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원종찬 ( Jong Chan Won ) 건국대학교 동화와번역연구소 2010 동화와 번역 Vol.20 No.-
1946년 l2월 건국사상총동원운동과 더불어 문학예술 분야에서 반동적 경향과의 투쟁이 전개되었고, 이러한 문단 정비 과정에서 시집 `응향` 사건이 발생한 것은 잘 알려진 사실이다. 아동문학 부문에서도 `응향` 사건과 대응하는 `아동문화사` 사건이 발생했다. 북한의 공식적인 문학사에서는 `아동문화사` 사건에 관한 언급이 없지만, `해방 후 l0년간의 조선문학`을 돌아보는 1950년대의 문헌들에는 `해방 직후 아동문화사에 잠입한 순수문학 신봉자들의 정체를 폭로하는 투쟁으로부터 시작하여 이러저러한 형식주의 경향과 부르주아 이데올로기 잔재를 성과 있게 숙청했다`는 기록이 소략하게 나와 있다. 사건의 전말을 살필 수 있는 자료는 나타나지 않지만, 작가동맹의 기관지『아동문학』의 초창기를 회고하는 글들을 통해 어느 정도 이 사건의 윤곽을 그려볼 수 있다. `아동문화사` 사건은 이곳에서 발행되는 『어린 동무』 와 『어린이신문』 및 단행본들의 계급적 성격을 문제 삼아 내부 `불순분자`를 제거하고 출판사 명칭까지 바꾼 사건을 가리킨다. 아동문학 분야의 사상투쟁은 `응향`(1946. 12) 사건 이후인 1947년에 전개되었으며, 그 해 7월에 창간된 『아동문학』은 그 정점이었다. 이 잡지의 창간호는 이후와 다른 성격을 지녔다고 한다. 문제의 `아동문화사`에서 발행되었는데, 아동은 읽을 수 없는 `연구적 성격`의 이론 잡지였고, 잡지의 나아갈 방향도 명확하지 않았다는 회고글이 발견된다. 박세영의 「건설기의 아동문학」 이란 평론이 여기 발표되는 등 부르주아적 잔재를 소탕하는 투쟁에서 박세영·이원우·김우철의 역할이 지대했다는 기록이 보인다. 이 당시 사상투쟁의 결과로 `아동문화사`의 간판이 내려진 것이다. `아동문화사`는 `청년생활사`로 이름을 바꾸고 계급적 성격을 강화해서 새로 『소년단』을 펴냈다. 『아동문학』은 2호부터 박세영이 출판부장으로 있는 북조선문학예술총동맹 직속의 문화전선사에서 나왔다. `아동문화사` 사건은 `응향` 사건보다는 파장이 적었지만, 아동문학 부문의 첫 번째 사상투쟁으로 자리매김 된다. It is a well-known fact that, in December 1946, a fight against reactionary trends began in the literature and art area together with a campaign to promote the national ideal envisioned on the founding of a country, and a collection of poems `Eunghyang Event` happened during this rearrangement process of the literary world. Also in the children`s literature area, `dongmunhwasa Event` similar to `Eunghyang Event` took place. Although `Adongmunhwasa Event` is not mentioned in the official literature history of North Korea, `We successfully cleaned up formalism and vestiges of bourgeois ideology including a conflict disclosing pure literature advocators who infiltrate Children`s Culture Magazine right after the 1945 Liberation` was recorded briefly in documents written in 1950s reviewing `Korean literature for 10 years after the 1945 Liberation`. Even though detailed materials showing the whole story of the event are not found, the outline of the event can be drawn to some extent through writings recollecting the first stage of Children`s Literature, an official magazine of the Union of Writers. During the `Adongmunhwasa Event`, rebellious elements in the publishing company were eliminated and the company name was changed due to characteristics of classes of Young Friends, Children`s Newspaper and other separate books published by the company. The ideological fight in the children`s literature area began in 1947 after `Eunghyang Event`(December 1946), and Children `s Literature that was founded in July of the year was at the zenith of it. It is said that the inaugural issue of the magazine had different characteristics from issues after that time. There is a recollection that the magazine was an academic and theoretical magazine that couldn`t be read by children, and the object of the magazine was not clear. There is also a record that Park Se-yeong, Lee Won-wu and Kim Wu-cheol played a great role in cleaning up vestiges of bourgeois ideology, for example, a criticism by Park Se-yeong titled "Children`s Literature during the Construction Period" was published in the magazine. The signboard of `Adongmunhwasa` was forced to come down as a result of ideological fights at that time. `Adongmunhwasa` changed its company name to `Cheongnyeonsaenghwalsa` and began publishing Sonyeondan by reinforcing characteristics of classes. From the second issue, Children `s Literature was published by Munhwajeonseonsa that was directly under North Korea Literature & Art Union where Park Se-yeong worked as a manager of Publishing Department. Although `Adongmunhwasa Event` has smaller effect that `Eunghyang Event`, it is considered the first ideological fight in the children`s literature area.
