‘사고와 표현’ 교과목에서의 콘텐츠 비평 교육 설계를 위한 신입생 비평 글 분석

이지선 한국사고와표현학회 2023 사고와표현 Vol.16 No.3

이 연구에서는 ‘사고와 표현’ 교과목에서의 콘텐츠 비평 교육 설계 방향을 제안하기 위해, 신입생들이 작성한 콘텐츠 비평 글을 독자 반응 비평 이론의 관점에 입각해 분석하였다. 신입생을 대상으로 하는 교과목 운영 상황을 고려할 때, 비평 이론을 처음 접하는 학생도 비교적 쉽게 접근할 수 있는 독자 반응 비평 이론의 비평적 지향점이 유용할 수 있다. 2장에서는 이론적 검토를 통해 텍스트비평 과정을 비평자가 자신의 미적 판단을 정당화하여 독자를 설득하는 과정으로 전제하고, 비평이 서술, 해석, 평가로 구성되며, 각 요소의 유기성이 중요하다는 점을 조명하였다. 또한 주관적 독자 반응 비평의 관점을 원용해 독자 지향적⋅현실 지향적⋅경험 지향적 반응 중 경험 지향적 반응이 읽기 경험을 공유하는 데 유용하다는 점을 살폈다. 3장에서는 2장의 틀을 활용하여 학생 글을 분석하였다. 분석 결과 학생의 글 중 독자 지향적 반응과 현실 지향적 반응에 초점을 둔 글은 자신의 미적 판단을 정당화하는 과정이 누락되고 텍스트와 독자의만남으로서의 읽기 경험을 설득력 있게 설명하지 못하는 양상을 보였다. 또한비평의 요소 중 서술이 과소하거나 과대한 경우 독자 지향적이거나 현실 지향적반응에 그치고 경험 지향적 반응으로 나아가지 못하는 경향이 보였다. 텍스트의내적 요소에 대한 서술과 해석이 부족한 경우에도 자신의 미적 판단에 대한 정당화가 충분히 이루어지지 못했다. 이러한 분석 결과를 바탕으로 이 연구에서는읽기 대상에 대한 감상을 설득력 있는 비평으로 정교화해 나가는 교육 지향점을제안하였다. The purpose of this study is to suggest the direction of content criticism education design in the ‘Thinking and Expression’ subject. Content criticism articles written by freshmen were analyzed based on the perspective of reader response criticism theory. The critical orientation of the reader response criticism theory can be useful in consideration of the course management situation for freshmen. This is because many freshmen are new to critical theory. Chapter 2 presupposes the text criticism process as a process in which a critic justifies his or her aesthetic judgment to persuade the reader through a theoretical review, and highlights the importance of the organicity of each element. In addition, it was examined that, using the perspective of subjective reader response criticism, experience-oriented reactions among reader-oriented, reality-oriented, and experience-oriented reactions are useful in sharing reading experiences. In Chapter 3, student writings were analyzed using the framework of Chapter 2. As a result of the analysis, the process of justifying one’s aesthetic judgment was omitted in articles that focused on reader-oriented and reality-oriented responses among students’ writings, and the reading experience as a meeting between text and readers was not convincingly explained. In addition, when the description was insufficient or excessive among the elements of criticism, there was a tendency to stop at a reader-oriented or reality-oriented response and not move toward an experience-oriented response. Even if the description and interpretation of the text’s internal elements were insufficient, justification for one’s aesthetic judgment was not sufficiently achieved. Based on these analysis results, this study suggested that critical education should aim for a process in which responses to content, which is a hobby of students in their daily lives, are elaborated from appreciation to criticism.

독자반응비평적 관점에서 본 <무정>

한승옥(Seung Ok Han) 한국현대소설학회 2009 현대소설연구 Vol.- No.42

This paper discusses the angle of reader-response criticism and finds the way to analyze Moo Jung corresponding to that view. Reader-response criticism has not been noticed enough compared with other criticisms by reason of its drawback, that it can be too subjective, in spite of its unlimited range of application and validity. However, no criticism can avoid reader-response criticism. The point is how to present it reasonably and provide analytic framework. The paper explores the possibility of reader-response criticism in four ways: transactional reader-response theory, affective stylistic, psychological reader-response theory, and social reader-response theory. Subjective reader-response theory is excluded because of its subjectivity. To examine how important the narrator`s function is in reader-response criticism, this paper also investigates positive and negative images of characters those are depicted by the narrator. Readers accumulate their own reading experiences by responding to events or characters described by the narrator, who is created by the author. Through these experiences, readers bring their reading experiences to completion, reflecting their desires.

