따라 순진한 어린이 모습과 그들과 친연성이 있는 자연물이나 동물, 인형 등을 목차화로 채택했다. 구회(口繪)란에는 어린이 활동사진, 보고 싶은 명소 및 문화재 사진, 계절 풍경, 잡지 광고, 스포츠 경기 사진 등이 실렸다. 1931년 이후에는 주로 광고, 개벽사 작업 현장, 편집진, 동물 등의 사진이 실렸지만, 어린이(아기) 사진이 대부분을 차지했다. 비화(扉畵)는 1933년 7호부터 1934년 6호까지 구회와 구분해 1쪽 전장에 속표지화처럼 잡지호를 명기하고 특집호나, 계절 및 그 달에 어울리는 어린이, 자연과 관련된 사진을 실었으며, 김규택의 창작 그림을 싣기도 했다. 윤석중 입사 후 『어린이』에 실린 비화는 창작화보다는 서양의 명화가 주로 실렸음을 확인할 수 있었다. 그리고 1930년대 『어린이』는 각 코너마다 간단한 삽화 및 사진 등을 넣어 글 위주로 편집된 잡지의 단조로움을 피하고자 했지만 여유롭지 못했다. 표지화, 목차화, 구회 및 비화에 비해 각 코너에 그려진 이미지가 부족했지만, 잡지 편집인들은 신영철 이후 1932년 10월호부터 김규택을 비롯해 안석주, 이승만, 구본웅, 이병현 등이 동요, 동화, 야담(野談) 등에 삽화를 넣어 잡지의 시각화와 독자의 내용 이해를 돕기 위해 노력했다. 한편, 1930년대 『어린이』는 국내만화를 비롯해 해외만화인 무언극 ‘아담슨하라버지’를 연재 기획함으로써 잡지의 시각화뿐만 아니라, 당시 어린이들에게 다양한 읽을거리와 재미를 주었다. Cover illustrations of Eorini in the 1930s borrowed images of cute children, dolls and animals from western famous paintings or postcards until the death of Bang Jung-hwan in July 1931. After Sin Young-cheol joined editing starting with Vol.10 in 1931, creative paintings of Kim Gyu-taek were adopted as cover illustrations. The images of rural juveniles, laboring juveniles, flags, hammers and so on expressing classism explorations and reality-critical ideologies of juveniles from the proletariat class were inserted for nearly a year. After Choi Young-ju came to take charge of editing, leisure and play cultures, such as fishing, walk, Neolttwigi and boys and girls playing the pipes were illustrated. After Yoon Seok-jung entered the magazine in May 1933, Eorini reverted to the ‘childhood-oriented’ tendency like the Bang Jung-hwan days. Starting with Vol.8 in 1933, Ahn Seok-ju took charge of cover illustrations and images of boys and girls exercising were inserted as cover illustrations. Contents with illustrations of Eorini in the 1930s adopted images of pure children, natural objects, animals, dolls and others that have an affinity with children, depending on the magazine content of the season and the month. The Gu-hwi section contained pictures ofchildren’s activities, famous places and cultural properties that children wanted to see, sceneries of seasons, magazine advertisements, sport games, etc. After 1931, pictures of advertisements, Gaebyeok-sa Temple work sites, editors and animals were inserted, but pictures of children(babies) occupied the majority of them. In relation to illustrations in front of a unit, distinguishing from Gu-hwi from Vol.7 in 1933 to Vol.6 in 1934, magazine volumes were specified in the front of the first page like a title page. Also, special issues, or pictures related to children and nature matching the season and the month and creative paintings of Kim Gyu-taek were inserted. It was revealed that after Yoon Seok-jung joined the magazine, illustrations in front of a unit in Eorini were mostly western famous paintings rather than creative paintings. In addition, Eorini in the 1930s attempted to avoid the monotony of a word-centered magazine by inserting simple illustrations and pictures into each corner, but there was no room to do. Although each corner lacked images compared to cover illustrations, contents with illustrations and illustrations in front of a unit, the magazine editors, including Kim Gyu-taek, Ahn Seok-ju, Lee Seung-man, Gu Bon-woong, Lee Byung-heon, etc. began to insert illustrations into children’s songs, fairy tales and folk stories of the October issue in 1932 after Sin Young-cheol to visualize the magazine and help readers understand the contents. On the other hand, not only did Eorini in the 1930s achieve a visualization of the magazine but also provided children of the time with diverse things to read and enjoy by publishing a mime ‘Grandfather Adamson’ which is an overseas comic, serially as well as domestic comics.

