힐링을 위한 문학교육2 -인간, 힐링, 그리고 문학교육 : 아동의 욕망과 아동문학의 역할

권혁준 ( Hyung Jun Kwon ) 한국문학교육학회 2014 문학교육학 Vol.44 No.-

Since ‘desire’ becomes the motive of a human behavior, capturing the desire of characters in the narrative literature can be the key to understand the literary phenomena. Therefore, grasping a meaning of the desire for children in children literature is a method to understand a characteristic of a children literature. Is the children’s literature helping children to admit their desire and let them live as natural way? Are they contributing to children to feel genuine happiness? To answer this question, this paper reviewed the main topics and ideologies of recently published children’s literatures and some representative literary work. In chapter 2, we studied a literary work in which the main characters are the children who sacrifices themselves for the adults. This chapter aimed to point out the problems of that literary works. Those works praised young main characters who sacrificed themselves for adult, even though the works were supposed to encourage children’s desire. The chapter 3 and 4 reviewed the meaning of the works that deal with the problems of the community and adults. In Chapter 3, we reviewed the meaning and aspects of some realism literatures. These literary works accuse of the condition of life which delays children’s happiness. These are fine works in regard to pointing out conditions that make children unhappy. However, on the other hand, it also can be cruel and harsh for the children when the literary works show them a paradox of society straightforward. Among the realism works, there are some pieces focusing on the inner side of children who bear the harsh life, instead of revealing the painful reality in society. This works can console young leaders who are having same difficulties by showing their broken hearts and hidden desire. Chapter 4 studied the literatures which described how parent can hurt their children’s mind and ruin their life through too much expectation and materialistic desire. In chapter 5, we studied the literatures which positively portrayed children’s desire and natural instinct. One of the noticeable desire that can make children happy is ‘playing.’ The literary works that positively accepted ‘playing’ can show a fundamental direction of children’s literature. After all the discussing and studying, we can see how the ‘children’s desire’ can be formed in the trends of children’s literature. There was a period that we did not care children’s desire at all, and it developed to the stage that shows some condition which delays children’s happiness. Recently, we reached to the points that the works positively accept children’s desire and let children independently choose their own way of life. I personally do not satisfied yet, but it seems that we are on the right track. Children’s literature, that admit children’s desire and wants, can only gives children genuine happiness.

석용원 문학연구

한경희 ( Kyung Hee Han ) 한국문학언어학회 2012 어문론총 Vol.57 No.-

Children`s literature research is started for the first time in the 1960s, in the 1970s, emerged a full-fledged researchers. In the 1990s, the earliest children`s literature research is a reliable place. Published works of children`s literature, as long as the hottest on the market are rare. However, modern literature, researchers have studied something uncomfortable and awkward as it is felt. This is the reality. This is a children`s literature and adult literature is literature compared is because the lack of evaluation. Literary achievement is the author of the literary world and goes through a level of work that is. We should do a generation approach to literary theory. The poet`s passion for literature is starkly in his lifetime. At the depth of his affection and distress for the youth, even back in the day, and also as a poet lasted. High school student, a special bilingual teacher for literature from Tokyo. After the war, while the literary youth University life`s anxieties: Home publishing. Literary interests, and put in charge of the House turns to the most. Choose to live a life of the poet, in Seoul. His obsession is at the same time, a fairy tale for children`s literature, including works by creative. He said: at the same time as the adult with a child without the boundaries of literature across activities. This is the spirit of contemporary literature freely without rigid boundary study the tendency to introspection. Children`s and adult`s boundaries to embrace instead of dividing the work activities. Compared to the works of children`s literature at home and many children`s literature had worked on a magazine, and worked as a professor in the school of early childhood education researchers. A good writer is a children`s and adult literature together when possible. Separation of the contemporary literature research literature does not last and last. When the logic of these stone circles, for the study of world literature that, while modern literature study of Tae-can be a model to overcome. But there are still children`s literature materials about cleanup should in future by the lack of an agenda.

