일제강점기 아동문학 비평 논쟁의 양상과 의미

류덕제 한국아동청소년문학학회 2023 아동청소년문학연구 Vol.- No.33

There were several debates surrounding the criticism of children’s literature during the Japanese occupation. These debates included the 「Sogeumjaengyi (Water Strider)」 plagiarism debate, the Saero pin mugunghwa(Newly Blooming Rose of Sharon) plagiarism debate, the pro/anti children’s literary movement debate, the children’s song/poetry debate, and the ‘Dongsimjapgi’(Children’s Innocence) debate, among others. The debates on plagiarism were fueled by the desire for publicity and honor. These debates hold historical significance since they give us a glimpse into the perception of plagiarism at the time and remind us of the importance of original creation. The children’s song/poetry debate revolved around naming a representative branch of children’s literature. It was debated both directly and indirectly by numerous people over an extended period, but a clear conclusion was never reached. The ‘Dongsimjapgi’ debate presented an opportunity to broaden the horizons of the concept of children’s innocence but ultimately devolved into a contentious dispute. Other debates focused on differences in the perspectives of proletarian children’s literature and personal opposition to criticisms. A debate is valuable only if it leads to insights into issues and guides the direction for solving problems through arguments, counterarguments, and rearguments. Some of the debates previously described have their significance, while most did not reach a desirable level due to numerous personal reactions and unilateral attacks based on one’s political orientation. Nevertheless, the critical debate on children’s literature during the Japanese occupation should be recognized for its significance as highly developed criticism that attempted to address problems by sharing various perspectives and issues in a challenging environment.

윤복진의 월북과 「우리 대장 들어온다」

류덕제 한국아동문학학회 2018 한국아동문학연구 Vol.- No.35

Yun Bok-jin’s defection to North Korea was unexpected. His literary activities during the Japanese colonial period were based on the ideology of child-innocence, distinguishing him from the class-oriented children’s writers whose views had been compatible with those of the Korean Proletarian Artist Federation(KAPF). Asmost of the writers that defected to North Korea after liberation were class-oriented and were involved in KAPF, it is reasonable to find Yun Bok-jin’s defection surprising. However, it is possible to assert that Yun Bok-jin’s defection could have been foreseen, considering his literary movement after liberation. Not only did he join the KAPF, he also played a leading role in an important position in the class-based literary organization. Unlike his activities immediately after liberation, his Kkot-cho-rong Byeol-cho-rong(Flower Lanterns Star Lanterns), published in 1949, contains works focusing on the ideology of the innocence of childhood. It can be interpreted that Yun’s views matched those of the leftwing, which took control of the literary world immediately after liberation, and that he then shifted his stance again to align with the rightist government after its establishment in South Korea. His defection to North Korea during the Korean War was seen as another reversal. His move during the Japanese colonial era and after liberation was different. He himself criticized his previous literary perspective, but only published works with the ideology of innocence of childhood. Considering his defection to North Korea after the Korean War, it is difficult to say that his moves were consistent. His shifting stance could be evidence that he pursued or was forced by the current of the time. However, this explanation leaves his voluntary defection unexplained. “Uri-daejang-deuleo-onda(Here Comes Our Captain)” has been referred to as a groundwork for Yun Bok-Jin’s shift during the liberation period. Jeong Yeong-jin insisted that Yun publicly declared some kind of turnaround by joining the National Guidance of Alliance(Bodo-League) in 1949 and publishing anti-communist children’s songs. Subsequent researchers seemed to accept this criticism as it was. However, the original “Uri-daejang-deuleo-onda(Here Comes Our Captain)” reveals that this claim is unsubstantiated; Jeong Yeong-jin was incorrect about the book’s publication as well as its contents. First, Jeong wrongfully claimed that “Uri-daejang-deuleo-onda(Here Comes Our Captain)” was published after 1949, when the book was actually published on December 8, 1945. Next, Jeong’s quote of the song writes that the “Communist Army” should retreat and the “Communist Army's flag” should be ripped off. However, the original text says that the “Japanese Army” should retreat and that the “Japanese’s Army’s flag” should be ripped off, making its meaning entirely different. Since the content and publication date were confirmed to be different from those originally claimed by Jeong Yeong-jin, his argument that Yun intended to stay in South Korea, conforming to the anti-communist system by announcing “Uri-daejang-deuleo-onda(Here Comes Our Captain)” should be dismissed. I leave the task of finding consistency in Yun Bok-jin’s literary work during the Japanese colonial period and his literary activities in the liberation period to subsequent research.