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원종찬 ( Won Jong-chan ) 인하대학교 한국학연구소 2016 한국학연구 Vol.0 No.40
본고는 현덕의 장편 소년소설 『광명을 찾아서』에 관한 필자의 이전 논문의 후속편이다. 이전 논문에서는 현덕의 모든 작품들을 대상으로 ‘부권부재’ 양상의 상호텍스성을 살펴 작가의 월북동기를 밝히는 데 초점을 두었다. 이번 논문에서는 『광명을 찾아서』의 아동문학적 가치를 ‘리얼리즘 소년소설의 계보’라는 관점에서 살피는 데 초점을 두었다. 여기에서 확인되는바, 정부 수립 직후에 나온 『광명을 찾아서』는 식민지시대 리얼리즘 소년소설 계보와 분단시대 리얼리즘 소년소설 계보를 잇는 핵심고리였다. 카프(KAPF) 작가를 방계로 친다면, 직계는 ‘방정환-이태준-현덕-이원수-권정생’으로 이어지는 그림이 그려진다. 이 계보는 한국 소년소설의 전개에서 등뼈에 해당한다. 이 계보의 소년소설이 보이는 공통점은 ‘불우한 소년주인공’과 ‘폭력적인 시대 환경’으로 요약되는데, 현덕은 ‘소년의 성장’이라는 요소를 추가함으로써 ‘소년소설의 리얼리즘’을 본궤도로 올려놓은 중간 전환점이었다. 엄밀한 의미에서 그에게 ‘소년소설의 개척자’라는 칭호를 부여할 수 있는 이유가 여기에 있다. This study is one just followed previous thesis about 『In Search of Light』 written by Hyun Duk. The previous study focused on figuring out his motive of going to North Korea, investigating intertextuality of ‘absence of paternal authority’ situation in all the works of Hyun Deok. On the other hand, this study focused on exploring value of children’s literature from viewpoint of ‘genealogy of realism juvenile novel’. As identified here, 『In Search of Light』 published just after the foundation of Korean government was a link to connect genealogy of realism juvenile novel in colonial era with genealogy of realism juvenile novel in the era of divided country. The KAPF writers could be classified to collateral line while this would be a direct line-‘from Bang Jeong-hwan, Lee Tae-joon, Hyun Duk, Lee Won-soo, to Gwon Jeong-saeng’. The genealogy would be a backbone in the development of Korean juvenile novel. The common points shown in the juvenile novel in the genealogy are summarized as ‘unfortunate boy hero’ and ‘violent environment of the era’. Hyun Duk developed ‘realism of juvenile novel’ into further elaborate form by adding the element of ‘boys’ growth’ to above two points. This is the reason why the title of ‘a pioneer of juvenile novel’ can be given to him in the strict meaning.
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원종찬(Won, Jong-Chan) 한국아동청소년문학학회 2012 아동청소년문학연구 Vol.- No.10
Division of our country is new historical accident in Korean children’ literature. Largely, the period from independence in 1945 until ceasefire is reorganization period of children’ literary circles in South and North Korea. This paper tried to explore origin of N. Korean children’ literature by investigating the process of reorganization of children’ literary circles during the period. As ‘orth Chosun arts union’was organized in Pyungyang on March 25, 1946, literary circles with different pursuit each other were formed in South and North Korea. And writers in KAPF in Japanese ruling era played an important role in the process of arranging N. Korean literary organization. They are important figures of ‘eomgunsa’such as Song Yeong, and Park Se-yeong, KAPF members such as Shin Go-song, Lee Dong-gyu, Kim Wu-cheol, Lee Won-woo, Jeong Cheong-san, Hong Goo, Park A-ji, Eom Heung-seop etc ?the KAPF members actively acted in 『Byeolnara』and『Shinsonyun』. They actively acted for establishment of N. Koreanliterary circles fit to way of the political party during the period from ‘orth Chosun arts union’to ‘hosun literature and the arts union’including 6.25 war. N. Korean children’ literature formed active lineup in 1950s under the influences of defected writers to N. Korea who can be KAPF ‘on-convert axis’and existing writers in N. Korea. Especially, Song Yeong, Park Se-yeong, and Han Seol-ya were initial essential figures who instructed children’ literature part which remained in weak area until then. In short, N. Korean literary circles had this history to be formed: Yeomgunsa(1923)―KAPF(1925)― Chosun proletarian literary union(1945)― North Chosun literature and the arts union (1946)― Chosun literature and the arts union (1953). There are such clear flow and major writers of 『Byeolnara』and 『Shinsonyun』were in the center of the flow as beginning forces. From this, it can be known that N. Korean children’ literature in 1950s when division situation was fixed was originated from literature movement based on socialism connected to ‘eomgunsa’in Japanese ruling era. However, from 1960s, historical origin was changed by influences of Caesar due to characteristics of N. Korean political system. That is, status of KAPF fell and literature of anti-Japan revolution focused on Kim Il-seong newly appeared. Accordingly, it is necessary to identify that present N. Korean children’ literature becomes more far from tradition of children’ literature in Japanese ruling era.