국어과 교육과정에 나타난 아동문학 장르 인식 고찰

김미혜 우리말글학회 2024 우리말 글 Vol.102 No.-

문학을 가르치는 교사는, 학습자의 수준에 맞는 작품을 선정해 교실 수업에서 활용할 수 있어야 한다. 초등학교 수준에서라면 동시나 동화를 시나 소설과 구분할 수 있어야 하며, 아동문학 장르에 대한 이해를 바탕으로 국어 수업을 설계해 실행할 수 있어야 한다. 교사의 장르 인식과 작품 선정에 영향을 미치는 국어과 교육과정에서의 문학 장르 구분은 교육과정이 개정될 때마다 변모를 거듭해 왔다. 이 연구에서는 국어과 교육과정에 나타난 아동문학 장르 인식의 역사적 변화와 현주소를 확인하고 개선 방향을 모색하였다. 1차 교육과정기부터 2022 개정 교육과정기에 이르기까지 국어과 교육과정에 나타난 아동문학 장르 용어를 살펴본 결과는 다음과 같다. (1) 1차 교육과정기부터 3차 교육과정기까지는 문학 영역은 따로 없었지만 말하기, 듣기, 읽기, 쓰기 등의 영역에서 아동문학 장르 용어를 다양하게 사용하고 있었다. 교육과정을 개발할 때 학습자의 위계ᅌᅦ 따른 아동문학 장르의 특수성을 인식하고 그것을 활용하려 했음을 알 수 있다. (2) 4차 교육과정기에는 ‘문학’이 국어과의 독립된 영역으로 설정되면서 아동문학 장르가 간결하게 정리되었다. 이러한 흐름은 7차 교육과정기까지 이어져서 시, 이야기, 극본 등 3개 장르, 또는 수필을 포함한 4개 장르로 장르 체계가 정비되었고 아동문학 장르 용어도 사용하였다. (3) 2007 개정 교육과정기 이후에는 매체 장르가 도입되었고 아동문학 장르의 비중은 교육과정 개정 때마다 변화가 있었다. 2015 개정 교육과정기에는 아동문학 장르 용어를 차별적으로 사용했지만 2022 개정 교육과정에서는 아동문학 내의 하위 장르명을 사용하지 않았다. 다음 교육과정 개정 때는 아동문학 장르 용어의 정당한 복권이 이루어지기를 기대한다. Teachers of literature should be able to select works that are appropriate for their learners’ levels and use them in their classes. At the elementary level, students should be able to distinguish a children’s poem or fairy tale from a poem or novel, and be able to design and implement language arts lessons based on their understanding of children’s literary genres. The classification of literary genres used in the Korean language curriculum has changed with each revised curriculum. This study examined the historical changes and current status of the recognition of children’s literary genres in the Korean language curriculum and sought ways to improve them. The results of examining the terms for children’s literary genres that appeared in the Korean language curriculum from the first curriculum period to the 2022 revised curriculum period are as follows. (1) From the 1st curriculum period to the 3rd curriculum period, there was no separate field of literature, but the terms for children’s literary genres were used in various fields such as speaking, listening, reading, and writing. It can be seen that the developers recognized and used the specificity of children’s literature genres according to the hierarchy of learners in developing the curriculum. (2) In the 4th curriculum period, “Literature” was established as an independent field of the Korean language subject, and the genres of children’s literature were concisely presented. This trend continued until the 7th curriculum period, and the genre system was organized into three genres including poetry, stories, and screenplays, or four genres including essays, and the genre terms of children’s literature were also used. (3) Since the 2007 revised curriculum period, media genres have been introduced, and the proportion of the children’s literature genre has changed with each curriculum revision. In the revised 2015 curriculum, terms for children’s literature genres were used separately, but in the revised 2022 curriculum, subgenre names within children’s literature are not used. It is expected that the children’s literature genre terms will be properly restored in the next curriculum revision.

1960년대 어린이 문학 독본과 ‘학교 밖’ 전문가들 :강소천 편 『어린이세계문학독본』 (계몽사, 1961)을 중심으로

조은숙 ( Cho Eun-sook ) 우리어문학회 2018 우리어문연구 Vol.61 No.-

From the end of the 1950’s up to the 1970’s, we had so-called ‘the golden days of publishing complete series’. Although there were a lot of writers of children’s literature who worked as editors for all sorts of complete series, there were also a number of writers participating in writing reading materials or textbooks for writing targeting children. This study names those writers as experts of education for children’s literature ‘outside schools’ in the era of publishing complete series, and as one of their activities, this author pays attention to the compilation of children’s readers. Particularly, this author here analyzes Gang Socheon’s _Readers for Children’s World Literature_ (1961~1962, 6 Vol.) published by Kemongsa as one of the representative cases of children’s educational readers compiled then. These readers are interesting because they are equipped with the grade-based system as well as the arrangement of topics reflecting the level of young readers. Also, they tell us about the details of a journey of writers for children’s literature after the emancipation growing as experts of education for children’s literature grounded on their educational knowledge about world literature gained through their experience of compiling children’s magazine or complete series and their career of participating in educational activities, for example, compiling textbooks or giving lectures about children’s literature. Research on the compilation of readers for children’s literature is significant in that it provides us with opportunity to look into a variety of practices of education for children’s literature developed as exerting enormous influence outside schools and also broadens academic horizons and extends research categories as well.

