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.

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

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

1950년대 말에 막을 올려 1970년대까지 전성기를 누린 소위 ‘전집 출판의 시대’에는 각종 전집의 편집위원으로 활동하거나, 어린이들을 위한 독서 자료나 글쓰기 교재 집필에 참여하는 하는 아동문학 작가가 상당수 등장했다. 이 글은 이러한 작가들을 ‘학교 밖’ 아동문학교육 전문가로 명명하고 이들의 활동 중 하나로 1960년대 어린이 독본 편찬을 주목하였다. 특히 당시에 편찬된 어린이교양 독본의 대표적인 사례로 강소천이 엮은 계몽사의 _어린이세계문학독본_(1961~1962, 총 6권)을 분석하였는데, 이 독본은 어린이 독자의 수준을 고려한 학년별 체제와 제재 배치 방식을 보여주며, 해방 후 아동문학 작가들이 아동잡지 및 전집 편찬의 경험을 통해 얻은 세계문학에 대한 교양 지식과, 교과서 편찬이나 아동문학 강의 등의 교육 활동에 참여했던 경험을 바탕으로 아동문학교육 전문가로 성장해 간 과정을 보여준다. 이 시기 어린이 문학 독본 편찬에 대한 연구는 학교 울타리 바깥에서 강력한 영향력을 행사하며 전개되었던 아동문학 교육의 실천을 살펴볼 수 있는 계기를 제공하고, 학문적 시야와 연구 범주를 확장한다는 점에서 의의가 적지 않다. 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.

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.

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(구 건국대학교 중원인문연구소) 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.