반응 중심 문학교육에 대한 비판적 고찰

류덕제 한국어문학회 2005 語文學 Vol.0 No.90

This thesis is aiming to research critically about the theory of response-centered literature education. Particularly, I intended to investigate the Rosenblatt's theory on 'response', 'efferent & aesthetic stance', and it's reflections in elementary Korean language textbooks. I think this theory has some problems as theory of literature education in Korean classrooms that the students are over forties, and Korean language textbooks could not adopted the theory desirably.I, therefore, want to seek the problems of the theory when it is used as a educational methods. Next, I want to corroborate the problems in the textbooks how the theory is practiced.To conclude, I could find out some basic problems of this theory, because it is not educational theory but literary one. The alternative is how we choose good literary texts and contain the full text in the textbook. And then, we have to give students enough time and they can respond to literary texts.

구성주의 관점의 문학 교육

류덕제 한국초등국어교육학회 2001 한국초등국어교육 Vol.18 No.-

문학 교육의 변화를 주장하는 논의들이 많다. 대개 지나친 분석으로 인해 문학 텍스트의 이해와 감상이 이루어지지 못하고, 문학사와 문학 이론적 지식을 주입하고 암기하는 일방적인 수업이 문제라는 요지이다. 교육 과정과 교과서를 통해 살펴본 이러한 문제를 개선·극복하기 위해 이 논문에서는 구성주의 관점의 문학 교육 방안을 찾아보았다. 구성주의 문학 이론은 경험 사실의 구성을 바탕으로 문학 텍스트의 해석이 독자의 주체적인 활동을 통한 의미 구성이라고 본다. 개인적 의미 구성은 사회적 인지(social cognition)라는 측면에서 상호 소통을 통해 사회적 상호 공인을 지향한다. 이러한 활동은 문학의 생산, 전달, 수용, 가공이라는 문학 과정을 바탕으로 한다. 문학 과정은 '문학-체계'라는 확대된 지평과의 상호 소통을 전제로 한다. 구성주의 문학 이론이 철학적 정당성을 확보하고 있다고 하여 실천적 가능성까지 담보하는 것은 아니다. 교실 실천을 위해, 개인적 구성→개인간 구성→사회적 구성의 절차를 가진 모형을 제시하였다. 언어를 바탕으로 한 상호 작용과 대화라는 구성주의 정신을 살리기 위해 인터넷 홈페이지를 통한 '임의 접근 교수-학습'이 가능하도록 하는 방안과 비평과 상위 비평을 통한 문학 교육을 제시하였다. Literature education should be changed. Because it should be escaped from the excessive analysis of literature text, spoon-feed way of knowledge transmission about theory and history of literature, and one-way of knowledge transmission about theory and history of literature, and one-way rote memory instruction. Constructivism points not to the author's intention and text-centered literature education but reader-centered. Constructivism points not to author's intention and text-centered literature education but reader-centered. Constructivism, therefore, will be able to the new paradigm of literature education. Constructivists don't believe that knowledge exists in the outside world objectively. They assume that knowledge is constructed according to the context and situation. So, constructivist's view of literature education argues that the reader constructs the meaning of literature text independently. But the construction of meaning might fall down to the arbitrary disorder. Social constructivism intends to the social negotiation through interaction and dialogue. Constructivism theory of literature also seems to have the philosophical validation. However, it doesn't have the practical possibility of literature education either. A model of literature education for the classroom application was presented. That is, the procedure of individual construction → interpersonal construction → social construction is so. Enhancing the spirit of constructivism of interaction and dialogue based on language, the use of internet homepage was emphasized. Because it helps random access instruction possible. It activates criticism and meta-criticism, so literature education for the improvement of literature ability can be possible.