확장하고 있는 중국아동문학— 중국의 ‘범엔터테인먼트’와 아동문학의 크로스오버를 중심으로

송연옥 한국중국소설학회 2021 中國小說論叢 Vol.63 No.-

중국의 아동문학이 光速으로 변화하고 있다. 필자는 중국 아동도서의 이러한 변화가 ‘범엔터테인먼트(泛娛樂)’라 불리는 중국의 신생문화콘텐츠 사업 생태계와 밀접한 관련이 있으며 당대 중국이 보이는 특수한 현황이라고 본다. 세계 최대의 아동출판시장이 가지는 가능성을 고려해볼 때, 중국아동문학의 현재 변화 동향은 연구와 관심이 필요한 대상임이 틀림없다. 이에 본 연구는 1. 매체 간의 다양한 크로스오버로 변화⋅확장 중인 중국아동문학의 현황에 대한 이해를 도와 국내에 드문 중국 당대 아동문학 연구의 기초가 되고자 하며, 2. 당대 중국아동문학의 변화와 확장의 지점을 규명하여 아동문학의 본질과 지향점을 밝히고, 3. 당대 중국아동문학을 사례로 중국식 크로스오버 문화브랜드인 범엔터테인먼트 개념을 정리하는 것을 목적으로 삼고 있다. 중국의 범엔터테인먼트는 사용자와 정서적으로 강한 유대감을 형성한 콘텐츠를 중심으로, 다양한 미디어 형식으로 거듭나는 매트릭스식 사업 생태를 말한다. 그중에서도 아동문학은 범엔터테인먼트의 핵심 IP로 활용할 수 있는 블루오션이며, 이것이 필자가 당대 중국아동문학의 변화와 확장이 범엔터테인먼트와 밀접하다고 말한 근거이다. 본 연구는 아동문학과 타미디어와의 크로스오버로 확장하고 있는 사례를 고찰하였다. 첫째, 웨이보+동화: 웨이동화(微童話)는 문학이 뉴미디어 산물과 결합할 때 독자가 작가가 될 수 있다는 것, 글밥이 많은 문자 중심의 동화만이 동화가 아니라 이미지 중심의 짧은 동화도 동화가 될 수 있다는 가능성을 보여준 사례이다. 둘째, 스마트폰 APP+그림책 형태인 카다스토리이다. 범엔터테인먼트의 각종 스타 IP를 보유하면서 놀라울 정도로 성장하고 있지만 조기교육에 중점을 둔 서비스는 핫미디어로서의 성격을 띠고 있다. 셋째, IP마켓+아동소설: ‘미샤오취엔(米小圈) 시리즈’이다. 미샤오취엔은 문학콘텐츠가 각종 라이선스로 활약하는 당대 초등학생의 상징적 기호이다. 아동의 공감대를 얻어낸 문학 IP가 범엔터테인먼트식 생태에서 얼마나 중요한지 확인할 수 있는 사례이다. 넷째, 인터넷게임+문학: 온라인게임아동문학(網遊文學)이다. 온라인게임아동문학은 온라인게임을 경험한 아동 유저들을 겨냥해 창작된 문학콘텐츠로서, 플레잉 미디어가 리딩 미디어로 확대된 시도이다. 창작자 사고방식의 전환이자 일방적이고 중앙집권적인 전통 아동문학의 반전이다. 다섯째, 문학+체험활동: 엄지반장(拇指班長)이다. 각종 문학상을 수상한 고학년 소설 《엄지반장》은 범엔터테인먼트식 전략으로 사용자 경험을 확대하여 만화 버전, QR 코드로 애니메이션 감상, 여름방학 테마캠프에서 엄지반장 영화 촬영, 글짓기 주제로 라디오 드라마 청취, 엄지반장 테마서점 및 밀크티 카페로 확장되었다. 중국 아동문학의 주체는 국가 이데올로기, 교육적인 사회화 메시지에 이어 이젠 상업적 이윤을 꾀하는 교묘한 상업미디어 전략으로 전환되고 있다. 그럼에도 뉴미디어 기술이 가져온 인식론적 변화는 아동이 주체로 설 수 있는 가능성을 열어두고 있다. 비록 그것이 상업성에서 기인했다더라도 문학과 멀티미디어적 경험이 다원화되면서, 아동소비자는 보다 주체화되어가는 방향에 들어서게 되었다. Chinese children’s literature is rapidly changing at the speed of light. I believe that this change in Chinese children’s books is closely related to the ecosystem of China’s new cultural content business, called ‘pan-entertainment’, and is a special situation in which China is seen at the time. Considering the possibility of the world’s largest children’s publishing market, the current trends of change in Chinese children’s literature reqiure research and attention. Therefore, this study aims: 1. to provide an understanding of the current status of Chinese children’s literature, which is being changed and expanded due to various crossover between media, serving as the basis for the study of Chinese children’s literature; 2. to reveal the essence and direction of children’s literature, identifying the point of change and expansion of Chinsese children’s literature at the time; 3. to summarize the concept of pan-entertainment, a Chinese-style crossover cultural brand, as an example of Chinese