韓国における小川未明 -方定煥(パンジョンファン)への影響-

최연희,小埜裕二 대한일어일문학회 2023 일어일문학 Vol.97 No.-

This article discusses the influence of Mimei Ogawa, a pioneering Japanese author of children's stories, on the theory of children's literature-especially about children’s story-of Jeong-hwan Bang, who pioneered the movement of developing the genre of children's stories in Korea. It has already been pointed out that Jeong-hwan Bang's theory of children's literature, <Saero Gaecheokdoeneun Donghwae Gwanhaya(Regarding newly developed children's stories)> was strongly influenced by Mimei's theory of children's literature, <Watashi ga Dōwa wo Kaku Toki no Kokoromochi(My feelings when I write a children's stories)>. In this article, this article reexamines the depth of influence, and it also discusses the background of Jeong-hwan Bang's fascination with Mimei’s children's stories. Moreover, this paper also points out the differences between the two writer’s theory―a kind of values ―of children's stories. First, Jeong-hwan Bang was growing and optimistic, by contrast, Mimei was passive and sceptical. Next, Jeong-hwan Bang considered a childhood as something that leads to "reflection on real life" and "improvement of ideals", whereas Mimei considered it as "an atmosphere of beauty and sorrow". Jeong-hwan Bang did not accept Mimei's theory of children's literature unquestioningly, but he made choice that was suitable for writing growing children's stories, in accordance with the actual situation in Korea at the time. Additionally, that differences were investigated through a comparison between Jeong-hwan Bang's <Chilchildan eui Bimil(The Secret of the Seventy-seven Divison)> and Mimei's <Minato ni Tsuita Kuronbo (The Black Man Arrived at the Port)>. Lastly, The paper also examines how Mimei incorporated the theme of mutual aid into his stories, and discusses the possibility that the transformation of Mimei’s motif influenced the theme of ‘mutual aid’that was observed in Jeong-hwan Bang's <Mannyoen Shasseu(The Shirt that is Wearing for Ever)>. Mimei affected Jeong-hwan Bang in two ways: developing the genre of children's literature and promoting the idea of mutual aid, but his belief was consistently unchanged. This article describes Mimei was not afraid of coping with the changes and influences of modern Japan., meanwhile Jeong-hwan Bang was also a writer who lived without fear of change(influence), and had a strongness to carry through his convictions.

해방 후 방정환전집과 강소천전집의 존재 양상

장수경(Jang, Su-kyung) 한국아동청소년문학학회 2014 아동청소년문학연구 Vol.- No.14

This article attempts to explore the structure and changes of the collection of Jeong-hwan Bang and that of So-cheon Kang, which are individual authors’ anthologies published after the 1945 liberation. Korean juvenile literatures established a new tradition after the 1945 liberation until the 1970s, which was a period where a creation direction of the Korean juvenile literature was designed by collecting and assigning artworks with literary value. Jeong-hwan Bang and Socheon Kang are authors who can be included to the canon genealogy of the Korean juvenile literature history after the liberation until today. Therefore, this article focuses on two authors’ collections reflecting the changes of Korean juvenile literatures. From 1945 to the early 1960s, the value standard to evaluate Korean juvenile literature was not only collecting and excluding a certain genre but also in having literary value. It is the reason that adventurous detective stories could be selected in the planning of individual authors’ collections, and the name of Jeong-hwan Bang got distributed while being symbolized as Korea’s leading children’s book author. In the late 1960s, the collection of Jeong-hwan Bang, however, focused more on his aspect of a children’s rights activist not the reputation as a genuine creative writer. On the other hand, the collection of So-cheon Kang was first published by Baeyoungsa in 1963. After multiple revisions and improvements in the 1960s and 1970s, it earned a reputation as the leading collection of Korea juvenile literatures. In the discussion of pure juvenile children’s literature initiated in the mid-1960s, the collection of So-cheon Kang was highly acclaimed by the critics and researchers of the time in that it collected and arranged artworks with literary and artistic values. In 1981, Mooneumsa planned the collection of Jeong-hwan Bang and that of So-cheon Kang in 15 volumes. The advertisement of the time greatly promoted that they were an anthology collecting the artworks of the two prominent authors of Korea juvenile literature, Jeong-hwan Bang and So-cheon Kang. In this perspective, it can be learned that Jeong-hwan Bang and So-cheon Kang were publicly acknowledged as a “children’s rights activist” and a leading author of “Sunsumunhak(pure literature)” respectively.