윤복진의 동요곡집 『도라오는 배』

류덕제 한국아동문학학회 2023 한국아동문학연구 Vol.- No.46

최근 윤복진의 유족이 소장 도서를 공개하였는데 그 가운데 『도라오는 배』가 들어 있어 처음으로 그 내용을 확인할 수 있었다. 『도라오는 배』는 창작 동요곡집이 아니라 『중중ᄯᅦᄯᅦ중』에서 6편, 『양양범버궁』에서 7편 도합 13편의 동요를 발췌해서 등사판으로 발간한 동요곡집이다. 출판사는 『중중ᄯᅦᄯᅦ중』, 『양양범버궁』과 같은 대구 무영당서점이다. 이 책의 서문(재간사)에서 『중중ᄯᅦᄯᅦ중』과 『양양범버궁』의 출간연도를 각각 1931년과 1932년으로 명기해 놓아 지금까지 불분명했던 윤복진・박태준 동요곡집의 서지사항이 분명해졌다. 그리고 『양양범버궁』에 수록된 것으로 알려진 「옥수수가 운다」와 「가요곡풍의 아리랑」의 악보와 가사가 처음 확인되었다. 지금까지 『양양범버궁』의 실물이 공개되지 않아 제목만 알려졌던 두 노래의 실체를 『도라오는 배』의 발굴로 확인하게 된 것이다. 『도라오는 배』에는 노래의 정서 및 창작 배경과 음악적 내용의 해설을 덧붙여 놓았다. 전자는 윤복진의 동요를 깊이 있게 이해하는 데 도움이 되는 자료이고, 후자는 음악교육가들을 위한 것으로 문학과 음악이 융합된 예가 될 것이다. 윤복진이 동요를 창작할 때 노래로 불릴 것을 염두에 둔 것임을 알 수 있다.

초등학교 국어 교과서 시 제재에 대한 비판적 검토

류덕제,임성규 한국초등국어교육학회 2004 한국초등국어교육 Vol.26 No.-

초등학교 국어교과서 시 제재는 초등 학습 독자가 향유할 문학 경험의 양태와 비중을 고려할 때 그 중요성이 가중된다고 할 수 있다. 하지만, 수록 작품의 질과 그 구체적 실천인 문학 교수-학습 상황이 초등 시 교육에 걸 맞는 독자성과 정체성을 추구하고 있는가에 대해서는 검토의 여지가 필요한 것이 '지금 여기'의 현실이라고 판단된다. 특히 문학 교수-학습의 이론적 패러다임은 학습자 중심, 독자 중심의 문학 교육을제창하고 있지만, 실제적인 교수-학습 맥락과 교실 수업 맥락은 여전히 신비평적인분석과 지식 중심의 패러다임에 함몰됨으로써 제 기능을 다하고 있지 못함은 그 반증이라 하겠다. 또한, 작품 수록의 경우 학습자의 흥미를 지나치게 추구하거나 동시대적 경험을 일정 비중 이상 중시함으로써 보다 밀도 있게 다루어야 할 아동문학사적 시각이 탈색될 우려가 있는 것으로 생각된다. 그러므로 이를 타개하기 위해서는 문학작품 선정에 있어 아동문학의 연구 성과가 하나의 준거로 작용하여 온축된 아동문학 비평의 성과가 반영되어 아동문학사적인 가치가 있는 작품도 일정 비율로 포함되어야 마땅하다. 즉, 아동의 흥미와 문학사적 가치의 조화라는 '자율과 강제'의 오묘한 배합을 이루어내어야 한다. 그렇게 본다면 실제 교실의 교수-학습 맥락과 맞물린 작품 선정과 작품의 문학 교육적 작용을제대로 실현시키기 위해서 '자율과 강제'를 모두 고려하는 작품 선정이 이루어져야하는 것이다. 또한, 실제적인 교과서 작품 검토는 구체적인 교수-학습 맥락과 교실 수업 내의 미시적이고 세심한 결을 어루만지는 관점에서 이루어져야 한다. 이는 작품이 실제교실의 문학 수업에서 작동하는 구체적 상황 맥락을 보다 정치하게 드러내 주기 때문이다. 부연한다면, 이러한 비판적 검토를 통해 기술된 사항들은 독자 변인인 초등학생들의 발달 단계와 흥미, 텍스트 변인인 작품의 난이도, 그리고 사회-문화적 변인인 외재적 검열, 학문적 변인인 문학사적 가치 등을 종합적으로 고려한 작품선정 기준 마련을 촉구하는 기초적 시각 표출의 성격을 가지며, 이를 바탕으로 문학 제재 선정과 제재의 교육적 작용력에 대한 종합적 연구 수행의 밑바탕을 제공하고자 한다. Poetry material in the elementary Korean language textbook has very important priority about quality of literary experience. But, aspect of collected work and form of specific practice haven't unique personality and identity. So, we pursuit these aspect at now and here reality of life. Specially, theoretical paradigm following up student-centered, reader-response literary education, but practical teaching-learning context is surrounded analytic paradigm. Besides, if concentration of student's interest go beyond bounds, children's literary historical point of view is decolored. Therefore, selection of literary work must reference result on children's literature study and selection of meaningful literary work consider equally children's interest and literary historical value. Reflection of teaching-learning context on practical classroom and literary educational operation enable consideration of self-control and compulsion Practical examination of textbook have to perform at the concrete teaching-learning context and micro viewpoint in the classroom lesson. And, abrupt breathing of actual teacher should reflect. Investigated items offer basic foundation for selection and operation of literary material. These problem considerate elementary student's development stage, interest, textual readability, external censor, literary historical value.