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ACCase 저해 제초제 cyhalofop-butyl에 대한 경남지방 수집종 피의 저항성
원종찬,원옥재,하준,임일빈,강광식,변종영,박기웅,이증주,Won, Jong Chan,Won, Ok Jae,Ha, Jun,Im, Il-Bin,Kang, Kwang Sik,Pyon, Jong Yeong,Park, Kee Woong,Lee, Jeung Joo 한국잡초학회한국잔디학회 2018 Weed & Turfgrass Science Vol.7 No.2
Repeated use of ACCase inhibiting herbicides for a long time has resulted in increases of resistant Echinochloa oryzicola populations in paddy fields in middle west area of Korea. This study aims to investigate current status of herbicide resistant E. oryzicola in Gyeongsangnam-do, in which there is less information about herbicide resistance. For resistance frequency and dose-response study, seeds from 100 individual plants of E. oryzicola in Gyeongsangnam-do were collected and tested with cyhalofop-butyl. Seven percent of plants from Gyeongsangnam-do was resistant at a recommended rate of cyhalofop-butyl. $GR_{50}$ values (herbicide rates required to reduce plant growth 50%) for one representative resistant populations and five susceptible populations were $738g\;a.i.\;ha^{-1}$ and 66-234 (average 147)$g\;a.i.\;ha^{-1}$, respectively, indicating average 5 times difference in resistance. Although lower rate of frequency of herbicide resistance in Gyeongsangnam-do than in Jeollabuk-do, increases of herbicide resistance are expected in this area because of increases of direct seeded rice fields and increases of dependence on a specific herbicide. Therefore, it is necessary to monitor herbicide resistance regularly and conduct integrated herbicide resistance management in this area. 경남지역 제초제 저항성 피의 발생현황과 저항성 정도를 알아보기 위하여 벼 재배 논에서 100개체의 피 종자를 수집하여 ACCase 저해제인 cyhalofop-butyl에 대한 약량반응 실험을 수행한 결과, 수집한 피의 7%가 저항성으로 조사되었다. 선발된 감수성 5개체의 $GR_{50}$값은 평균 $147g\;a.i.\;ha^{-1}$로 나타났고, 함양 지역의 저항성 개체의 $GR_{50}$값은 $738g\;a.i.\;ha^{-1}$ 로 R/S (ratio of resistance to sensitivity)값은 5.01배로 나타났다. 현재 경남지역에서의 저항성 피의 발생 수준은 낮은 것으로 나타났지만, 저항성 피의 확산을 지연시키거나 막기 위해서는 주기적인 저항성 피의 모니터링과 체계적인 저항성 잡초 관리방안을 마련하여 수행할 필요가 있다.
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원종찬 ( Jong Chan Won ) 건국대학교 동화와번역연구소(구 건국대학교 중원인문연구소) 2006 동화와 번역 Vol.11 No.-
Children`s literature established and has developed a branch of literature by contrast with adults` literature after modern age. Even though the own area of children`s literature was recognized clearly, general literary men who make growth of its quality are not a few. Among them, literary men of Guinhoe (Associate for nine literary men) contributed to promote the nursery rhymes and the fairy tale to modern literary art. Jeong, Ji-Yong promoted `the nursery songs` which were direct emotion exposing and weren`t free itself from the fixed type to `the nursery rhymes` which were the free type to call attention the emotion by objects and images, and Lee, Tae-Jun developed the fairy tale focused on `story` which are unreal and schematic plot to the fairy tale focused on `character creation`. Park, Tae-Won shown to overcome the ideality of proletariat children`s literature overwhelming of the days with improved the form. Even though they had different size of contribution, the nursery rhymes and the fairy tale by the literary men of Guinhoe influenced to children`s literature history significantly as their poem and novels did to Korean literature story. The task to review superior tradition and property with a new viewpoint like this will supply a great reference to today`s children`s literature which is subjected self renovation according to the time change.