재구성적 체험과 김환태의 실천비평

전정구 ( Chong Ku Chon ) 현대문학이론학회 2013 現代文學理論硏究 Vol.0 No.55

김환태의 실천비평에 속하는 글들 중에서 작가-시인의 한 사람에 집중하여 쓰인 「시인 김상용론」이나 「정지용론」, 또는 「상허의 작품과 그 예술관」에는 정확하고 이해하기 쉬운 언어로 자기주장의 근거와 논점이 분명히 밝혀져 있다. 이러한 글에서 ‘어맥과 어휘의 혼란’이나 ‘조잡한 문자의 나열’, 그리고 ‘몽롱함이나 난해한 이론’을 찾아내기 어렵다. 조화롭게 균형 잡힌 문장력이 그의 주장과 논리의 명쾌함을 보장한다. 그의 문예이론의 실천적 사례로서의 글들은 대부분 ‘상대방 문장-글과의 친화력’을 바탕으로 표현해낸 한 작가의 예술-문학에 대한 주관적 인상기(印象記)로서 ‘한폭의 정갈한 예술가-작가의 초상화’에 비유될 수 있다. 작품에 부여된 정서가 암시하는 방향에 따라 유효적절하게 종합하고 통일하는 재구성적 체험을 통해 그는 분석대상이 된 작품과 ‘독립된 예술적 초상화’를 완성하는 것을 실천비평의 목표로 삼았다. 그렇지만 그가 주장한 선진적 문학이론-형식주의 비평방법의 측면에서 볼 때 그것들은 성공적이지 못하다. 대상작품을 대하는 순간 감지되는 인상에 몰입하여 완성한 그의 예술적 초상화들, 즉 「정지용론」 「시인 김상용론」 「상허의 작품과 그 예술관」 등은 작품론이 아니라 작가론에 포인트가 놓여 있다. 이것들은 작가의 인간적-생활적 측면이 강조되는 작가론의 범주에 속하는 글들로서 작품 자체에 대한 분석에 중점을 두는 형식주의-내재적 비평방법의 실천적 사례로 취급하기는 어렵다. 작가의 생활습성에서 ‘작품에 대한 총체적인 인상-감상’을 추출해 내는 ‘예술적 초상화’ 그리기로서의 그의 실천비평들은, 작가의 생활습성이나 혹은 내면적 정신세계와 작품 사이에 유기적인 관련성을 부여하여 그것에 초점을 맞춘 비평가의 인상을 중심으로 재구성되어 있다. 이것은 김환태의 실천비평이 대부분 그것 자체가 하나의 예술적 창작품으로 읽혀질 수 있도록 기획되어 있기 때문이다. 예술작품의 미적 효과를 확인하고 천재적인 작가의 개성을 발견하여 그것에 대한 인상을 충실히 재구성한 그의 실천비평들은 자발적이고 능동적인 자기 발견의 독서 이론을 연상시킨다는 점에서 비평사적 의의를 지닌다. 그렇지만 한 작가의 예술적 초상화를 그려내기 위해 그 작품에 몰입하여 얻은 인상을 재구성한 그의 실천비평이 보편타당한 객관성을 확보한 것은 아니다. 자기 반응을 덧붙여 작품과 별개의 독자적인 예술적 초상화를 그린 「정지용론」이 그 대표적인 예이다. 주관에 철저하게 의지하여 감상의 객관성이 담보될 수 있음을 증명하고자 한 「정지용론」이 끝내 개인의 인상을 넘어 ‘보편적 가치를 구유’한 것은 아니다. 고도의 심적 훈련과 심미적 교양이 요구되는 비평 활동의 정당성은 ‘작품의 생명과 약동성’을 발견하거나 설명하기 위한 어떤 비평적-기법적 장치의 적용이 수반되어야 한다. 독자 반응비평의 ‘능동적 읽기’의 논리적 정합성이 상당 부분 ‘형식주의-구조시학의 정교한 기법’의 활용에 의거하고 있다는 사실을 간과해서는 안 된다. 사회주의 리얼리즘이나 이데올로기 위주의 창작방법과 규준을 작가들에게 강요하여 ‘작가의 창작력을 고갈시킨 카프파의 고뇌’도 ‘비평의 객관성 확보’와 무관하지 않았을 것이다. 예술작품의 위대한 독창성을 주관적 인상에만 의존하여 객관화-논리화시키는 작업은 불가능한 일이다. 김환태의 「정지용론」이 천재 예술가의 초상화로서 성공했음에도 불구하고 그의 예술의 보편적 가치를 구현하는 데 한계를 갖는 이유가 여기에 있다. 따라서 그가 주장한 문예이론과 그것의 적용 사례인 실천비평의 사례들은 서로 어긋나는 측면을 보여주고 있다. 「정지용론」을 비롯하여 「시인 김상용론」이나 「상허의 작품과 그 예술관」은 제목이 지시하는 것처럼 작품론에 초점이 맞추어진 것이 아니고 작가론의 범주에 속하는 것들이다. 다시 말하면 그것들은 형식주의적-내재적 문학론이 적용된 것이 아니라 인상주의적-낭만주의적 예술관이 반영된 일종의 주관적 인상을 중시한 역사주의 비평에 근접한 것들이다. Among the writings of Kim Hwan-tae that are classified as practical criticism, ?An Essay on Poet Kim Sang-yong?, ?An Essay on Jeong Ji-yong?, and ?The Works of Sang Heo and His View of Arts? contain basis and views for his argument on writer-poet oriented perspective in precise and comprehensible words. Thesis essays reveal some difficulty to find ‘ambiguity in context and vocabulary’, ‘frequent usage of coarse words’, and ‘obscure and incomprehensible theory’. In the essays, well-balanced and harmonized composition ability guarantees clarity of his argument and its logical justification. The most of his writings as practical examples of his literature criticism can be considered as ‘neat portraits of artist-writer’ in terms of subjectively-impressed writing on art-literature about writers, which are expressed based on ‘his affinity to their composition-writings’. The aim of his writings to completion of both his criticism on the works and his independent artistic portraits on the poets by means of restructural experiences which are synthesized and unified along the way implied by the sentiment imposed by the works of the poets. However his writings are not very successful when they are reviewed at the perspectives of the critique of the literature criticism-formalism that he argued in his writings. Due to the his devotion to instantaneous impression on the works of the poets, his artistic