일제시기 젠더 문화의 일면 – 젠더사로 다시 읽는 방정환 –

이지원 연세대학교 국학연구원 2019 동방학지 Vol.186 No.-

Bang Jeong-hwan was looking at the issue of women as the normative gaze of modern colonial modernism. Emphasized the identity of the individual as an awareness of modern civilization and the discovery and manifestation of a modern individual for the advancement of women and society. For the manifestation of women as individuals, Bang Jeong - hwan totally approved free marriage of women and free marriage. And advocated "new family" centered on married couples formed by free love and free marriage. As a member of the modern nation, the "New Women" should be a socially independent entity, and at the same time, it is set as a nurturing child with a beautiful and noble maternity in the new family. In addition, the writings about the New Women of Bang Jeong - hwan crossed the satire of the new personality and the gaze of the masculine voyeurism and entertainment. His writings, which recreated the New Women, often revealed a moral advantage over women who were masculine in their gaze. In the New Women Enlightenment, masculinity was working. This masculinity was a dualism in which the imperialist way of thinking was naturally transferred to colonial men and that the existing customs and prejudices of women were not completely overcome. By these masculinities, the new women became objects of enlightenment and became subjects of satire and amusement. Paradoxically, such a new woman could have been the key to liberating colonialism and masculinity, but Bang Jeong-hwan's new women discourse did not reach that level. This seemingly contradictory description of the new women leads to a deep understanding of the colonial male intellectual, Bang Jeong-hwan, who was an incomplete cultural enlightenment, progressive and innovative but had limitations. From this point of view, the writings on the new women of Bang Jeong-hwan will bring about various discussions and interest about femininity and coloniality, and provide rich material for colonial modern gender culture history. 방정환은 어린이운동가, 아동문학가로 알려져 있으나, 1919년 3·1운동 이후 ‘문화정치’시기 천도교청년회 출판문화사업의 중심이었던 개벽사에서 발행한 여성잡지 『신여성』의 편집인 겸 발행인으로도 활동하며, 여성에 대한 글들을 많이 발표하였다. 이 논문은 이러한 그의 이력에도 불구하고 그동안 주목되지 않았던 그의 여성담론·여성문화에 대한 글들을 젠더사의 관점에서 검토한 것이다. 방정환은 식민지 근대기 근대 계몽의 규범적인 시선으로 여성문제를 바라보았다. 근대 문명화의 자각한 개인으로서의 주체성과 여성의 진보와 사회의 진보를 위해 근대적인 개인의 발견·발현을 강조했다. 여성의 개인으로서의 발현을 위해 방정환은 여성의 자유연애와 자유결혼을 전적으로 찬성하였다. 그리고 자유연애와 자유결혼으로 성립된 부부중심의 ‘신가정’을 옹호했다. 신가정 옹호론에서 신여성은 근대 국가의 일원으로서 사회적 자립적 존재가 되어야 하는 동시에 신가정 내에서 어여쁘고 숭고한 모성으로 보드랍고 천진한 동심을 양육하는 존재로 설정되었다. 또한 방정환의 신여성에 대한 글들에는 신여성에 대한 풍자와 남성적 관음·오락화의 시선이 교차하고 있었다. 사치와 허영심으로 신여성의 일상을 근대성의 일탈로 풍자한 이중적 시선에는 여성에 대한 기존의 관습과 선입견이 완전히 극복되지 않은 가운데 여성을 관음하고 오락화하는 남성적 시선이 작동하고 있었다. 신여성을 오락화한 그의 글들은 종종 남성적 시선으로 타자화 된 여성에 대한 도덕적 우위를 드러내기도 했다. 이는 남성적 권력구조의 젠더문화가 식민지에도 작동되고, 여성에 대한 기존의 관습과 선입견이 완전히 극복되지 않는 것을 보여줬다. 이러한 한계의 시선으로 신여성은 계몽의 대상이 되기도 하고 풍자와 오락의 대상으로 타자화 되었다. 젠더사의 관점에서 본 방정환의 신여성 문화기획은 여성 개인과 신가정에 대한 근대적 계몽과 신여성을 오락화하는 이중성을 보여주었다. 또한 근대성과 식민성이 교차하는 가운데 형성된 식민지 근대 젠더 문화에 대한 풍부한 소재와 관점을 제공한다.