정인섭의 아동문학 연구

한정호 ( Han Jeong-ho ) 현대문학이론학회 2017 現代文學理論硏究 Vol.0 No.69

정인섭(鄭寅燮, 1905-1983)은 우리 근대문학사에서 다채로운 활동을 보여준 문학인가운데 한 사람이다. 그는 1920년대부터 다양한 분야와 여러 갈래에 걸쳐 문학적 역량을 보여주었다. 그는 아동문학가, 시인, 수필가, 문학평론가, 번안작가, 민속학자, 영문학자, 한글운동가, 그리고 어린이운동가로서 크게 활약했다. 특히 그는 우리나라의 초창기 아동문학 분야에서 중심적 역할을 했고, 아동문학의 여러 갈래를 넘나들며 많은 작품을 남겼으며, 아동문화운동에도 적극적인 활동을 펼쳤다. 따라서 이 글은 정인섭의 삶과 문학 가운데서도 초창기에 열정을 쏟았던 아동문학가로서의 면모를 살피는 데 목표를 두었다. 이에 글쓴이는 정인섭의 문학살이와 어린이문화운동에 대해 우선적으로 짚어보았다. 특히 그의 삶과 어린이문화운동 가운데 중요한 것은 색동회의 활동이라 할 수 있다. 이를 통해 정인섭은 암울한 시대현실에서도 계몽과 교육을 통해 어린이들에게 꿈과 의망을 불어넣고자 했던 것이다. 그런 다음, 글쓴이는 정인섭의 아동문학 작품을 동요, 동화, 동극, 동수필로 나눠 아동문학적 특성에 대해 구체적으로 살펴보았다. 정인섭의 동시는 애상적이고 낙천적인 어린이들의 자연친화적 정서와 그들의 해맑은 순수 동심을 노래하고 있다. 또한 나라 잃은시기의 현실에 대한 어린이들의 구체생활이나 미래지향적 경향의 작품을 발표하고 있다. 정인섭은 전래동화의 현대화 작업과 외국 설화의 번안동화, 그리고 자신의 순수 창작동화 등을 적고 있다. 이는 어린이문화운동과 초창기 아동문학의 기틀을 갖추기 위한 선각자적 각성에서 비롯된 것이다. 아울러 그는 창작동화에도 큰 관심을 보여주고 있는데, 이는 당시 어린이들에게 읽을거리는 물론 교훈과 계몽을 주기 위한 방안이었던 셈이다. 정인섭의 동극은 교훈적 측면에서 전래동화나 외국동화 등의 이야기를 무대화하기도 하고, 예술교육의 측면에서 춤과 노래 등의 동요를 활용하여 상상력을 확장시켜 예술적 경험을 하게 하였으며, 계몽적 측면에서 어린이들이 성장해가는 데 필요한 삶의 덕목을 강조하고 있다. 아울러 정인섭은 자신의 유년 체험과 여행 체험을 중심으로 당대 어린이들의 정서함양, 그리고 전통과 현실에 대한 지식 전파를 위해 교육적 차원에서 동수필을 적고 있다. 그런 점에서 그의 동수필은 그의 아동관과 문학사적 행보를 살펴보는 데 유용한 자료로서 가치를 지닌다. 이렇듯 정인섭은 1920년대 우리 아동문학을 자리매김하는데 중요한 역할을 맡았다. 많은 동극을 창작하여 우리나라 동극의 터전을 닦았고, 우리 겨레의 민족성을 어린이들의 마음속에 심어주고자 노력했다. 그런 점에서 그의 아동문학은 우리나라 근대 어린이문화운동과 맥락을 같이하며, 여러 갈래에 걸쳐 값진 성과를 보여주고 있다. Jeong In-seop(1905-1983) is one of literary man showed a variety of activities in our modern literature. He showed literary skills across various sectors and branches since the 1920s. He was a large activity as a children`s literature, poet, essayist, literary critic, writer adaptation, folklorist, english scholars, and Hangul activists. In particular, he had a central role in the country`s early children`s literature field and left a number of works across the various branches of children`s culture and also played an active workout of children`s literary movement. This author is also aimed to appearance of aspect as a children`s literature a early passion for literature among life and literature of the jeong In-seop. First of all, this writer first saw point out literature about children`s movement and cultural age of Jeong In-seop. Especially, It is important that saekdonghoe(stripes of many colors) was activity among in his life and children`s culture movement. Through this fact, He put their dreams and hope to children through enlightenment and education in grim reality era. Next, his children`s literature divided into fairy tales, nursery rhymes and fairy essay. I investigated on specifics about children`s literature characteristics. He shows an angel childlike and realism childlike in his children`s world. His fairy-tale world announced the adapted fairy tales, fairy tales and creation of modernization and foreign legends of fairy tales. It derives from the pioneering awakening to equip children with the groundwork of the early cultural and children`s literature movement. On the other hand, the characteristics of nursery rhymes of Jeong In-seop is that it is creative with a live performance in mind. So his nursery rhymes world is unfolding as in life childlike through song and dance. Eventually, Jeong in seop have greater merit as a pioneer nursery rhymes as a means of children cultural movement in the 1920s. His essays usually put out his own childhood home candid experience and travel experience. Also he writed many essay in terms of education for the children`s knowledge propagation and cultivation emotion to the children. As such, Jeong in seop has played a major role in becoming our children`s literature in the 1920s. He brushed the grounds of the country nursery rhymes with creation of many nursery rhymes and tried to instill our countrymen ethnicity in the minds of the children. In this regard, his children`s literature is in context with a country of modern children`s cultural movement and shows the valuable achievements across multiple branches. Future, it will have to be more active to research on the overall life and activities of Jeong Iin-seop. For instance, the meticulous research on Korean linguistics and folklore work as well as cultural activity of poems, essays, criticism, literary translation work will be followed. To do so, the complete works of his life and activities will have to be published. Only then, this place become and full value for it be followed.