portraits, that is, ?An Essay on Poet Kim Sang-yong?, ? An Essay on Jeong Ji-yong?, and ?The Works of Sang Heo and His View of Arts?, are placed at the center of writer criticism, not of work criticism. The writings cannot be considered as practical examples of a formalism-Intrinsic approach critique method, which focuses on analysis of works themselves, since they are in the boundary of writer criticism, which emphasizes humanistic-life perspective of writers. His practical criticism as drawing of ‘artistic portraits’ that extract ‘general impression-sentiments on works’ in life style or behavior is re-organized at the center of impression of the critic himself focusing on the relation between life style-internal spiritual world of poets and their works by means of imposing organic and systematic correlation between them. It is because the most of this practice criticism themselves are intended interpreted as artistic works. It is one of the implications and meanings of the criticism history that his practice criticism, which recognizes the aesthetic effects of the works, discovers genius characteristics of the poets, and re-organizes substantially the impression on the works and poets, is to be associated with the reading theory of voluntary and active self-realization. However, it does not mean that his practice criticism, which re-organizes the impressions obtained from the works by devotion in order to draw an artistic portrait for a poet, gets general and proper objectivity. ?An Essay on Jeong Ji-yong? is the typical example of such a criticism that draws an artistic portrait of a poet with his self-response, which is irrelevant with or independent from the works of the poet. The essay, where the objectivity of the impression is to be guaranteed based on personal and individual view point, does not seem to be worth of generality over his individual impression on the works of the poet, at last. The criticism requiring high level of spiritual training and aesthetic education cannot be justified without application of any critical-technical method or mechanism to discover or explain ‘life and vital movement of the works’. It cannot be disregarded that the logical appropriateness of ‘active reading’ of reader-response criticism is considerably based on exploitation of ‘refined technique of formalism-structure poetics’ The ‘KAPF`s gnawing having exhausted writer`s creativity’ by enforcing writing methods and rules based on social realism and ideology seems to have not been irrelevant to ‘obtaining criticism objectivity’. It is impossible to subjectify or justify logically the great originality of artistic works only with subjective impression. Here is the reason why there is a limitation in realization of his general value for art, despite of his essay on Jeong Ji-yong being successful as a portrait of a genius artist. Therefore there mus be a contradiction between his literature theory and his practice criticism as application of the theory. Beside ?An Essay on Jeong Ji-yong?, both ?An Essay on Poet Kim Sang-yong? and ?The Works of Sang Heo and His View of Arts? are in the category of writer criticism, instead of work criticism, as the titles indicate. More specifically, his criticism are close to historicism criticism emphasizing a sort of subjective impression reflecting impressionism-romanticism, instead of formalistic literary-Intrinsic approach criticism.

