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.