[발굴자료 소개] 근대 어린이 놀이 문화 희귀 자료, 〈어린이 대운동회 말판〉

염희경 근대서지학회 2021 근대서지 Vol.- No.23

‘꽃묶음을 든 소녀’ 표지 『사랑의 선물』 10판(1926년) 발견!

염희경 한국아동청소년문학학회 2023 아동청소년문학연구 Vol.- No.32

고한승의 필명 ‘고마부’ 논란과 새 발굴 자료

염희경 반교어문학회 2024 泮橋語文硏究 Vol.- No.66

이 연구는 고한승의 필명으로 알려져 온 ‘고마부’가 다른 인물이었다는 사실을 실증 자료를 토대로 밝혔다. 고마부와 고한승의 작품 연보를 새롭게 작성하여 두 인물의 작가론과 작품론의 기초를 마련하는 데에 목적을 두었다. 이 연구로 고한승 작품에서 시, 시조, 노래가사 등 운문 문학이 중심이었던 고마부의 작품 50여 편을 제외할 수 있었다. 그 결과 고한승의 문학사적 평가에서 일제강점기 대중음악 작사가로 활동한 고마부의 활동을 제외할 수 있게 되었다. 또한 고한승의 필명을 새로 찾고, 새 발굴 자료를 중심으로 그 특징을 간단히 살폈다. 발굴 자료 가운데 「깨여지는 거울」은 한국연극사에서 제목과 공연 상황만 알려져 온 희곡으로, 자료의 가치가 크다. 잡지 편집자로서의 고한승의 면모를 살필 수 있는 잡지 권두언과 편집후기도 주목된다. 해방 이후 어린이 복간호의 권두언은 고한승의 일제 말 친일 행적과 어린이 복간, 해방 이후 색동회의 위상 정립 문제와 관련해 생각거리를 던지는 글이다. 대중음악사에서 뚜렷한 족적을 남겼는데도 오랜 세월 고한승으로 기억되면서 사라졌던 진짜 ‘고마부’를 제대로 복원해내는 일도 향후 본격적으로 이루어져야 할 것이다. This study revealed based on empirical data that ‘Gomabu’, which has been known as Go Hanseung’s pen name, was a different person. The purpose of this study was to lay the foundation for the theory of writer and work of the two characters by newly preparing a list of works by Gomabu and Go Hanseung. With this study, it was possible to exclude more than 50 works of Gomabu, which were centered on unwritten literature such as poetry, sijo(時調 traditional three-verse Korean poem), and song lyrics, from the works of Go Hanseung. As a result, it was possible to exclude the activities of Gomabu, who worked as a Japanese colonial era pop music lyricist, from the literary history evaluation of Go Hanseung. In addition, I searched for a new pen name of Go Hanseung and briefly examined its characteristics, focusing on new excavation materials. Among the excavation materials, “The Breaking Mirror(깨여진 거울)” is a play that has only known the title and performance situation in the history of Korean theater, and the value of the material is great. The words of the magazine’s founding and editorial reviews, which can examine the aspect of Go Hanseung as a magazine editor, are also drawing attention. The words of the Eorini’s( 어린이 : children’s magazine) founding after liberation is an article that raises concerns about Go Hanseung’s pro-Japanese activities at the end of the Japanese colonial period, the restoration of the Eorini, and the issue of establishing the status of the Saekdong Association(색동회) after liberation. It is also necessary to properly restore the real ‘Gomabu’, which disappeared after being remembered as Go Hanseung for a long time, even though it left a clear mark in the history of popular music.

<해와 달이 된 오누이>에 나타난 호랑이상 : 설화와 전래동화 비교를 중심으로 The center of gravity in comparing folktales with "jeonraedongwha"

염희경 건국대학교 동화와번역연구소 2003 동화와 번역 Vol.5 No.-

<A Brother and a Sister who become the sun and the moon>(after this, A Brother and a Sister) is representative national tale which is transmitting in all the area of Korea. Its other titles are <A Brother and a Sister who go up to the Sky>, <Hae-Suk, Dal-Soon, and Byoul-Ok>, <Sun and Moon>, <The Origin of the Sun and the Moon>, and <The Origin why Indian Millet is Red>. It has only a little changes less than other folktales. This writing overlooks a type of tiger in <A Brother and a Sister>, and then compares it with its adapted "jeonraedongwha"(fairy tale is transmitted from past ; korean original fairy tale). Folktales express tiger which is cruel, crafty, stupid and humorous. It also has various characters which is transformable or image of sexual exploiter. But almost "jeonraedongwha", which is conscious of children, decrease cruelty, stupidity, and humor. Especially image of sexual exploiter is eliminated and isn't transmitted. Such a transfiguration derives from changing process from oral literature to written literature. And it begins from indigenous characteristic of "jeonraedongwha" which is different from folktales. Primarily oral statement focused story line. As changing from oral literature to written literature, it is under the influence of modern literature which is taking a serious view of realistic description on character and background, and rational causality of event. Therefore "jeonraedongwha" writers eliminate or reduce detailed description of cruel scene, because modern reader extremely read it more than before; specially for children. "Jeonraedongwha" is not genre which has same condition of existence and literary trait, but modern genre which is reconstructed in modern view on the child and literary outlook. Therefore we should newly set up its Phase.