1910년대 소설에 투영된 개화기 담론의 재조명

한승옥(Seung Ok Han) 한국현대소설학회 2011 현대소설연구 Vol.- No.46

Not only can discourse be interpreted differently according to the times, but it should be interpreted newly. Literature is the outcome of discourse of the time which is embodied concretely; dominant discourse that is manifested by a writer`s imagination expansively reproduces, circulating. This circulation continues even when a literary work is a great success, and so does discourse of enlightenment. This is the reason why MooJung, which is the representative novel that accepted this thing, should be reinterpreted. This paper analyzed how discourse of the time circulated by a variety of critical methods and drew the meaning of it. The critical methods used in this paper are psychoanalytic criticism, reader-response criticism, feminist criticism, marxist criticism, homosexual criticism, structuralist criticism, formalist criticism, new historical criticism and deconstructive criticism. Throughout these we can conjecture the form of discourse which is circulated in 1910s. However, the reinterpretation of MooJung mentioned in this paper is only a part of the reinterpretation of discourse; also, it might be the reinterpretation from my personal current point of view. Therefore, the reinterpretation of this discourse should be continued. We only verified that it has open structure.

해방 직후 자기비판소설의 윤리성과 정치성

구재진 한국비교문학회 2009 比較文學 Vol.0 No.47

This study aims to examine the connection between ethics and politics in the novels of self-criticism just after the Korean Liberation. Especially this study pays attention to three novels that are represent the types of self-criticism, Lee, Tae-Jun's Hae-Bang-Jeon-Hoo(해방전후), Chae, Man-Sik's Min-Jog-Ey-Joe-In(민족의 죄인) and Ji, Ha-Ryun's Do-Jeong(도정) . These novels are analyzed focusing on criterion of ethics and result of criticism. Hae-Bang-Jeon-Hoo(해방전후) and Min-Jog-Ey-Joe-In(민족의 죄인) reveal same critierion of ethics that discern virtue and vice based on nation. But ethical contents of these novels are totally different. In Hae-Bang-Jeon-Hoo(해방전후) , the main character betrays the nation in colonial period for the nation after liberation. So the logic in this novel seems to be very paradoxical. In that point, it can be said that this novel represents politics of self-criticism. In Min-Jog-Ey-Joe-In(민족의 죄인), the main character reveals two kinds of escapes, escape from the consciousness of guilt to blame the nation and escape to the consciousness of gulit to blame his nature. And then he makes up his guilt original sin. As a consequence, the guilty conscious of main character is vanished and his self-respect is recovered. This novel represents ethics of nation and self-criticism without real ethics. Do-Jeong(도정) shows the ethics of freedom and responsibility beyond ethics of nation. The main character of this novel introspects his behavior in colonial period and renovates himself. But this novel is also political in that his introspection and self-renovation is a process to affiliate himself with the Communist Party. This novel represents the connection between ethics and politics harmoniously. This study aims to examine the connection between ethics and politics in the novels of self-criticism just after the Korean Liberation. Especially this study pays attention to three novels that are represent the types of self-criticism, Lee, Tae-Jun's Hae-Bang-Jeon-Hoo(해방전후), Chae, Man-Sik's Min-Jog-Ey-Joe-In(민족의 죄인) and Ji, Ha-Ryun's Do-Jeong(도정) . These novels are analyzed focusing on criterion of ethics and result of criticism. Hae-Bang-Jeon-Hoo(해방전후) and Min-Jog-Ey-Joe-In(민족의 죄인) reveal same critierion of ethics that discern virtue and vice based on nation. But ethical contents of these novels are totally different. In Hae-Bang-Jeon-Hoo(해방전후) , the main character betrays the nation in colonial period for the nation after liberation. So the logic in this novel seems to be very paradoxical. In that point, it can be said that this novel represents politics of self-criticism. In Min-Jog-Ey-Joe-In(민족의 죄인), the main character reveals two kinds of escapes, escape from the consciousness of guilt to blame the nation and escape to the consciousness of gulit to blame his nature. And then he makes up his guilt original sin. As a consequence, the guilty conscious of main character is vanished and his self-respect is recovered. This novel represents ethics of nation and self-criticism without real ethics. Do-Jeong(도정) shows the ethics of freedom and responsibility beyond ethics of nation. The main character of this novel introspects his behavior in colonial period and renovates himself. But this novel is also political in that his introspection and self-renovation is a process to affiliate himself with the Communist Party. This novel represents the connection between ethics and politics harmoniously.