방정환 구연 설화의 특성과 의미 -『온돌야화』(1927), 『조선민담집』(1930) 수록본을 중심으로-

박현숙 ( Park Hyeonsuk ) 방정환연구소 2022 방정환연구 Vol.8 No.-

이글은 정인섭의 『온돌야화』(1927)와 손진태의 『조선민담집』(1930)에 수록된 방정환이 제보한 설화 6편의 특성과 의미를 분석한 연구이다. 방정환이 제보한 6편의 설화는 정인섭의 『온돌야화』(1927)에 실린 <산과 강>, <어느 양반의 이야기>, <포도대장>, 『온돌야화』에서 57편의 설화를 추가한 『Folk Tales from Korea』(1952)에 실려 있는 <호박장군>, 손진태의 『조선민담집』(1930)에 실린 <개와 고양이의 구슬>, <수탉전설>이다. 먼저, 방정환의 설화 서사 구성 전략을 전통 계승과 변용을 중심으로 살펴보았다. 전통적인 설화 구성 전략은 다음과 같다. ① ‘서두(序頭) 공식구’와 ‘용궁 노정’ 화소의 삽입과 같은 ‘공식적 표현’의 활용이다. ② 대표적인 설화문법인 ‘대립과 과장 기법’의 사용이다. ‘대립과 과장’은 <호박 장군>에서처럼 ‘식욕’과 ‘배출’의 상황적 대립과 과장, <산과 강>, <포도대장>에서처럼 거성(巨性)과 소성(小性)의 인물적 대립과 과장으로 드러나는데 방정환은 이를 통해 설화다운 해학적이고 유쾌한 웃음의 미학을 완성한다. 개성적인 텍스트 구성의 변주 전략은 다음과 같다. ① 구전설화의 구성 요소를 당대의 현실성과 민족성을 강화시키는 요소로 변주한다. ② 단일서사에 다른 서사를 결합하는 방식의 ‘복합서사화’ 변주가 두드러진다. ‘복합서사화’는 핵심 단일서사의 조합, 여러 구전설화 에피소드에 창작 에피소드 병합으로 이루어진다. 방정환은 설화의 서사 구성에서 여러 에피소드 병합의 변주를 통해 ‘인과응보’ 주제의식을 강화하여, 일제 식민의 암울한 현실 속에서 대중에게 희망을 제시하였다. ③ 설화의 서사 구성에 ‘미스터리 기법’을 적용하고 있다. 방정환 구연 설화의 의의는 첫째, 기존의 아동문학으로 국한된 방정환의 연구 범위를 성인 향유 대상의 구술문학까지 확장하였다. 둘째, 설화 서사 구성의 변주 속에 방정환 동화에 주로 담긴 사회적 의미가 함의된 바, 방정환 구연 설화의 서사문법적 특성을 확인할 수 있었다. 셋째, 방정환 구연 설화에 변주된 화소와 기법은 현대 동화 창작에서 활용적 가치가 크다. This study analyzes the characteristics and meaning of six folktales reported by Bang Jung-hwan, which are included in Jeong In-seop’s Ondolyahwa(1927) and Son Jin-tae’s Choseon Folktale Collection(1930). The six folktales reported by Bang Jung-hwan are as follows. < The Moutains and the Rivers >, < The Story of a Gentleman >, and < The Police Marshal > are included in Jeong In-seop’s Ondolyahwa(1927). < General Pumpkin > is included in Folk Tales from Korea(1952), which added 57 folktales to Ondolyahwa. In Son Jin-tae’s Choseon Folktale Collection(1930), < Dog and Cat’s Bead > and < Legend of the Rooster > are included. This paper examines the text composition strategy of folktales chosen by Bang Jung-hwan, focusing on the tradition and transformation of folktale narrative composition. Bang Jung-hwan’s traditional composition strategy of folktale utilizes formulaic expressions, and a representative example is the insertion of the ‘introductory formula’ and ‘the palace of sea kings journey’ motif. He also uses folktale grammar of confrontation and exaggeration. In < The Moutains and the Rivers > and < The Police Marshal >, the humorous and hilarious aesthetics of laughter of folktales are completed through the confrontation and exaggeration of characters with giant and small characteristics. His strategy of variation in the composition of unique texts transforms the constituent elements of oral folktales into ingredients that reinforce the reality and nationality of the time. In his folktales, a variation on making ‘multiple narrative’ of combining a single narrative with other narratives stands out. Making ‘multiple narrative’ is completed by combining a single core narrative and merging creative episodes into several oral folktale episodes. In the composition of the folktale’s text, Bang Jung-hwan strengthened the theme awareness of ‘punitive justice’ through variations of the merging of several episodes, and presented hope to the public in the dismal reality of Japanese colonial era. He also applied the ‘mystery technique’ to the text of folktale. The first significance that can be found in Bang Jung-hwan’s folktales is that it expands the scope of research on Bang’s author theories and works, which were limited to children’s literature, to oral literature for adults to enjoy. Second, the social meaning mainly contained in Bang Jung-hwan’s fairy tales in the variation in the composition of the folktale text, confirming the narrative grammar of Bang Jung-hwan. Finally, the motifs and techniques that are varied in the folktales of Bang have great utility value in the creation of modern fairy tales.

