대중서사연구

Abstract

『Byeolgeongon』showedestablishmentofByul-Hakthatmeansabberational knowledge and academic system. Byul-Hak is a knowledge and discourse systems of a new perspective of keyword of people, popularity, citizenship, individuality, culture and private life. By thought of Byul-Hak, “national” subject of colonial Korea was converted to subject of “Homo-Tastekus”. Private life is a new “social” ares, was created by 『Byeolgeongon』. It means “birth of a new public sphere”, which was a great achievement of 『Byeolgeongon』. The way of 『Byeolgeongon』 to make “private life” was a way in which positioned in the category of knowledge as “private life”, and was located in the ‘new society’. Hybrid realities by borrowing the swapping of viewing were created by the thoughts of Byul-Hak. And the round-table discussion was a format that corresponds to this.

Abstract

Byeolgeongon is the first magazine to claim to advocate the promotion of the public taste in modern Korea, and so it is thought to be an important material in tracing the modern origin of popular culture in Korea. Because “fun” in Byeolgeongon was a key element, its editorial staff made an various attempt to draw the interest of the general public. We need to pay attention to ‘reportage’, one of their attempts, as the unique narrative strategy, which caught readers` interest. In this paper, I studied how the narrative of reportage in Byeolgeongon created ‘fun’, and tried to illuminate the popular-style writing shown there. “Reportage” in Byeolgeongon is an article reporting about it after reporters under the direction of the chief editor investigate a specific area during a limited time. Reporters, the subjects of narrative, are also the subjects of investigation, and they perform many roles. The object of investigation is primarily ‘Gyeongseong’ or ‘Seoul’ under Japanese Imperialism. In this case, the space of investigation includes such covert ones as the streets of ‘Gyeongseong’ at a certain time of day, a cesspool of crime, bar-whorehouses, boarding-house villages, private homes, and the like. The narrative in reportage may be summarized as follows. First, the process of investigation is described in detail in the present tense, and the vivid description of the target-site and the direct quote of on-site interviews give a sense of reality. Second, the adventure narrative that utilizes ‘infiltration’ and ‘disguise coverage’ of reporters adds interest and thrill. Next, the frequent psychological description of reporters increases the readers` understanding and empathy for the situation and investigators. Finally, revealing the hidden corruption of the subject of investigation and criticizing social conditions lead the readers to the pleasure. In view of the overall discussion above, it is important that ‘reportage’ in Byeolgeongon created the stereoscopic narrative, which enabled us to glimpse the hidden side of modern city. In other words, the narrative style of ‘reportage’ seems to have provided readers with ‘vicarious satisfaction’ in the way reporters lead them to the private space, which cannot be seen even if readers want to. I think this paper has a special meaning in that I have analyzed the narrative of ‘reportage’ in Byeolgeongon, which has seldom been dealt with so far, and examined how 'fun' is created in Byeolgeongon. However, it will be possible to reveal the complete narrative strategy after the narrative of the other articles in Byeolgeongon is also analyzed and considered in a comprehensive manner.

Abstract

There is a lack of general discussion about 『Byeolgeongon』, it because 『Byeol- geongon』 had advocated to hobbies and practical benefits. So it has significant meanings in terms of history as part of the narrative strategies and reconstruction of public memory to subsume for the 1920s public readers. It does not mean that simply pleasure or entertainment. It means that the spread of the Enlightenment and the public awareness in ‘hobbies’ or entertainment discourse of the 『Byeolgeongon』. To improve modern hobbies is not get rid of enlightenment. Rather, it means that the contemporary Korean reborn. As it were, the hobby discourse of byeolgeongon has a kind of nation discourse. This is called enlightenment and awakening of consciousness contributes to the role. I look at the history discourse to clarify. It because we can confirm select who to be indicators. As well as when it called these historical events and figures, we can found a narrative strategy.

