일제 강점기 동화시(童話詩) 연구 (A Study of Fairytale Poems during the Japanese Colonial Period)

서지정보

· 발행기관 : 한국아동청소년문학학회
· 수록지 정보 : 아동청소년문학연구 / 14호 / 235 ~ 281페이지
· 저자명 : 정진헌

초록

During the Japanese colonial period, a fairytale poem revealed ahybrid genre with a strong experimental spirit which covers both thenarration of fairytales and poetic rhythm. As a part of re-narration offolk tales and classical novels attempted by Choi Nam-seon and LeeGwang-soo in the 1910s, it had been kept alive as a lyric genre inchildren’s literature by few writers prior to national liberation.
However, it remained as undeveloped land in a short history.
In the early 1920s, Bang Jung-hwan’s efforts to collect ancient fairytales had a significant effect on the creation of children’s stories andproduction of fairy tale writers. During the translation and adaptationof foreign fairy tales, the re-narration of folk tales created traditionalfairy tales. Then, these traditional children’s stories were reborn intofairytale poems according to the writer’s consciousness or children’semotion.
In terms of fairytale poem writers, those from the juvenile movementincluding Kim Yeong-hui were active through ‘Jungoe Daily’ in the1920s. They built literary accomplishments through reading forumassociation or fairytale association in each region. In addition, they were able to engage in literary activities through exchange with KAPFwriters. Later, the fairytale poem was led by Yoon Seok-jung and KimTae-oh in the 1930s and Noh Yang-geun, Im In-soo and Lee Jong-sungin the 1940s.
Regarding the fairytale poem during the Japanese colonial period, abig difference is found between the 1920s and since the 1930s in termsof its contents and form. In the 1920s, it was usually re-narrated basedon traditional fairytales or fables under 7・5 or 4・4 syllabic rhythm. Inparticular, 7・5 syllabic rhythm was common because it was the rhythmof creative children’s songs as well at that time. Because a fairytalepoem focused on syllabic verse too much, however, poetic license wasintentionally permitted, or the traces of redundant expression werefound to match the tone. In contrast, it was significant in that it omittedbrutal contents for children, and the phases of the times were reflectedat re-narration.
Since the 1930s, on the other hand, a fairytale poem started to usecreative fairy tales. In addition, free verse instead of syllabic verse wasadopted. Yoon Seok-jung was the leading figure in this change. Heclearly isolated the circumstance from the 1920s by changing thecontents and form of the fairytale poem regularly. Moreover, thefairytale poem started to use poetic elements such as metaphor orimage more often entering the 1940s.
Unfortunately, however, the fairytale poem couldn’t go up to themainstream of children’s literature such as children’s song and fairytale. However, it shouldn’t be overlooked that it pioneered a new fieldin children’s literature with an experimental spirit, brought fun andpleasure to children and played an educational role.

영어초록

During the Japanese colonial period, a fairytale poem revealed ahybrid genre with a strong experimental spirit which covers both thenarration of fairytales and poetic rhythm. As a part of re-narration offolk tales and classical novels attempted by Choi Nam-seon and LeeGwang-soo in the 1910s, it had been kept alive as a lyric genre inchildren’s literature by few writers prior to national liberation.
However, it remained as undeveloped land in a short history.
In the early 1920s, Bang Jung-hwan’s efforts to collect ancient fairytales had a significant effect on the creation of children’s stories andproduction of fairy tale writers. During the translation and adaptationof foreign fairy tales, the re-narration of folk tales created traditionalfairy tales. Then, these traditional children’s stories were reborn intofairytale poems according to the writer’s consciousness or children’semotion.
In terms of fairytale poem writers, those from the juvenile movementincluding Kim Yeong-hui were active through ‘Jungoe Daily’ in the1920s. They built literary accomplishments through reading forumassociation or fairytale association in each region. In addition, they were able to engage in literary activities through exchange with KAPFwriters. Later, the fairytale poem was led by Yoon Seok-jung and KimTae-oh in the 1930s and Noh Yang-geun, Im In-soo and Lee Jong-sungin the 1940s.
Regarding the fairytale poem during the Japanese colonial period, abig difference is found between the 1920s and since the 1930s in termsof its contents and form. In the 1920s, it was usually re-narrated basedon traditional fairytales or fables under 7・5 or 4・4 syllabic rhythm. Inparticular, 7・5 syllabic rhythm was common because it was the rhythmof creative children’s songs as well at that time. Because a fairytalepoem focused on syllabic verse too much, however, poetic license wasintentionally permitted, or the traces of redundant expression werefound to match the tone. In contrast, it was significant in that it omittedbrutal contents for children, and the phases of the times were reflectedat re-narration.
Since the 1930s, on the other hand, a fairytale poem started to usecreative fairy tales. In addition, free verse instead of syllabic verse wasadopted. Yoon Seok-jung was the leading figure in this change. Heclearly isolated the circumstance from the 1920s by changing thecontents and form of the fairytale poem regularly. Moreover, thefairytale poem started to use poetic elements such as metaphor orimage more often entering the 1940s.
Unfortunately, however, the fairytale poem couldn’t go up to themainstream of children’s literature such as children’s song and fairytale. However, it shouldn’t be overlooked that it pioneered a new fieldin children’s literature with an experimental spirit, brought fun andpleasure to children and played an educational role.

참고자료

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