「왕자와 제비」에 나타난 방정환의 내러티브

박종진(Park, Jong-jin) 한국아동문학학회 2016 한국아동문학연구 Vol.- No.30

방정환이 1922년에 발간한 동화집 사랑의 선물 은 외국 아동문학을 소개한 중요한 동화집이다. 동화집 세 번째 작품은 영국의 시인이자 극작가 Oscar Wild의 The happy prince를 번역한 「왕자와 제비」이다. 이 작품이 일본어판을 저본으로 해서 번역을 했다는 연구결과를 검토하고 방정환 번역의 특징과 서사 변형의 의미를 살펴보았다. 이를 위해 영어 원작, 일본어 중역판, 방정환 번역판의 문장을 비교 분석했다. 문장 분석 결과를 토대로 다음과 같은 방정환 번역의 특징을 발견할 수 있었다. 먼저, 방정환은 외국 동화를 한국에 소개하기 위해 다양한 번역문을 참고했고, 독자의 이해를 중시하며 작품 전달성에 중점을 둔 문장으로 고쳐쓰기를 시도했다. 둘째, 도입부의 서사 변형을 통해서 제목이 「왕자와 제비」가 된 이유를 설명하고, 제비의 성격과 역할을 선명하게 드러냈다. 이를 통해 제비는 왕자의 뜻에 동조하고 실천하는 ‘하늘의 사도(천사)’로서, 근대 시기 조선의 개혁을 이끌어갈 어린이를 표상하고 있다. 끝으로 결말 부분의 변형은 텍스트가 던지는 메시지의 변화를 가져왔다. 원작에서 기독교적 결말로 지상에서의 삶보다 신의 나라에 오르는 사후 세계에 주목하고 있다면, 방정환은 지상에서 사람들의 존경과 사랑을 받으며 영원한 행복을 누리는 왕자와 제비를 그림으로해서 천도교에서 지향하는 ‘지상 천국 건설’을 구현했다. 방정환의 번역은 근대조선이 일제 식민지였다는 제한된 문화 환경에서 꽃피운 독특한 글쓰기 방식이었다. 앞으로 방정환의 번역을 검토함에 있어 단순한 일본어판의 ‘중역’이라는 범주 안에서 일본과의 유사성에 초점을 맞추기보다 방정환의 ‘독자적인 문제의식’에 주목하는 관점이 필요하다고 하겠다. The gift of love published in 1922, is an important work in developing Korean children’s literature. Third work is a poet and playwright Oscar Wild’s The happy prince, this work by the Japanese translation review looked at studies that translation ana meaning of Bang, Jeong-hwan translation of narrtive features and modifications. For this purpose, English version, Japanese, koreans, executive board, Bang, Jeong-hwan was analyzed in translation. Parsing the results could be found based on the Bang, Jeong-hwan translation feature. First, Bang, Jeong-hwan is in reference to the varius version of Japanese to introduce foreign fairy tales in Korea, and the readers mainly focused by rewrite. Second, through the change of the introducion titled The prince and swallow explaining the reason was. As a means of tuning the lots and roles through which the prince and of practicing ‘angles’, and represent the child to lead the modern choson’s future. And last, the change of the ending part is brought to a text meaning changes throw. The work of Bang, Jeong-hwan was unique writing style in Modern choson. As I focuced the translation of Bang, Jeong-hwan that will require attention in point of view with Japanese version of the ‘executive’ of Bang, Jeong-hwan.