아동청소년문학 비평에서성찰의 작용 방식 탐색 -김젬마, 이하나, 이혜수의 비평을 중심으로-

김정은 한국아동청소년문학학회 2023 아동청소년문학연구 Vol.- No.33

The purpose of this study is to obtain implications for literary education by exploring how reflection works in criticism of children’s and adolescent literature. To this end, first, I reviewed critical theory focusing on readers and discussed the meaning of reflection and its operating process in criticism. Next, I explored the way readers’ reflection works in the actual discourse of criticism of children’s and youth literature, and analyzed the meaning and process of reflection in each mode of action. As a result, the function of reflection in criticism is, first, to recognize what reactions are evoked in oneself, including emotions and perceptions; second, to objectively understand what the overall and partial reactions to the entire work originated from in the text; Third, it was discussed that the meaning of the work interpreted through one’s own reaction is a process of evaluating the entire work based on reflection on the impact or change it had on oneself. In addition, as a result of analyzing actual criticism of children’s and adolescent literature, ‘interpretation of desires pursued by characters’, ‘discovery of meaning of events’, and ‘experience of emotions induced by a fantasy world’ were derived as the modes of reflection in criticism. Each method of operation can be used as a point for learners to construct interpretations and judgments about the work, and the content elements of the interpretation and appreciation categories presented by the curriculum, such as characters, events, and background, are used by learners to carry out criticism. It was proposed to specify the educational contents of the critical category based on the way reflection works so that it can have practical meaning. As a way to trigger learners’ reflection in critical activities, it was proposed to use scenes in which the desires pursued by characters, the meaning of events, and the shape of a fantasy world are prominent. In addition, it was suggested that educational support is needed to embody and communicate changes in emotions and perceptions.

Variability of electricity load patterns and its effect on demand response: A critical peak pricing experiment on Korean commercial and industrial customers

Jang, D.,Eom, J.,Jae Park, M.,Jeung Rho, J. Elsevier Science Ltd 2016 Energy Policy Vol.88 No.-

To the extent that demand response represents an intentional electricity usage adjustment to price changes or incentive payments, consumers who exhibit more-variable load patterns on normal days may be capable of altering their loads more significantly in response to dynamic pricing plans. This study investigates the variation in the pre-enrollment load patterns of Korean commercial and industrial electricity customers and their impact on event-day loads during a critical peak pricing experiment in the winter of 2013. Contrary to conventional approaches to profiling electricity loads, this study proposes a new clustering technique based on variability indices that collectively represent the potential demand-response resource that these customers would supply. Our analysis reveals that variability in pre-enrollment load patterns does indeed have great predictive power for estimating their impact on demand-response loads. Customers in relatively low-variability clusters provided limited or no response, whereas customers in relatively high-variability clusters consistently presented large load impacts, accounting for most of the program-level peak reductions. This study suggests that dynamic pricing programs themselves may not offer adequate motivation for meaningful adjustments in load patterns, particularly for customers in low-variability clusters.