children’s literature. China’s pan-entertainment refers to a matrix-style business ecosystem that is reborn in various media formats, focusing on content that has formed a strong emotional bond with users. Among them, children’s literature is Blue Ocean, which can be used as a key IP(Intellectual Property) for pan-entertainment, and this is why I said that the change and expansion of Chinese children’s literature at the time is closely related to pan-entertainment. This study considers the case of expanding to cross-over with children’s literature and other media. 1. Weibo(微博) + Fairy Tale: Wei Fairy Tale(微童话) is an example of the possibility that when literature is combined with new media products, readers can become writers, and that not only text-oriented fairy tales with a lot of writing can be fairy tales, but also short image-oriented fairy tales can be. 2. Smartphone APP + Picture Book: Kada Story(咔哒故事) is growing remarkably with various star IPs of pan-entertainment, but the service that focuses on early education is characterized as a hot media. 3. IP Market + Children’s Novel: ‘Mixiaoquan(米小圈) Series’ is a symbol of elementary school students of the time when literary content is active under various licenses. This is an example of how important literary IP is in the pan-entertainment ecosystem that has gained children’s consensus. 4. Internet Games + Literature: Online Game Children’s Literature(網遊文學) is a literary content created for children’s users who have experienced online games, and it is an attempt to expand the playing media to reading media. It is a transition of the creator’s mindset and a reversal of the style of chldren’s literature, which traditionally was unilateral and centralized. 5. Literature + Experience Activities: ‘Umji Banjang(拇指班長) Series’, the award-winning elementary school senior novel, expanded its user experience with a pan-entertainment strategy to include comic versions, watching animations with QR codes, activity filming Umji Banjang’s films at summer vacation theme camps, listening to radio dramas on writing topics, Umji Banjang theme bookstores and milk tea cafes. The main body of Chinese children’s literature has gone through national ideology and educational socialization messages, and is now shifting to a clever commercial media strategy that seeks commercial profit. Nevertheless, the epistemological changes brought by new media technology leave open the possibility that children can stand as the Subjects. Although it is due to commerciality, as literature and multimedia experiences are diversified, children’s consumers become the true Subjects.