백석의 아동문학 연구 -미발굴 작품을 중심으로-

김제곤 ( Je Gon Kim ) 건국대학교 동화와번역연구소(구 건국대학교 중원인문연구소) 2007 동화와 번역 Vol.14 No.-

This study is meaningful because it accessed Baekseok`s children`s literature based on the information about him which had not been discussed in existing studies on his children`s literature. First, the study examined the time when Baekseok became involved in children`s literature. It found he had been involved in children`s literature by translating foreign literature even before he published reviews or his creative works of children`s literature. That is, he first became involved in children`s literature by publishing his translation of Gorky`s "The Theory of Children`s Literature-Beginning" in the literary magazine, Joseon Munhak in March 1954. The reason Baekseok, as a professor in the department of foreign literature, translated children`s literature is supposedly attributed to the demand initiated in North Korean literary circles in 1953 that writers outside of the department of children`s literature be involved in children`s literature. Next, the study looked into newly discovered fairy-tale poems. The examination of North Korea`s information on Baekseok confirmed that he had already published two fairy-tale poems, "Magpie and Azure-winged Magpie" and "Four Jige Crab Brothers" in January 1956 before the publication of "Four Hermit Crab Brothers." "Four Hermit Crab Brothers" which is the title poem of a collection of fairy-tale poems and "Four Jige Crab Brothers", the original work of "Four Hermit Crab Brothers", are starkly different in terms of title, development and the use of poetic words. Along with this, the study also examined another work "Magpie and Azure-winged Magpie." Then, it confirmed that the characteristics of "Four Hermit Crab Brothers" also appeared in his previous work "Magpie and Azure-winged Magpie." Lastly, the study found that Baekseok published four children`s verses right before he stopped writing creatively. These works are different from his previous works in that they openly admire the communist system.

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

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

본고에서는 1930·40년대 발간된 아동잡지의 실증적인 고찰을 통해 유년문학에 대한 인식 및 잡지별 기획 의도, 유년문학 작가군 및 특징 등을 살펴보았다. 주논의 대상으로 삼은 아동잡지는 『어린이』, 『신소년』, 『별나라』, 『동화』, 『소년』 등이다. 1930년대 유년문학의 등장은 유년기의 특수성을 고려한 작가들의 의도를 통해 문해력이 약한 유년들에게 문학적 감수성의 함양과 교육 자료로서의 역할을 수행하는 계기가 되었다. 이는 1927년 홍은성을 시작으로 1934년 전식에 이르기까지 유년문학의 필요성을 역설한 작가들의 논의가 있었기에 가능했다. 하지만 유년에 대한 인식과 논쟁에도 불구하고 그림책 발간이나 유년잡지 발간은 여의치 않았다. 송완순의 논의처럼 아동잡지 대부분이 ‘유년란’을 만들어 작품을 게재했다. 유년문학의 열악한 상황 속에서 열의를 보인 이는 윤석중이다. 그는 신문에 유치원동요나 동화를 발표하며 유년문학 창작에 관심을 보였다. 1937년 조선일보사에서 『소년』 편집 주간으로 근무하던 시절 1937년 6월호에 ‘유치원동화특집호’를 발간하기도 한다. 그리고 그해 9월 우리나라 최초의 유년 그림잡지인 『유년』을 발간한다. 유년문학은 기성작가의 작품 생산 활동 외 유치원 보모 출신들의 참여를 통해 발전한다. 보육학교를 졸업한 이들 중 글쓰기에 재능을 보인 이들은 신문이나 잡지참여를 통해 유년문학 작품을 발표 한다. 또한 경성방송국 ‘어린이 시간’ 프로그램에 참여해 동요 독창이나 동화 구연 활동을 한다. 대표적인 이들이 이순이(조양유치원), 장효준(혜화유치원), 염귀례(수원 진명유치원), 백화선(경성방송국) 등이다. 아동잡지에 게재된 유년문학의 특징을 보면 유년의 특수성을 고려해 활자가 크고, 제목이나 작품 중간에 삽화를 넣기도 했다. 유년문학의 내용은 1935년 카프해산을 전후해 차이점을 보인다. 카프 해산 전 『어린이』, 『신소년』, 『별나라』에서 보였던 유산계급의 횡포와 착취로 인해 고통 받는 무산계급 유년들의 삶의 이미지는 1936년 이후 발간된 『동화』와 『소년』에 이르면 유년의 발달심리와 특성에 맞는 순수한 작품으로 바뀐다. 유년들의 생활단상, 놀이문화, 생활습관 개선, 환상성(꿈), 우화 등을 통해 재미와 교육적인 메시지를 주고 있다. 1930년 이후 유년문학의 등장은 그들을 더 이상 보호 대상이 아닌 문학 향연의 주체로서의 삶으로 편입시키는 계기가 되었다. 그리고 이미지와 함께 그들의 생활 단상을 그린 다양한 작품 생산은 아동문단을 풍성하게 하였다. 더불어 유년문학 기획은 한국 그림책의 발전을 꾀하는 밑거름이 되었다고 볼 수 있다. 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.