Abstract

Abstract

The purpose of this paper is to explore the foundation and position of children’s literature by taking a close look at how radio programs for children had been realigned from the time Korea was liberated from the Japanese colonial rule until the post-war restoration period. First, children’s programs were among the regular radio programs during the liberation period. For example, <Children’s Time> which was reinstated in October 1945 was broadcast for fifteen minutes in kindergartens and primary schools across Seoul. Songs for children took center stage with considerable amount of stories and plays for children. It is noteworthy that female writers made strides during this period. Since October 18, 1946, when the American programming system was introduced, a signal music began to be used and <Toddlers’ Time> was newly broadcast. <Children’s Time> offered a variety of sub-programs to help young audience enhance the level of their culture, but existing creative works lost some ground. In particular, a pilot program 『Ddolddori’s Adventure』 resulted in a great success for which many competent writers worked together. The problem was that after about four years of broadcasting, good follow-up program was not produced, whose broadcasting was even suspended following the outbreak of the Korean War. Second, radio broadcasting was crippled in the middle of the Korean War and programs for children were broadcast again only after the broadcasting reorganization on December 16, 1951. During this period, <Stories from Grandmother> presented by the United Nations Command was translated and broadcast everyday, while wartime children’s songs were played on <Children’s Time> mainly by the children’s songs clubs of the military and police. As the number of writers for radio programs was not enough, other genres lost more ground and became more of the purposed literature. Third, radio programs for children during the post-war restoration period continued to change year after year. In 1953, <Toddlers’ Time> which focused mainly on children’s songs in the process of three rounds of reorganization, weakened, while <Children’s Time> continued to supplement its sub-programs but revealed unstability in its operation. At the time, creation of children’s literary works gradually increased but the share of literary writers was relatively small, which made it difficult to guarantee the quality and value of the works. In 1954 when the nation began to be stabilized, <Children’s Time> was broadcast longer and a series of new programs were introduced while <Toddlers’ Time> was scrapped. It was during this time when two of the popular quiz shows <What is this?> and <Children’s Play Series> started. Many professional writers also joined hands, enhancing the position of children’s literature and adding more weight to these programs. This trend continued until 1955. Meanwhile, the Christian Broadcasting Station, opened in 1954, began to regularly broadcast <Children’s Time> with a stable broadcasting format. Its sub-programs arranged religious works, dialogic plays with scientific themes and serials with a fixed schedule. As opposed to serials, most of which were adapted stories, creative works went on the air for short programs, where a lot of renowned writers of children’s stories and radio broadcast writers participated, expanding the scope for children’s broadcast programs. Given the discussions above, it is hoped that problems in some broadcasting stations will be fixed while the foundation can be laid for studying children’s literature in earnest.

Abstract

This paper attempts to critically reconsider the storytelling of the “Ttori Janggun” series produced during the theatrical animation buoyancy. The “Ttori Janggun” series, produced between the late 1970s to 1980s, holds contents that significantly affected contemporary children, along with the “Taekwon V” series. Especially <Tori Janggun – The Third Tunnel> and <Kkomaeosa Ttori>, which represent the “Ttori Janggun” series, illustrate the standards for differentiating between good and evil in the value oriented and the regulatory ruling order of the society at that time. What is more interesting is that these animations request for agreement and approval from the audience. Through this study it was found that there are various political and ideological implications in the process the main character Ttori overcomes the situation of his ‘father’s absence.’ Furthermore, it was possible to indirectly infer, in conscious and unconscious level, the effects on the audience of the children animations with similar characteristics that were released during the production buoyancy of theatrical animation at that time. It is judged that the study on the works of theatrical animation during the period of buoyancy is insufficient in terms of quantity and quality. This paper as well is limited to the two pieces of work that represent the ‘Ttori Janggun’ series. I hope this research on the works representing this period can be proceeded at various angles in the future.

Abstract

Jung Oonbok鄭雲復 was a japanese collaborator in period of Japanese occupation. But we must not discount his acting for patriotic enlightenment movement. He insisted exclusive use of Hangeul, and made efforts for patriotic enlightenment through public speech and newspaper editorials. We pay attention to his editorials about custom improvement and women enlightenment. It is different from other intellectuals’ direction in those days. His insisting is based on the discourse that Western culture is good. He insisted exclusive use of Hangeul but his writings have traditional Chinese style. In the writing style his newspaper editorials mainly have sensitive tendency of speech. Such a phenomenon was from his enlightening attitude and an agitative speech. On the other hand he wrote newspaper editorials very concretely. Because he wanted his writing would be used as guide for readers about concrete matters. It is also involved in enlightening attitude.

Abstract

This historical examination of film exhibition practices investigates “military movie theaters” in non-urban areas of Gwangwon-do in northeastern Korea. Gwangwon-do contained a few cities and many rural areas, isolated by mountains; thus, its rural inhabitants had little access to urban movie theaters. In several parts of this region, massive military camps were established near the DMZ, the military border with North Korea. In these camps, the army’s corps set up several military movie theaters from 1959 to the mid-1970s, with the financial support of the U.S. military. This paper explores three dimensions of the military movie theater. First, I examine the management of the movie theaters, including their openings, functions, roles, and audiences. Second, I look at the movie theaters in the contexts of the film industry from the late 1950s to the 1970s. Third, I study the meaning of the movie theaters in the contexts of society and the Cold War. As part of my study, I analyze written documents published by a film studies organization, oral testimonies from people involved in the movie theaters, and the Seoul and Gwangwon-do daily newspapers from the post-Korean War period. I conclude this study as follows: First, the management of the military movie theaters did not differ from urban ones that were more profit oriented. The films and the audiences of both types of theaters were quite similar. Propaganda and commercial films were screened for soldiers and rural civilians, including female prostitutes, at the military camps. Second, the movie theaters functioned as arenas for government policies by showing propaganda films and, at the same time, as substitute places for urban culture, which the rural people had not experienced because of the inaccessibility of mass media. Third, they provided entertainment for soldiers and their families. However, the movie theaters also earned profits for each army corps, since they showed commercial films to the civilians in their regions. Finally, the military movie theaters resulted in the eventual disappearance of temporary movie theaters and mobile film units in rural communities, leading to the reconstruction of film exhibition practices in non-urban areas. Accordingly, the movie theaters diffused culture and shaped public opinion by unifying the channels of film exhibition in many rural areas of Gwangwon-do.