『새싹』과 『아동』 : 해방기 대구 지역 아동문학의 발단

류덕제 근대서지학회 2020 근대서지 Vol.- No.21

일제강점기 아동문학 서평의 양상과 의미

류덕제 한국아동청소년문학학회 2023 아동청소년문학연구 Vol.- No.32

I analyze the book reviews for children’s literature from Japanese colonial era by dividing them into the following: reviews of preface and postscripts; children’s story and tale collections; children’s literature anthology; and children’s song collections. Children’s literature was poorly treated in the literary world, and reviews accounted for only about 20% of published books. Book reviews function to introduce books and help readers choose. In addition, from the perspective of authors and publishers, it has promotional effects that leads to sales. For this reason, book reviews were mostly commissioned by authors or publishers to acquaintances and authorities, thus being favorable for sales but not significant in terms of criticism. However, there was a lot of sharp criticism in independent reviews, and even in requested reviews some expressed their criticism indirectly. Book reviews of children’s literature from the Japanese colonial period were lacking in many ways, but they hold historical value from today’s point of view. In addition, they contributed to the formation of the field of children’s literature and functioned as a cornerstone enabling self-renewal of the literary circle. In the future, it is necessary to progress to book review research of the liberation period and beyond. This will show what effects book reviews had on the development and readership of Korean children’s literature, consequently giving direction to the current and future publication of children’s literature as well as the reader’s choice.

박영종의 동시론 연구

류덕제 한국아동문학학회 2022 한국아동문학연구 Vol.- No.43

박영종의 동시론은 해방 이후 한국 아동문학에 크게 영향을 미쳤다. 그래서 박영종의 동시론을 종단하면서 형성과정과 지향점 그리고 의미를 살펴보는 것은 의미가 있다고 생각한다. 박영종의 동시론은 창작방법론, 감상론, 서평, 발문 등으로 크게 나눌 수 있다. 이 외에도 일종의 이론비평으로서 동요와 동시의 구분 문제를 살핀 것이 있고, 아동문화 향상의 길을 모색한 짧은 단평도 있다. 박영종 동시론의 중심은 창작방법론과 감상론이다. 그의 글쓰기 방법이 예시작품을 제시하고 시어의 표현, 율격, 비유, 시의 짜임 등을 논평하는 식이어서 창작방법론이나 감상론이 크게 다르지 않은 측면이 있다. 어느 것이건 이른바 ‘동심주의’에 기초해 있고, 시적 언어 표현과 기교에 치중하고 있다. 해방기와 한국전쟁 이후 한국문단이 문협정통파 곧 순수문학 중심으로 재편되면서 박영종의 동시론은 아동문학의 주류로 자리를 잡았다. 박영종의 동시론은 동화적이고 신비로운 환상적 세계가 기조를 이루고 있다. 그리고 시적 언어 표현과 기교에 치중한 나머지 사회와 현실에 대한 관심은 아예 설 자리가 없었다. 형식주의 문학론의 관점에서 보면 박영종의 공을 인정해야 할 것이지만, 동시에 아동문학론을 협소화하였고 그 바람에 아동을 실제 삶의 현장으로부터 유리시켰다는 비판을 받을 만하다. 박영종은 동요와 동시의 갈래 구분에 관심이 많았다. 그 자신 동요가 아니라 동시 작가로 자처한 만큼 오랜 기간 갈래 구분을 위해 노력했다. 그러나 일제강점기에 있었던 동요–동시 구분 논쟁에서 별반 달라진 것이 없고 사변적인 설명만 덧붙이고 말았다.