4월혁명과 북한 아동문학 - 『남녘땅에 기’발 날린다』를 중심으로 : 4월혁명과 북한 아동문학

이순욱(Lee Soon-Wook) 한국문학회 2007 韓國文學論叢 Vol.46 No.-

North Korea defines the April Revolution as ""the April People"s Uprising"", ""the April 19 People"s Uprising"" or ""the April 19 Uprising"" and recognizes it as a massive struggle against the Unites States and the Lee Seung-man administration of South Korea and a historic expression by South Koreans of their desire for a national reunification. This paper aims to explore how the April Revolution is described in children"s literature of North Korea by focusing on A Flag is Flying in the South(Children"s Books Publishing Company, September 15, 1960), a collection of children"s literature praising the April Revolution. First, the 1960s falls under the category of the Cheollima(Flying Horse) Movement in the history of North Korean literature. The main subject of the literary works during this time was to create an image of a leader, establish a system of socialism, reflect realistic aspects of the Cheollima Movement, embody people"s revolutionary struggle and seek ideologies for national reunification. Distinctively, many works to describe the April Revolution of South Korea were created. Various types of literature regarding the Revolution including poems, political discussions, essays, plays, critics, and children"s literature were produced as opposed to South Korea. Mass produced in North Korea through such official papers as Joseon Munhak and Munhak Sinmunor separate books, the literary works on the April Revolution focus on disclosing the anti-humanitarian aspect of the South Korean society and describing heroic behaviors and a fighting spirit of the public. In other words, the April Revolution was utilized by the North both as an opportunity to publicize the superiority of the North Korean regime and as an educational means to enhance revolutionary spirit of the residents, to criticize the United States and the Lee Seung-man administration. Second, it was effective for the North Korean regime to turn to children"s literature, which served as a vehicle of political propaganda, in developing and internalizing its ideologies. Children"s literature in North Korea faithfully followed these ideologies, so the antiimperialism sentiment, the criticism of South Korea"s Lee Seung-man administration and the laudation for socialism were prevalent in the literature during the first half of the 1960s. A case in point is A Flag is Flying in the South, which is North Korea"s the only revolutionary literature collection describing the April Revolution in the 1960. This children"s collection can be seen as a educational book meticulously prepared on the literary educational level unlike other literary works published in papers. Third, A Flag is Flying in the South contains eights poems for children, one ocherk, one play for children and one drama. These works mainly depict the tyranny and repression by the US imperialism, the exposure of the anti-humanitarian situation in South Korea and heroic struggles of the general public. It is consistent with the main subject of the Cheollima literature that the resistance and the anti-humanitarian aspects of the South Korean society should be revealed in contrast to North Korea"s socialism. The Cheollima Movement is a part of efforts to preempt the revolution against the powerful class in South Korea and the United Stated in a wide range of areas including ideologies, technologies, culture as well as economy. In this context, the characters of South Korean protests in this collection can be considered ""jockeys of Cheollima(Flying Horse)."" Therefore, A Flag is Flying in the South served as children"s literature textbook for political propaganda and was a result of meeting the demands of the North Korean literary circles to create literary works on the April Revolution of South Korea.

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.