1950년대 북한아동문학의 현황 (1) -서정 및 서사 장르를 중심으로-

선안나 ( An Na Sun ) 건국대학교 동화와번역연구소 2008 동화와 번역 Vol.15 No.-

This study presents an investigation into the state of children’s literature of North Korea in the 1950s right after the Korean War by analyzing Children’s Literature, a children’s magazine published in North Korea. Korea’s children’s literature was formed during the Japanese rule of Korea and had maintained its single organization until the Korean War broke out and Korea was divided into North and South Koreas, where two separate groups of children’s literature started to grow and create their own unique streams under the different regimes. After the long Cold War period was over, the South Korean government lifted the ban over the writers who voluntarily moved to North Korea or abducted by the regime. In the field of general literature, active research efforts were made on the literature of North Korea. However, it is unfortunate to raise few discussions on its children’s literature especially with no information provided regarding the state of its children’s literature before, during, and after the Korean War. Therefore, this is the very first paper to examine the aspects of North Korea’s children’s literature right after the Korean War. A review on Children’s Literature reveals that North Korea’s children’s literature enjoyed a great deal of diversity in terms of genres unlike its South Korean counterpart. While they usually created “children’s songs and verses” in the area of lyric literature in South Korea, they engaged in about ten genres including “children’s play songs,” lyric and epic poems” and “Gasas” in North Korea. The unique diversification of children’s literature in North Korea can be attributed to the characteristics of the North Korean society such as the focal point of the party and the leader and the abundance of group activities. There was also a disparity in epic literature between North and South Korea. North Korea saw more importance on “ocherks,” “stories” and “fables” unlike South Korea. The authors heavily depicted the hard work of laborers at factories or cooperative farms since it was the most urgent to restore buildings in the wreckage of war and boom the economy. The literary works either told a story about heroes of resistance against the Japanese rulers and the Korean War or praised the party and the leader. After the Korean War, children’s literature of North Korea concentrated on “cooperation to build a successful socialist nation” rather than “children” or “children’s literature” itself. The diversity of the literary works continued until 1956 but ceased to exist after 1958, when the political strife was settled, with the political nature being further highlighted.

1930년대 아동문학의 전개

오혜진(Oh Hye-jin) 중앙어문학회 2006 語文論集 Vol.34 No.-

To properly understand children’s literature, this study examines various cultural and historical changes that influenced the genre in the 1930s. The works of writers Lee Ju Hong, Lee Tae Jun, and Hyeon Deok are analyzed, as well as social and cultural variables that provide the background to the advent of such literary works. In terms of perspective and treatment, children's literature in the 1930s differed from those exemplified by Bang Jeong Hwan’s works in the early 1920s. Such difference is caused by the influence of the Korean Artists of Proletarian Federation (KAPF) and its criticism on 'Donshimcheonsajeui', as well as by social and cultural changes surrounding children's literature during that period. The external conditions include the presentation of realistic and active imagery in KAPF's children's literature, which are based on proletarian agenda, the relation with Japanese literature, and the flourishing publishing industry of children's books and magazines. By the late 1930s, such activities were under strong pressure from factors such as the Japanese colonial policy and the sudden changes in the educational environment. The rigid suppression and the political situation when the war broke out further overshadowed children's literature of that period. The works of Lee Ju Hong, Lee Tae June and Hyeon Deok show that they yielded to the pressure and accepted their situation. In the early 1930s, when KAFP was at its peak, Lee Ju Hong’s works were marked with their realistic and concrete depiction of the child’s truths. However, when the KAPF began to disintegrate, his works dulled and his stories focused merely on fun and humor. Lee Tae June, whose works were known for their depiction of children’s simple and innocent curiosity and interest in nature, was an outstanding writer in the genre in the 1930s. Lee Tae June’s writing was already fully matured by the titre Hyeon Deok emerged in the late 1930s. Hyeon Deok was a writer of high principles who described the changes in childhood life in the late 1930s amid Japanese suppression. Noma depicted archetypal childhood reality, which reflects the living situation of that period. Of course, it was difficult for him to describe the real situations of his time. However, it is meaningful and significant for him to vividly describe the child’s living conditions despite Japanese oppression. Although such problems were not exclusive to the authors mentioned, the fairy tales that served as metaphor of real life and the realistic children's novels that were popular throughout the 1930s had their own limits, considering that such stories lacked in fantasy and imagination, which are necessary elements in children's literature. It is also hard to find evidence that such children's works in the 1930s pursued the aesthetic form or experimental deviation. The imagined reality is not just in reference to escapism. Dream and imagination give children the power to overcome anxiety and panic and help them to gain maturity. Under the influence of Japanese literature, and in the face of sudden modernization and the arrival of national independence, it may not have been possible for children’s literature to establish itself in that era. That is the reason the exciting elements of sphere of fantasy and imagination, which are important aspects of children's literature, were absent in those works, resulting in lame children's stories. The development of children's literature toward realism was not unavoidable because of the Korean War and other political turmoil that ensued. As a result, children’s literature in the 1930s was marked with limited discourse and lack of imagination.