일제강점기 아동문학가의 필명 고찰

류덕제 한국아동청소년문학학회 2016 아동청소년문학연구 Vol.- No.19

This Study examines pennames of children’s literature writers. The most important reason of identifying penname is to complete research of writers and their works. It is impossible to complete research of writers and their works if the researcher fails to identify who he or she is, or even mistakes one for another writer. Further, it is impossible to bring light on what relationships individual writers or work(criticism) have with the literary history as parts and the whole. However, there are much to be desired since few magazine’s missed edition was not yet found. Also there were many references which the institutions that hold it were unknown, or even if known, it still was not accessible, thus leaving feel of lack. If researcher could access these references, then more children’s literature writers’ accurate penname could be verified. Further, if researchers whose goal is same as mine fill the lack and correct the wrongs, it would be a great help to form the basis of study on children’s literature. I have confirmed that misidentification of writers happened in cases of Ahn Junsik and Ahn Pyeongwon, Jeong Cheongsan and Jeong Cheol, Nam Eungson and Nam Seokjong, Choi Byeonghwa and Goj eop, Jeong Suncheol and Jeong Woohae and etc. Verification on ‘Gwamokdongin(果木洞人)’, ‘Duryusanin(頭流山人)’, ‘Gungjeong dongin(宮井洞人)’, those who were unidentifiable till now, have been made. Identification on usage of various pennames by Noh Yanggeun, Oh Gyeongho, Han Baekgon have also been made, and I hope it to become an essential pre-task useful for further study on writers and their works. Finally, I will indicate some points that are still unresolved whichresearchers on children’s literature should soon solve: Parangsae [Blue Bird] is Yoon Bokjin’s penname, although not very well known. However, it was not identifiable whether five children’s song Bi-o-nen-nal [Rainy Day], Geo-mi [Spider], Su-yang-beo-deul [Weeping Willow], Bom-no-ri [Spring Outing], Ga-rang-bi [Drizzle] made public by Maeli Sinbo in name of Parangsae was written by him. Verification of who ‘Wolgokdongin(月谷洞人)’ is was impossible, since finding adequate reference could not be done. I am also curious who Park Noil(朴魯一) and Park Sangwoo(朴尙愚) would be, who was deeply involved in editing and writing of Byeolnara [World of Stars], and also Park Jayoung(朴趑影), who published multiple children’s literatures and translations in Maeli Sinbo. Park Jayong is using the name ‘朴雲重’ as well, and ‘李雲重’ seems to be of the same person, but I could not find evident references to prove it yet. Various children’s literature writers’ identity is still not verified such as “YeoSeong(麗星), WoonJaeHakIn(雲齋學人), Cheolcheolgak(靑鐵 脚), Pro·Mas who published numerous works in SinSoNyeon. Also identity and relationship of and between ‘北原樵人’(金治植), ‘金北 原’ and ‘洪北原’ is not yet verified, and I hope it to be minutely researched in future. It is work of extreme simpleness to compare multiple magazines’ texts and table of contents, and examine readers’ columns to confirm anonymous work or works written in pennames in order to identify one’s real name. Nevertheless, it is also work of extreme labor, since it requires time consuming work of verification. Yet, academic progress will come after this step. I believe this study has contributed in verifying whose work it is during Japanese colonial era.