일제강점기 윤석중과 《조선일보》

정진헌(Jeong, Jinheon) 돈암어문학회 2020 돈암어문학 Vol.38 No.-

본 논문은 일제강점기 윤석중이 《조선일보》에 발표한 작품 발굴 및 고찰을 통해, 그가 걸어온 아동문학사의 길을 온전히 복원하는데 목적이 있다. 윤석중이 1927년 8월부터 1940년 8월까지 13년 동안《조선일보》에 발표한 작품은 동요(시), 동화, 악보 등을 포함해 70여편에 이른다. 윤석중이 《조선일보》에 발표한 동요는 1933년을 전후해 7․5조의 정형성을 탈피해 자유율 형태로 변화를 보이고 있다. 동요의 내용을 보면 주로 자연에 대한 묘사, 가족의 고달픈 삶과 그리움, 대상에 대한 연민과 위로 그리고 해학성, 나라 잃은 시기 삶에 대한 고달픔과 극복 의지, 어린이들의 일상과 놀이 등이다. 특히 윤석중이 1933년 “우리차지”란에 발표한 ‘애기동요’의 경우 유년들의 문해력을 고려해 내용의 간결성과 삽화 이미지를 특징으로 한 그림동요의 형태를 취하고 있다. 윤석중은 1933년부터 경성방송국에서 개설한 “어린이프로그램”에 동화(동요)구연가로 활동하게 된다. 그는 방송에 앞서 어린 청취자들의 호기심 유발과 참여를 위해 동화의 서두부분을 신문에 소개하기도 했다. 그리고 애기동요처럼 유년을 대상으로 한 ‘애기동화’를 발표한다. 애기동화는 문해력이 부족한 유년들을 위해 간결한 서사와 삽화 이미지를 특징으로 하고 있다. 애기동화의 경우 순종, 지혜, 겸손 등의 교훈적인 내용과 유년에 대한 따뜻한 정서가 주를 이루고 있다. 윤석중이 동요작가로서 성장할 수 있었던 배경에서 음악가들과의 교류를 빼놓을 수 없다. 소년문예사 시절부터 창작한 동요에 윤극영, 정순철, 박태원 등이 작곡해 대중에게 널리 알리는 계기가 된다. 윤석중은 일반 동요 악보뿐만 아니라 유치원 원곡 및 원아들이 율동을 하며 부를 수 있는 유희동요도 창작하기도 했다. 그리고 조선의 안타까운 현실을 극복하고자 하는 내용의 민요를 발표하기도 했으며, 어린 아이가 자신의 바람을 어머니에게 부탁하는 내용의 편지글을 발표하기도 했다. This paper aims to restore the path of children’s literature history that Yoon Seok-Jung had taken to an intact state, by discovering and considering his works published in Chosun Ilbo during Japanese occupation. Yoon Seok-Jung had published nearly 70 works, including children’s songs(poems), children’s stories and scores published in Chosun Ilbo for 13 years from August 1927 to August 1940. Children’s songs published by Yoon Seok-Jung in Chosun Ilbo changed from fixed forms of 7.5 syllables to free verses before and after 1933. His children’s songs are mostly about descriptions of nature, family’s weary life and longing, compassion and consolation for objects, humor, difficulties in life when the country was lost and a will to overcome, ordinary lives and plays of children. Especially, Aegidongyo’ that he published in the “Woorichaji” section in 1933 is characterized by simple contents and illustrations considering literacy of young children, and consists of songs with pictures. Starting 1933, Yoon Seok-Jung worked as a children’s story (children’s song) narrator for a ‘children’s program’ produced by Gyeongseong Broadcasting Station. Prior to broadcasting, he presented the openings of children’s stories to the newspaper for stimulating curiosity of young listeners and encouraging them to join. Moreover, he released ‘Aegidonghwa’ targeting young children like Aegidongyo. Aegidonghwa is characterized by brief stories and illustrations for young children, who lack literacy. Aegidonghwa is mostly based on instructive contents like obedience, wisdom and modesty, and feelings of warmth about childhood. The exchange with musicians was a crucial background factor for Yoon Seok-Jung to grow as a children’s song writer. Yoon Geuk-Young, Jeong Sun-Cheol and Park Tae-Won set children’s songs that Yoon Seok-Jung created as a juvenile literary writer to music, and this was a trigger for a broad promotion of his presence among the public. In addition to scores of general children’s songs, Yoon Seok-Jung created kindergarten songs and play songs for kindergarteners to sing with dance routines. He also released folk songs to get over the pathetic reality of Joseon and letters about young children’s wishes to tell their others.

용매열합성법 기반의 저차원 황화인듐 나노-플레이크의 성장 및 슈퍼 커패시터에 대한 응용

Kumar Niraj,김승엽(Sueng Yeob Kim),서승기(Sueng Gi Seo),정진헌(Jinheon Jeong),김도연(Do Yeon Kim),조현빈(Hyeon Bin Jo ),진성훈(Sung Hun Jin) 대한전자공학회 2020 대한전자공학회 학술대회 Vol.2020 No.8