1960년대 부산 아동문단의 형성과 전개 -『소년국제』와 『소년부일』 수록 동시를 중심으로

명수현 상허학회 2023 상허학보 Vol.67 No.-

The purpose of this article is to examine the formation and development of children’s literature in Busan around the 1960s. In the history of children’s literature in Korea, the 1960s was a time when children’s literature achieved rapid growth due to changes in education policy, expansion of the publishing market, changes in the literary debut system and the emergence of new writers, organization of children’s literature associations and the publication of media, and theoretical specialization. The growth of children’s literary circles also appeared in different aspects in local communities such as Busan and Daegu. In particular, Busan was building an independent and self-sustaining literary ecosystem based on the literary experience of the wartime capital. With the emergence of new writers from Busan and Gyeongnam, the organization of literary associations, the publication of literary media and works, and the exhibition of poems and paintings, the tradition of children’s literature in Busan and Gyeongnam, which has been continued since the colonial era, has been inherited. In the mid-1950s, after the Armistice Regime was formed, a large number of new writers in Busan appeared, and literary organizations such as the Busan Writers Club(Busan Writers Association) were organized. In the case of children’s literature, the Busan Children’s Literature Association(1958) and the Children’s Literature Research Association(1959) were established. In addition, Eorini Nara (1956) and Eorini Segye (1958), which are specialized media for children’s literature published in Busan, functioned as major media for the creation and work of local writers of children’s literature. The growth of children’s literature in Busan owes much to Sonyeon Buil and Sonyeon Kukje . The expansion of children’s section in daily newspapers in the mid-1950s is a noteworthy phenomenon. Despite continued financial difficulties and paper shortages, Chosun Ilbo , Donga Ilbo , and Kyunghyang Shinmun published Sonyeon Chosun Ilbo , Sonyeon Donga , and Eorini Kyunghyang for children. Busan’s representative newspapers, Busan Ilbo and Gukje Sinbo also published Sonyeon Buil (1959.3) and Sonyeon Kukje (1959.6) aimed at children readers. Through this, local children’s literature could be activated. Until the mid-1960s, the two media published more than 200 children’s poems, as well as a number of fairy tales, children’s novel, and foreign novels. The main characteristics of children’s poems published in Sonyeon Buil and Sonyeon Kukje are as follows. First, young local children’s literature writers who appeared around the 1960s, such as Kim Sa-rim, Bang Sang-hee, Oh Gyeong-woong, Oh Gyu-ok, Yu Dae-geon, Yun Doo-hyuk, Yun Il, Lee Young-chan, Jeong Hae-sang, and Ha Gye-deok, performed outstanding works. Second, we can confirm the active creation of children’s literature by local writers who engaged in literary activities outside children’s literature. Third, the sense of place of Busan, which embraces the sea, is strongly revealed. Works based on maritime imagination enhance the regional value of the two media. Lastly, politics, a characteristic of newspaper media, is strongly expressed. Works dealing with issues of the era, such as the April Revolution, provided an opportunity for children to face the historical reality of the region where they stood and to inspire ethics as citizens. 이 글은 1960년대를 전후한 시기 부산 아동문학의 형성과 전개 과정을 고찰하는 데 목적이 있다. 한국 아동문학사에서 1960년대는 교육정책의 변화와 출판시장의 확대, 등단제도의 활성화와 신진 문인의 등장, 아동문학단체 조직과 매체 발간, 이론적 전문화에 따라 아동문단이 비약적 성장을 이룬 시기로 평가된다. 이러한 아동문단 융성의 흐름은 부산, 대구와 같은 지역사회 차원에서도 각기 다른 양태로 나타났다. 특히 부산은 피란수도의 문학적 경험을 기반으로 독자적이고 자생적인 문학 생태계를 구축하고 있었다. 부산지역 아동문단 역시 부산·경남 출신의 신진 문인들의 등장과 문학단체 조직, 매체 발간, 작품집 간행, 시화전과 같은 행사를 통해 활기를 띠며 식민지시대부터 이어진 부산·경남 아동문학의 전통을 계승해 나갔다. 정전체제가 수립된 1950년대 중반에 이르러 지역의 신진 문인들이 대거 등장함에 따라 부산문인구락부(부산문필가협회)와 같은 문학단체가 조직되었다. 부산 아동문단 역시 향파 이주홍을 중심으로 한 부산아동문학회(1958)와 아동문학연구회(1959)를 발족시키며 아동문학의 전문화와 조직화를 꾀했다. 또한 부산에서 발행된 아동문학 전문매체인 어린이나라 (1956)와 어린이세계 (1958)는 지역 아동문학가들의 창작과 작품 활동을 위한 건실한 매체 기반으로 기능했다. 한편, 부산 아동문단의 성장은 소년부일 과 소년국제 에 힘입은 바가 크다. 1950년대 중반 일간지 신문들의 어린이란 확대는 주목할만한 현상이다. 지속된 재정난과 용지난에도 불구하고 조선일보 와 동아일보 , 경향신문 등은 각각 어린이를 위한 지면인 소년조선일보 , 소년동아 , 어린이경향 을 발행했다. 부산의 대표적 신문인 부산일보 와 국제신보 역시 어린이 독자를 겨냥한 소년부일 (1959.3)과 소년국제 (1959.6)를 발행하며 지역 아동문학의 활성화를 도모했다. 두 매체는 1960년대 중반까지 200여 편을 상회하는 동시를 비롯해 다수의 동화와 소년소설, 번역소설을 연재했다. 두 매체에 수록된 동시의 주요한 특징으로는 첫째, 이주홍, 최계락, 조유로와 같은 기성 아동문학가들뿐 아니라 김사림, 방상희, 오경웅, 오규옥, 유대건, 윤두혁, 윤일, 이영찬, 정해상, 하계덕 등 1960년을 전후로 등장한 지역 신진 아동문학가들의 활동이 두드러졌다. 둘째, 아동문학 외연에서 문필활동을 폈던 지역문인들의 활발한 아동문학 창작을 확인할 수 있다. 셋째, 바다와 인접한 부산의 장소성이 강하게 드러나는데, 해양적 상상력에 기반한 작품들은 두 매체의 지역적 가치를 제고한다. 끝으로, 신문매체의 특징인 정론성과 기동성이 짙게 나타난다. 4월혁명과 같은 시대적 문제를 다룬 작품은 어린이들로 하여금 자신이 발 딛고 선 지역의 역사적 현실을 대면하고, 시민으로서의 윤리의식을 고취하는 계기를 마련했다.