Abstract

Motif is a theme that penetrate through a narrative and repeated in human life. A story contains this kind of motif is transformed and passed down to another story. Therefore motif is a source of narrative creation. For such a reason, many scholars tried to extract universal motives from stories and classify them. But these attempts have limit of classifying motives in parallel and doesn't have coherent logic. So this study proposes classification logic by using Levi-Strauss's binarity. Levi-Strauss explains a myth as derived story from theme of life and death that is primitive to human. These lasting motives contain binary tension that sustain themselves and go forward with a plot. The binary feature of motif could function as logic that explains relationship between similar motives.

Abstract

이 글에서는 쓰치야 레이코의『일본 대중지의 원류』에 대한 독해를 통해 근대적 매체인 신문의 등장 이후 한국 대중서사의 초기 전개 양상을 새로운 시각에서 고찰할 필요가 있다는 의견을 제시하였다. 『일본 대중지의 원류』는 한국 근대 초기의 신문과 서사 양식이 맺고 있는 상호 연관성을 이해하는 데 필요한 단서와 의미 있는 시사점들을 제공하고 있다. 일본의 소신문은 내용과 형식면에서 대중지향적인 속성을 강화함으로써 상층 계급을 대상으로 정론 표명에 주력했던 대신문을 압도하는 성장세를 나타냈고, 그 결과 이후 모든 일본 신문의 표준적·보편적 체제로 자리잡음으로써 현재와 같은 대중지의 원류가 되었다고 할 수 있다. 저자는 다양한 통계적 사실과 논거 제시를 통해 이와 같은 논지를 뒷받침하고 있는데, 일본 신문 및 대중서사에 대한 그의 논의와 근거들은 한국 근대 초기 신문의 대중 매체적 성격과 여기에 실린 다양한 서사물들의 속성을 이해하는 데 도움을 준다. 1895년 2월 창간된 『한성신보』는 비록 일인 발행 신문일지라도 한국 최초의 대중지로 볼 만한 특징들을 상당 부분 갖추고 있었다는 점에서 주목할 가치가 있다. 이후 한인 발행 신문들은 형식면에 있어서는 『한성신보』의 대중 지향적 체제를 수용하였지만, 내용면에 있어서는 공론 형성과 현실 비판에 주력하는 계몽 매체로서의 성격을 구현하고 있었다. 그러나 일본이 조선에 대한 배타적 지배권을 장악한 이후 한국 신문이 대중들과 정치적인 영역에서 소통할 수 있는 입지는 대폭 위축되었고, 기존 신문과 후발 신문 간의 독자 확보 경쟁 또한 대폭 심화되었던 것으로 보인다. 1906년에 집중되었던 소설란의 개설 및 이인직과 이해조에 의해 주도되었던 신문연재소설의 속출 현상은 이러한 언론 환경 및 신문 시장의 변화와 무관하지 않다고 본다. 요컨대 근대 초기의 신문들은 대중지적 성격을 갖고 있었던 일본 소신문의 영향 속에서 그 기본적인 틀이 마련되었지만, 시대적인 특수성으로 인해 정치 현실과의 역동적인 긴장 관계를 유지하고자 하는 경향을 보였다. 하지만 식민지화가 본격적으로 진행됨에 따라 신문은 사회적 공기(公器)로서의 역할을 담당하기 어려워졌고, 다시 대중지향적인 속성을 강화해 나갔다. 소설란의 본격적인 등장과 신문연재소설의 속출 현상은 신문사가 이러한 난관의 극복을 모색하는 과정에서 나타난 일종의 징후적 현상이며, ‘소설’이라는 표제 하에 초기 신문이 시도하고 기획하였던 서사물의 연재는 근대적 의미의 대중과 대중문학을 형성해내는 계기로 작용했다. 대중서사로서 소설(novel)은 신문과 대중의 상호작용 속에서 어느 순간 현상한 ‘부산물’이기도 하지만, 동시에 신문과 대중의 소통이 더욱 원활하게 이루어지도록 만든 ‘촉매’이기도 하다.