Equus 한국 공연: 비평과 관객 반응

김춘희 한국현대영미드라마학회 2019 현대영미드라마 Vol.32 No.2

The productions of Equus summoned the audiences of the past towards its revival to celebrate the spirit of Equus with its enduring emotional power—a certain Artaudian perspective—over the past four decades. My inquiry begins with the following question: how can the long revival phenomena be understood as symptomatic of contemporaneity of the play—‘contemporaneity’ as an experience to be had—in form and function in Korean cultural context? Given that the play appears to have a certain universal contemporaneity, I proceed to illuminate the nature of the ‘universality’ by examining issues such as: two divergent critical perspectives on the ‘Equus Fever’ generated from the first production of Equus in Korean cultural context; the Korean productions of Equus on the basis of the criticism responses for decades which result in revealing and positioning the ‘audience’ as critical subjectivity. Here, transatlantic productions of Equus that prompted the dichotomous debate over the ‘Equus Fever’ are brought into our argument on the ‘audience response’ to situate Korean productions within the wider cultural context. After examining those above issues, we come to the conclusion that a genealogy of audience research of Equus—based on theoretical capacity inherent in the history of Korean productions and acquired from the criticism responses to them—will be envisioned as a new prospect in the field of audience researches that is both reliable and valid for within proper ‘cultural studies.’ ,

현대시 해석 교육에 대한 비판적 검토

최미숙(Choi Mee-Sook) 한국시학회 2005 한국시학연구 Vol.- No.14

The poetry interpretation education was practiced in the past, focusing on analytic poetry interpretation or historicism criticism. It was criticized, because it forced students to take the interpreted content passively and to memorize the given interpretation simply. After that we are trying to work out the problem of the wrong poetry education by taking ‘Reception Aesthetics‘, ‘Reader-response criticism‘, semiotics. In the seventh korean language curriculum the substantial content of literary education is presented as ‘reception and creation of literary‘, which promote students to express subjectively on the basis of interpreting poetry However poetry interpretation education still is of important in the poetry education. Educating the way of interpreting poetry also is required to complement ‘poetry reading oriented toward total appreciation‘ and ‘education oriented toward poetic expression‘. Now we must take the various way of interpreting poetry and consider the preunderstanding and experience of reader, the procedure of reading positively.

다문화 소설의 정신분석비평과 이주민 독자의 심리적 반응 양상 분석 - 김민정의 <죽은 개의 식사 시간>을 중심으로

김지혜 ( Kim Jeehye ) 고려대학교 한국어문교육연구소 2021 한국어문교육 Vol.35 No.-

이 연구의 목적은 다문화 소설과 이주민 독자 간의 문학 소통 양상을 확인하는 것이다. 이를 위하여 이 글에서는 먼저 이주민의 생활 사건과 정체성 문제를 소설적으로 재현한 김민정의 <죽은 개의 식사시간>을 정신분석비평에 따라 분석, 이주민의 정체성 문제가 욕망과 연결되어 있다는 해석을 도출하였다. 다음으로는 소설에 대한 외국인 독자의 반응 양상을 확인하기 위해서 한국 체류 중인 외국인 유학생의 감상문 12편을 심리학적 독자반응이론에 따라 분석하였다. 그 결과, 외국인 독자들은 자신의 이주 경험을 다문화 소설 해석에 적극적으로 활용하며 감상문을 통해 자신의 목소리를 내려고 하지만, 다문화 소설의 상징과 구조를 분석하거나 해석하는 데에 어려움을 겪는 것을 확인할 수 있었다. 다문화 현상이 지속됨에 따라 한국의 문학 담론과 문학교육 현장에도 다문화적 요소가 증가할 것으로 예상된다. 그런 점에서 다문화 소설과 그에 대한 이주민 독자의 반응에 초점을 맞춘 이 연구의 결과는 향후 다문화 소설 교육을 설계할 때에나 이주 경험을 지닌 학습자를 대상으로 소설 교육을 설계할 때 유의미한 관점을 제시해 줄 수 있을 것으로 기대한다. The purpose of this study is to identify literary communication between multicultural fiction and immigrant readers. First, I analyzed < Meal time of Dead Dog >, a fiction that presented migrants' experiences and identity issues based on psychoanalytic criticism. The derived interpretation is that the identity problem of migrants is connected with desire. Next, the essays by foreign students residing in Korea were analyzed according to the psychological independent response theory. As a result, it was confirmed that they actively utilize their migration experiences when interpreting multicultural fiction, and try to express their opinion, but have difficulty in interpreting symbols. As the multicultural phenomenon in Korea continues, multicultural elements will also increase in literary discourse and literary education. Therefore, this study, which focuses on multicultural fiction and migrant readers' responses, is expected to provide a meaningful perspective in terms of designing multicultural literature education or designing Korean literature education for migrant learners.