한국문학사에서의 고전아동문학 성립가능성에 관한 일고(一考)

이민희(Lee Min-Heui) 국어국문학회 2006 국어국문학 Vol.- No.144

Up to now, Children's literature has treated indifferently in a field of the history of Korean literature, and scholars also have recognized that the history of Children's literature is the same as a history of modem children's literature which was fairly new arrival in 1920's. But, so many children's works, which can be called by classical children's literature, have existed separately from modem children's literature. One of the representative book on the history of Korean literature, HanGukMunHakTongSa(『韓國文學通史』) written by Cho Dong-Il, fortunately was concerned about children's literature and described it precisely well with a critical mind. Most of all, TongSa has a point of view different from other critics who study children's literature: that is where TongSa recognize a child as a writer, reader, and hearer of children's literature, namely, as the subject of enjoyment of their literature. And TongSa also placed high value on a traditional children's song with childish innocence. These point of view shows that TongSa considered importantly premodern works for children in narrating the history of Korean literature. By the way, though TongSa has a critical mind about children's literature, it just appeared sporadically, unsystematically and not consistently in an explanation without any critical mind for a matter of continuity between classical and modem children's literature. And TongSa rarely treated traditional fairy tale, traditional children's song, and chinese poetry by children in connection with classical children's literature. It shows us that classical children's literature don't has been valued properly. Scholars of children's literature need to be interested in classical children's literature and to try to make have correct position of him in the history of korean literature,

1980년대 어린이문학 운동의 정치적 실천 : 합동 작품집과 무크지 운동을 중심으로

임성규(Lim Sung-kyu) 한국아동청소년문학학회 2007 아동청소년문학연구 Vol.- No.1

This study purpose to critically review combination collection and mook movement in 1980’s. Reception activity of children’s literature and total critical access of children, children’s literature and children’s culture are political practice that honestly establish direction of children’s literature. For Terry Eagleton viewpoint, literary text not simply reflect and express of ideology but self produce ideology. One children’s literature text important the power of influence to children In this point, this thesis try to meta-checking and reflective introspection at the situation of 80’s children’s literature that let ride in the blind spot of study and criticism. Accordingly, combination collection and mook movement that conquer crisis and period situation in 80’s children’s literature are acquire relevance of discussion. And, it show creation and reception of realistic children’s literature. This point guarantee it is one of national literature and emphasize context and circumstances with children. Now, Form of children’s literature that show good product not sudden result but historical flow in past and present. So, this children’s literature movement endeavor that keep life of children’s literature in difficult period situation. It has value of political practice activity that seeing through negative sign and conquest obstacle around children in dividing into section and oppression period.