초창기 번역동화집 『금방울』과 『사랑의 선물』 표지 이야기 : 원본 표지 그림의 수용과 변용이 지닌 의미

염희경 근대서지학회 2020 근대서지 Vol.- No.22

다매체 시대의 아동문화 콘텐츠<칠칠단의 비밀> 연구-아동탐정소설, 어린이 라디오 드라마, 극장용 장편 만화영화의 매체변환을 중심으로-

염희경 인하대학교 한국학연구소 2023 한국학연구 Vol.- No.71

이 연구는 방정환의 아동탐정소설 칠칠단의 비밀 이 다양한 매체로 변환되며 활용된 양상을 살펴 아동문화 콘텐츠로서의 가치를 탐구하는 데에 목적을 두었다. 특히 1970년대에 라디오 방송과 영화산업의 확산을 바탕으로 라디오 드라마와 극장용 장편 만화영화로 매체변환 된 사항을 중심으로 살폈다. 라디오 드라마 <칠칠단의 비밀>은 동아방송의 어린이 프로에서 ‘연속 모험극’으로 방영되었다. 신문 광고와 라디오 방송 프로그램 편성표, 만화영화의 음반에 수록된 동극 등 실증 자료를 토대로 1978년 1월 30일부터 3월 10일 무렵까지 방영되었을 것으로 추정하였다. 라디오 드라마 <칠칠단의 비밀>은 원작소설의 많은 부분을 각색한 ‘극작용 만화영화’의 제작 기반이 되었다고 평가되어 왔다. 하지만 원작소설의 기본 내용을 토대로 ‘라디오 드라마’용으로 매체변환 하는 데에 주력했음을 밝혔다. 시나리오와 극장용 만화영화 <77단의 비밀>은 원작소설의 만화영화화 과정에서 원작소설에 없는 ‘흑두건’ 캐릭터를 창조하였다. 흑두건은 전통 야담의 신출귀몰하는 정의로운 캐릭터에 ‘태권 용사’의 이미지를 덧씌워 구원자이자 영웅의 역할을 하는 주연급 캐릭터이다. 이 캐릭터의 창출은 원작소설의 어린이 주체의 시선과 공동체의 연대와 단결의 가치를 축소시키는 문제점을 가져왔다. 한편, 장시간 상영되는 만화영화에 반전과 통쾌감, 재미와 웃음, 장쾌한 액션을 선사하는 기능도 한다. 다매체 시대의 문화콘텐츠로서 <칠칠단의 비밀>을 새롭게 주목하면서 매체변환 과정에서 인물의 추가와 삭제, 주제 의식의 변화, 어린이에 대한 관점의 변화 등이 어떻게 드러나는지 그 양상을 고찰하였다. 아동문학 작품의 콘텐츠 개발 방안에 대한 유용한 시사점을 마련하는 데에 작은 실마리를 제공하기를 기대한다. The purpose of this study is to explore the value of Bang Jung-hwan’s children’s detective novel The Secret of the Chilchildan (칠칠단의 비밀), which was converted into various media and used as children’s cultural content. In particular, based on the spread of the radio broadcasting and film industry in the 1970s, I focused on the transmediation into radio dramas and feature animations for theaters. The radio drama <The Secret of the Chilchildan> was aired as a “continuous adventure play” on Dong-A Broadcasting’s children’s program. Based on empirical data such as newspaper advertisements, radio broadcast program schedules, and children’s dramas contained in the record of an animated film, it was estimated to have aired from January 30 to March 10, 1978. The radio drama <The Secret of the Chilchildan> has been evaluated as the basis for the production of “comedy animations” adapted from many of the original novels. However, based on the basic contents of the original novel, it was revealed that it focused on transmediation for ‘radio drama’. Scenario and theatrical cartoon film <The Secret of 77 Dan> created a “black hood” character that was not in the original novel during the process of animating the original novel. “black hood”(흑두건) is a leading character who plays the role of a savior and hero by overlapping the image of a “tai chi warrior” to the just character of a traditional Yadam(野談). The creation of this character had the problem of reducing the value of the child subject’s gaze and community solidarity and unity in the original novel. On the other hand, it also functions to provide reversal, exhilaration, fun and laughter, and cheerful action to long-running animations. While paying new attention to <The Secret of Chilchildan> as a cultural content in the multimedia era, I examined how the addition and deletion of characters, changes in subject consciousness, and changes in perspectives on children are revealed in the process of transmediation. It is expected to provide a small clue to preparing useful implications for the content development plan of children’s literature works.