방정환의 초기 번역소설과 동화 연구 -새로 찾은 필명 작품을 중심으로_

염희경 ( Hee Kyung Yeom ) 건국대학교 동화와번역연구소(구 건국대학교 중원인문연구소) 2008 동화와 번역 Vol.15 No.-

There has been a pen name known as ‘Poyeong(泡影)’, which appears in the novel Dong-myeong(東明), and a name ‘Seomong(曙夢)’, which seems to have been the pen name of a person who announced adapted nursery stories through the magazine Gaebyeok(開闢). In this article, both pen names are presumed to have belonged to Bang Jeong Hwan. It is this writer’s intention to secure bases that would support that presumption. Bang Jeong Hwan is known to have used more than 20 pen names, and names like ‘Seomong’ and ‘Poyeong’ do seem to be like terms that might have originated from the same context from which Bang’s other pen names such as ‘Payeong(波影)’ or ‘Mongjungin(夢中人)’ would have been created. Also, considering the nature of Bang’s overall works, the magazines through which he announced his novels and stories, and also his other activities of the time which have remained unknown until recently, it is highly probable and possible that these two names were indeed pen names used by Bang Jeong Hwan himself. Hopefully, the task of determining Bang’s previously unknown pen names(like these two), and also searching for activities of his that have not been discovered yet, would contribute to the overall studies of literary history dealing with the Korean modern era. Also examined in this article, Bang Jeong Hwan’s years of translation efforts were not unrelated to the process of the Koreans’ accepting and embracing Socialism, which was considered as one of the modern philosophies at that time. By determining such quality harbored by Bang’s own efforts, it would become possible to view the ‘translation’ efforts of the time as a turning point which enabled the Koreans’ acceptance of Socialism and subsequent modification of it in a certain fashion that would have suited and benefited to the Korean situation

‘소설가’ 방정환과 근대 단편소설의 두 계보

염희경(Yeom, Hee-kyung) 한국아동청소년문학학회 2013 아동청소년문학연구 Vol.- No.13

This article focuses on Bang Jeong-hwan as a ‘novelist’ that has been shaded behind his fame as a writer of juvenile stories or activist for juveniles. Bang Jeong-hwan was active as a ‘literary youth’ from the late 1910’s till the early 1920’s, the period of formation of Korean modern short stories, and received attention as a rising novelist of the time. The researches on Bang Jeong-hwan’s novels should be genuinely investigated not only because they have significance in the history of novels during the formation of modern short novels but also because they allow us to examine his literature and thought multilaterally. Bang Jeong-hwan’s novels are classified into two genealogies: ‘novels of work-study students’ and ‘romantic novels’. In his ‘novels of work-study students’, he described the dream and despair of workstudy students pursuing a ‘position’ in the colonial modern era realistically. According to the difference of the media selector or chief readers, the novels of this genealogy are divided into the ones that highlight the aspects of youths dreaming of and striving for a ‘position’ or ‘success’ despite the poverty and hardship and the others that stress the desperate situation in which work-study students’ dream gets defeated by unjust reality brutally. Meanwhile, his ‘romantic novels’ show the new youths or new women of that time were in the path to declare parting from the feudalistic order of the olden days through free love. However, it could not reach love as the realization of personality or freedom but still held the limitation of adopting the structure of the enlightenment such as trust or the national cause. Bang Jeong-hwan created ‘novels of work-study students’ during the 1910’s, the end of the Enlightenment and approached ‘romantic novels’ in the early 1920’s when romanticism appeared, and again, in the place that was blocked, he showed his transfer to satiric causeries revealing corruption of the time. From the series of processes that he created novels, we can see that the three tendencies of Enlightenment, Romanticism, and Realism penetrating his literature are complexly associated and played as variations.