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원종찬(Won, Jong-chan) 한국아동문학학회 2011 한국아동문학연구 Vol.- No.20
동아시아 한자어권에서 참요(讖謠)의 뜻을 품고 있던 ‘동요(童謠)’가 아동문학 장르로 자리매김된 것은 일본에서 그 의미를 근대적으로 창안해서 사용한 이후부터이다. 일본에서는 어린이잡지 『빨간새(赤い鳥)』(1918) 동인이 새롭게 ‘동요’와 ‘동화’ 운동을 벌였는바, 이들 명칭은 색동회가 주도한 『어린이』(1923)를 통해 한국에 확고히 정착하게 된다. 그런데 일본에서는 명확히 구분되었던 ‘시인이 쓴 창작’으로서의 ‘동요’와 ‘어린이가 쓴 작문’으로서의 ‘아동자유시’가 한국에서는 구분되지 않았다. 이는 일제강점기의 한국아동문학이 소년운동과 함께 전개되었기 때문이다. 소년회는 일제로부터 탄압받는 비제도권 사회교육운동기관의 성격을 띠고 있었다. 근대적 기반이 허약했던 한국아동문학은 소년회를 기반으로 해서 발전할 수 있었다. 1920년대의 동요 이론은 ‘창가에서 동요로’라는 구호 아래 아동성, 예술성, 음악성을 강조하는 내용들이다. 이는 아동성을 낭만적으로 미화한 일본의 동요 이론에서 영향 받은 것이다. 그런데 일본어로 된 ‘창가’와 달리 한국어로 된 ‘동요’는 민족의식을 일깨우는 매개로 작용했고 학교에서는 이를 금기시했다. 동요가 지닌 이런 정치적 효과 때문에 소년운동의 지도자들은 소년문예운동을 전개했다. 1930년대의 동요 이론은 아동성, 예술성, 음악성을 현실적ㆍ계급적 관점에서 파악해야 한다는 내용들이다. 이때, 고정된 정형률로부터 벗어난 자유율의 ‘동시’를 주장하는 이론이 등장한다. 처음에 ‘동시’는 정형률에 서투를 수밖에 없는 10세 이하 어린이들의 창작을 고무하기 위한 방편으로 주장되었다. 이에 대해 10세 이상의 ‘소년시’를 주장하는 이론이 또 나와서 대립한다. 동시 이론도 역시 일본의 이론으로부터 영향 받은 것이지만, 그 역사적 맥락은 달랐다. 한국의 동시 논의는 프롤레타리아동요운동을 배경으로 한다. 즉 소년문예운동의 방향전환을 계기로 동요ㆍ동시 논쟁이 전개된 것이다. 아동문학의 운문 장르가 ‘동요’와 ‘동시’로 구분 정립되는 과정에서 기존의 연구가 간과한 신고송, 송완순과 프롤레타리아동요운동에 응분의 몫이 주어져야 한다. ‘Children’s song’ including the meaning of prophetic song in areas of East Asia in which Chinese characters had been using became the genre of children’s literature since its modern sense was invented and being used in Japan. Child magazine “Red bird” (1918) coteries newly launched movements of ‘children’s song’ and ‘children’s story’ in Japan and these names became firmly established through child magazine “Children” (1923) led by SaekDongHoe. ‘Children’s song’ as an ‘original written by a poet’ was clearly separated from ‘children’s free verse’ as a ‘composition written by a child’ in Japan, but they were indistinguishable in Korea. The reason was that Korean children’s literature in the Japanese colonial period had been developed with youth movement. Theories of children’s songs in the 1920’s were contents to emphasize nature of child, artistry and rhythm under the slogan of ‘from enlightening song to children’s song’. This was affected by a theory of children’s song in Japan in which the nature of child was beautified romantically. However, ‘children’s song’ written in Korean was acting as a medium to awaken the national consciousness unlike ‘enlightening song’ in Japanese, and it was prohibited in school. Leaders of youth movement developed the literary movements of the youth due to these political effects. Theories of children’s songs in the 1930’s were contents to understand the nature of child, artistry and rhythm under practical and hierarchical views. At this point, the theory to propose the children’s verse of free verse deviating from the fixed rhythm emerged. In Japan, ‘children’s free verses’ written by children were clearly separated from ‘children’s song’ or ‘children’s verse’ written by adults, but they weren’t in Korea. The theory of children’s verse was also affected by theories in Japan, but its historical context was different. Discussion of children’s verse in Korea was based on the proletarian children’s song movement. Debates related to ‘children’s song’ and ‘children’s verse’ had been deployed upon the change of direction of the literary movements of the youth.
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