1900~1920년대 한ㆍ일 〈두더지(쥐) 혼인〉 ‘동화’ 비교 연구

염희경 인하대학교 한국학연구소 2024 한국학연구 Vol.- No.73

이 연구는 1900~1920년대 한ㆍ일 ‘동화’ 〈두더지(쥐) 혼인〉의 비교 연구로, 〈두더지(쥐) 혼인〉 설화가 지닌 세계적 보편성과 민족적 특수성이 한ㆍ일 ‘동화’에 어떻게 계승ㆍ변용되었는지를 살피는 데에 목적이 있다. 설화의 동화화 과정을 고찰하기 위해 첫째, 한ㆍ일 고문헌에기록된 〈두더지(쥐) 혼인〉 설화의 주제와 특징을 살폈다. 둘째 한국 아동문학 형성기 ‘전래동화’에 영향을 끼친, 1900~1920년대 외국인들의 ‘조선설화집’에 실린 ‘설화’의 화소를 살폈다. 셋째 1900~1920년대 한ㆍ일 ‘동화’ 5편을 화소별로 정리해 보편성과 특수성을 살폈다. 한국의 최남선과 방정환, 그리고 일본의 이와야 사자나미, 마츠모토 쿠미, 미야하라 고이치로가 설화를 ‘동화’로 다시쓰기 한 구체적 양상을 조명하였다. 특히 방정환의 「두더지의 혼인」은 이야기의 원천에 대한 인식과 다시쓰기의 동기는 ‘전래’ 동화였고, 저본의 다시쓰기 과정은 언어적변환을 거친 ‘번역’ 동화였다는 점을 새롭게 밝혔다. 〈두더지(쥐) 혼인〉 설화를 개작한 한ㆍ일동화의 비교 연구를 계기로 한국 아동문학 형성기에 외국인이 수집 개작한 조선설화집과 외국동화의 번역ㆍ번안이 한국 ‘전래동화’ 형성에 끼친 영향과 상호 관련성 연구가 확장되기를 기대한다. This study is a comparative study of “The Mole(rat) Marriage”, a “fairy tale” between Korea and Japan in the 1900s and 1920s, and aims to examine how the global universality and national specificity of the “The Mole(rat) Marriage” folktales were inherited and transformed into the “fairy tale” of Korea and Japan. In order to examine the process of adaptation of folktales into fairy tales, I first looked at the themes and characteristics of “The Mole(rat) Marriage” folktale recorded in ancient Korean and Japanese literature. Second, I looked at the motif of “Tales” in the “Korean folktales” of foreigners in the 1900s and 1920s, which influenced the “traditional fairy tale” of the formation of Korean children’s literature. Third, five “fairy tales” of Korea and Japan in the 1900s and 1920s were organized by motif to examine their universality and specificity. During that period, it was possible to shed light on the specific aspects of rewriting folktales as “fairy tales” by Choi Nam-seon and Bang Jeong-hwan of Korea, and Iwaya Sajanami, Matsumoto Kumi, and Miyahara Koichiro of Japan. In particular, in this study, it was newly revealed that Bang Jeong-hwan’s “Marriage of the Mole” was a “traditional fairy tale” in which the motive for recognizing and rewriting the source of the story was a “traditional fairy tale,” and that the process of rewriting the book was a “translation fairy tale” in which linguistic transformation was achieved. In other words, Bang’s “Marriage of the Mole” is the product of rewriting, which combines the recognition of “traditional” and the process of “re-translation.” With the comparative study of fairy tales adapted from folktales, it is expected that the translation and adaptation of Korean folktales collected and adapted by foreigners during the formation of Korean children’s literature will expand into a study on the impact and interrelationship of the formation of Korean “traditional fairy tales.”

근대 어린이 발견과 어린이 운동의 관점으로 읽는 「어린 음악가」

염희경 한국아동청소년문학학회 2022 아동청소년문학연구 Vol.- No.31

Among the works in Bang Jeong-hwan’s translation fairy tale collection Sarangue Senmul [The Gift of Love], the original work of ‘Eorin eumakga’ [Young Musician] is known as ‘Lost Violin’. But until now, the original author has not been identified. I discovered an English text that was supposed to be the original work of ‘Eorin eumakga’. In this paper, An original or an English translation, the Japanese translation, and the Bang’s translation were compared and analyzed. Through the repetition and difference of the Three Translated Texts, I tried to investigate Bang’s translational imagination and thoughts contained in ‘Eorin eumakga’. Compared to the two texts, Bang’s translation stands out as follows. First, the emphasis on poor and miserable children, second, the sense of national homogeneity, strengthening bonds, third, the emphasis on children’s dignity and creativity, and fourth, the emphasis on faith in humans. Bang emphasized that ‘discovery of children’ is important among various discoveries in modern times. These features were reinforced by changes in title, changes in composition, addition of specific and repetitive descriptions and descriptions, emphasis on specific vocabulary, and addition of materials in the ending. In this paper, it was newly interpreted as a work that actively reflected Bang’s beliefs, which emphasized the importance of the children’s movement as a fundamental movement of the national movement through repetition and difference in translation of ‘Eorin eumakga’.

방정환의 민족주의와 우리말글 사랑 정신

염희경 외솔회 2019 나라사랑 Vol.128 No.-

어린이날 100주년, 어린이운동의 근본을 되새기는 방정환의 새 자료

염희경 한국아동청소년문학학회 2022 아동청소년문학연구 Vol.- No.30