방정환 번역의 ‘굴절’과 스코포스 - 『왕자와 제비』를 중심으로

이미정(Lee mijung) 한국근대문학회 2021 한국근대문학연구 Vol.22 No.2

이 논문의 목적은 방정환의 번역동화 『왕자와 제비』에 나타난 스코포스에 대해 알아보는 것이다. 방정환은 사이토 사지로의 『왕자와 제비』를 저본으로 삼고 있다. 사이토 사지로는 원작 오스카 와일드의 『행복한 왕자』의 시간 구성을 재배치하는 방식으로 ‘아동’이 읽기 쉽게 하는 데 목적을 두고 있었다. 방정환 역시 아동 독자를 대상으로 삼았지만 저본으로 삼은 사이토 사지로 작품과 많은 차이를 볼 수 있다. 이는 방정환이 『왕자와 제비』를 번역한 목적이나 스코포스에서 차별성이 드러난다는 뜻이다. 저본과는 차이가 나는 지점을 굴절로 파악하고, 이를 첨가, 축소 및 생략, 대체로 나누어 살펴보았다. 방정환의 『왕자와 제비』에서는 굴절을 통해 생생한 현장감 있는 묘사, 감정의 극대화, 개연성의 보완이라는 효과가 드러난다. 그의 번역본에서는 그가 소망하는 이상적 세계관이 내재되어 있다. 이처럼 『왕자와 제비』에는 아동 독자의 작품에 대한 몰입과 감정 이입, 자신의 사상을 전달하고자 하는 스코포스가 잘 나타나 있으며, 이를 방정환 번역의 특성으로 제시할 수 있다. The purpose of this thesis is to find out skopos in Bang Jeong-hwan"s translation of fairy tale, The Prince and the Swallow. Bang Jeong-hwan’s version is based on Saito Sajiro"s The Prince and the Swallow. Sajiro Saito aimed to make it easier for “children” to read, by rearranging the time structure of the original Oscar Wilde’s The Happy Prince. Bang Jeong-hwan is also aimed at children"s readers, but there are many differences from the work of Saito Sajiro. This means that the purpose of Bang Jeong-hwan"s translation of The Prince and the Swallow, or the difference in skopos, is revealed. The point of difference from the original manuscript was identified as refraction and divided into addition, reduction and omission, and replacement. In Bang Jeong-hwan"s The Prince and the Swallow, through refraction, the effects of vividly realistic depiction, maximization of emotion, and complementation of probability are revealed. In his translation, the ideal worldview he aspires to be embedded. As such, The Prince and the Swallow shows children readers" immersion, empathy, and skopos to convey their thoughts, which can be presented as a characteristic of Bang Jeong-hwan"s translation.

개벽사의 잡지 발행과 편집진의 역할

정용서 한국민족운동사학회 2015 한국민족운동사연구 Vol.0 No.83

개벽사에서는 1920년 6월 『개벽』을 발간한 이래 1935년 3월까지 15년간 모두 9종 406호의 잡지를 간행하였다. 이 글에서는 이들 잡지의 간행 현황과 추이를 살펴보고, 각 잡지의 편집에 참여한 이들이 누구였는지를 1920년대를 중심으로 추적하였다. 1920년 6월 창간한 『개벽』은 처음에 김기전, 박달성, 이돈화, 차상찬 등이 중심이 되어 편집하였다. 1922년 6월 창간한 『부인』은 현희운이 편집책임을 맡다가 9월호부터 박달성이 뒤를 이었다. 『어린이』는 1923년 3월 창간호부터 방정환이 편집을 책임졌다. 방정환은 1924년 3월호부터 『어린이』와 『신여성』의 편집을 함께 담당하였다. 1925년에 들어 방정환은 『어린이』 편집에만 주력하기로 하고, 『신여성』은 다른 사람이 맡기로 하였다. 『신여성』 1925년 2월호부터 5월호까지는 신영철이 편집을 책임졌고, 8월호부터 이듬해 신년호까지는 허정숙이 맡았다. 1926년 5월호부터는 신영철이 다시 편집에 참여하였다. 1926년 11월 『별건곤』이 발행되면서 내용 중복 등을 이유로 『신여성』을 휴간하였다. 『별건곤』은 차상찬과 신영철 두 사람이 편집을 책임지고, 『어린이』는 방정환과 이정호가 그 역할을 했다. 『어린이』와 『별건곤』 2종류의 잡지만 간행된 1927­1928년은 개벽사의 잡지 발행이 가장 불안정했던 시기였다. 1928년 말에 개벽사에서는 소년소녀를 대상으로 한 『어린이』, 남녀학생을 대상으로 한 『학생』, 일반대중을 대상으로 한 『별건곤』이라는 잡지 발행 체제를 갖추려고 하였다. 그 일환으로 『어린이』는 1929년 신년호부터 내용을 한층 쉽게 편집하였고, 최영주 이태준 등을 신입기자로 채용하였다. 1929년 말에는 채만식 박로아 성선희 김원주 등이 새로 입사하였다. 1930년 가을에는 『학생』을 폐간하고, 『신여성』을 다시 발간하기로 결정하였다. 『신여성』 편집은 방정환과 종래 『학생』을 편집했던 최영주를 중심으로 하고, 『별건곤』 『어린이』 담당자들이 협력하기로 하였다. Kaebyeoksa published a total of 406 magazines of 9 varieties for 15 years, beginning with the publication of Kaebyeok in June 1920, until March 1935. This study examines the state and progress of publication rates for its magazines. Also the people who participated in the editing of each magazine are studied retrospectively. The first Kaebyeok created in June 1920 was initially edited mainly by Kim Gi-Jeon, Bak Dal-seong, Yi Don-hwa, and Cha Sang-chan. Hyeon Hui-un was initially responsible for editing Bu-in first published in June 1922, and Bak Dal-Seong took over from the September issue. As for Eorini, it was edited by Bang Jeong-hwan starting with the first March publication of 1923. Bang Jeong-hwan was responsible for the editing of both Eorini and Sinyeoseong starting with the March 1924 publication. By 1925, Bang Jeong-hwan decided to focus only on the editing of Eorini, and Sinyeoseong was to be another person’s responsibility. Sin Yeong-cheol became editor for the February to May’s edition, year 1925, of Sinyeoseong, and Heo Jeong-suk took that position starting from August’s edition to the New Year’s edition the following year. Starting from the May 1926 edition, Sin Yeong-cheol again participated in the editing. With the publication of Byeolgeongon in November 1926, Sinyeoseong’s publication was suspended due to reasons such as repetition of contents. Those who were responsible for the editing of Byeolgeongon were Cha Sang-chan and Sin Yeong-cheol and for Eorini, Bang Jeong-hwan and Yi Jeong-ho. 1927 to 1928, in which only two sorts of magazines, Eorini and Byeolgeongon, were published, were times in which Kaebyeoksa’s magazine publications were most unstable. In the end of the year 1928, Kaebyeoksa made an effort to equip itself with a system in which Eorini targeted young boys and girls, Haksaeng targeted teenagers, and Byeolgeongon the general public. As a part of such an effort Eorini was edited to be an easier read starting from the New Year’s edition year 1929, and employed were Choe Yeong-ju and Yi Tae-jun as new reporters. In late 1929, Chae Man-sik, Bak Ro-a, Seong Seon-hui and Kim Won-ju entered the company. In fall 1930, the magazine Haksaeng’s publication stopped and it was decided Sinyeoseong will be published again. The editing of Sinyeoseong was to center Choe Yeong-ju, who had edited Haksaeng previously, and Bang Jeong-hwan. Those responsible for the editing of Byeolgeongon and Eorini were to participate.

방정환 ‘귀신 동화’의 형성과 의미 연구

김경희 국문학회 2015 국문학연구 Vol.0 No.32

The paper says the interest in oral story with this Bang Jeong-hwan, he would like to explore what we want to convey the message to children through the left by three contemporary ghost convenience fairy tale. Bang Jeong-hwan has published a translation of donghwajip July 1922 Gift of love and participate in Child magazine in saekdonghoe activities and activists boy while storytelling is a well-known person landscape. Meantime, research on Bang Jeong-hwan is not without its part by organizing his work focuses on nuclear verification of the translation work. In this paper, Bang Jeong-hwan understand the demons content fairytale three-friendliness configured based on the oral stories and looked at what they preach story newly constructed specifically. As a result, in January 1921, ‘Those who ate a ghost’ this is the first time introduced the Seongchil away to eat the fish directly to the villagers confused demons believe he has changed the fish was relieve anxiety about the ghosts. October 1924 ‘Ghosts of Seongchil catch - the sequel to the ghost ate people’ Seongchil is based on the experience showed in the first part in a demanding wealth of the rich and daughters solve the problem caught the servant Seongchil is a fake ghost reign and that it became the son-in-law's house. In August 1925, ‘Candle ghost’ who gave the villagers to buy a candle held in Seoul, the village people do not know the use case went to the teacher with the most literate in the neighborhood. Also the teacher did not know how to use them to eat were boiled to recognize that the candles a whitebait. Once people know that the people of the village went to Seoul ate boiled candle, it was known as the candle turn on the lights, not the whitebait. Let the villagers trying to chase the stranger regarded as a cigarette falls in the water all the concerns that ignite in his bat watched because it is a joke of the goblin village people are talking head puts the water depth more surprised. ‘Candle ghosts’, it is this figure which could harm arbitration confusion, as ‘People who eat the ghosts’ absence. Bang Jeong-hwan is a wise person like this and seongchil solve the problem, a person such as a teacher of geulbang confusing ghost appeared in the fairy tale by emphasizing that it is to possess knowledge and experience in contemporary children. 이 논문은 방정환이 지닌 ‘이야기’에 대한 관심을 통해서, 그가 남긴 귀신동화의 형성과정과 당대 어린이에게 전달하고 싶었던 메시지를 밝히는 데 목적이 있다. 방정환은 1922년 7월 『사랑의 선물』이라는 번역동화집을 발간하고, 색동회 활동과 함께 『어린이』잡지에 참여하였다. 소년 운동가이면서 동화 구연가로 널리 알려졌다. 그간, 방정환에 대한 연구는 그의 업적을 정리하고 번역 작품의 원전 확인에 주력한 부분이 없지 않다. 이에 본고에서는 방정환이 어떤 이야기를 바탕으로 귀신동화 3편을 구성했는지를 점검하고, 새롭게 형성된 이야기들이 전하는 메시지를 구체적으로 살펴보았다. 1921년 1월 처음 소개된 「귀신을 먹은 사람」은 성칠이가 자신이 바꿔 놓은 생선을 귀신이라고 믿고 혼란스러워하는 마을 사람들을 위해 생선을 직접 먹어 치워 귀신에 대한 불안을 해소시키는 이야기이다. 1924년 10월「성칠의 귀신잡기-귀신 먹은 사람의 속편」에서 성칠이는 전편에서 보여준 경험을 바탕으로 부잣집에 재물과 딸을 요구하면서 가짜 귀신노릇을 한, 하인 성칠이를 잡아서 문제를 해결하고 그 집안의 사위가 되었다. 1925년 8월「양초 귀신」은 일본 고지마 마사지로(小島政二郞)의 「로소쿠 우오(ろうそく魚)」를 바탕으로 형성되었다. 서울에 다녀온 인물들이 마을 사람들에게 선물로 양초를 주고 양초의 사용법을 몰라 그 쓰임새를 마을에서 가장 연장자이거나 글방 선생을 찾아가 물었다. 그들은 모두 사용법을 몰랐지만 양초를 물고기(백어)라고 하면서 마을 사람들에게 끓여 먹으라고 하였다. 후에 양초를 가져온 사람은 마을 사람들이 양초를 끓여먹은 것을 알고, 그것은 먹는 것이 아니라 불을 켜는 양초라고 알려 주었다. 마을 사람들은 자신의 뱃속에 불이 붙을 것을 염려하여 모두 물속에 빠지는 것으로 이야기가 끝난다. 방정환은 일본의 마사지로(小島政二郞)의 「로소쿠 우오(ろうそく魚)」의 서사 구조를 그대로 가져왔다. 그러나 질문을 하지 않는 마을 사람들과 글방 선생을 통해서 그들의 허위의식을 꼬집고, 나그네와 도깨비를 등장시켜 마을 사람들의 혼란을 가중시키고 있다. 방정환식의 개작이 일어났다. 방정환은 문제를 지혜롭게 해결하는 성칠이와 같은 인물과, 혼란을 가중시키는 글방 선생과 같은 인물을 ‘귀신 동화’에 등장시켜 당대 어린이가 지녀야 할 덕목으로 지식과 경험, 자신의 무지를 인정하는 것을 이야기를 통해서 강조하고 있다.