프랑스 대중문학의 역사

송덕호 ( Song Duk-ho ) 숭실대학교 인문과학연구소 2004 인문학연구 Vol.34 No.-

The popular literature is a phenomenon of literature? What is the difference between the popular literature and the general literature? The term of popular literature' is contemptuous. It has been excluded for a long time from the literary history and the critics. Even to our era, it was considered as the bad thing, the sub-literature, in opposition to the ‘good’ literature, so called ‘canon’ or ‘classic.’ The history of the popular literature is jumbled together with the history of the popular novel. The popular novel is a type of fiction who tells from the people to the people, but this literature is not be produced by the people. Most of it were realized by the bourgeois and the nobles. The popular literature represent a kind of awaked and collective dream, a dream which is the most hidden impulse and the social identity of the lecturer. The popular novel forges a new idea of the people and becomes popular, for the lecturers discover their identity, recreate the people in it. The popular novel is arose from the melodrama just like the black or gothic novel which was illustrated by Ann Radcliff, Lewis, Maturin, Ducray-Duminil, translated with a tendency moralistic and edificatory by the works of Mme Cottin. But with Eugene Sue the popular novel is opened to the most wide people. It was the arrival of the serial novel, which is published serially in the daily newspaper. It becomes a surprising phenomenon of collective lecture, of apprehension by the writers ― Sue and Soulie ― of all the currents of the popular sensibility. Sue, Soulie, Kock are the most representative writers of the genre, for the period of 1840-1860. After this period, the bourgeois novel was born. And in the 1880, the popular novel becomes love story. The bourgeois novel defense the profit of the bourgeoisie and their conservative evolution with Ponson du Terrail et Paul Feval. But in the 1920 begins a new era. It is illustrated by a series of feminine writers, and by Guy des Cars, by Maurice Leblanc.

중국조선족 대중소설 연구

안낙일 겨레어문학회 2008 겨레어문학 Vol.41 No.-

This study aims at uncovering the aesthetic value and historical meaning of Korean-Chinese popular literature through detailed analyses of Korean-Chinese popular novel. During the early immigration history of Korean-Chinese people, Korean-Chinese literature had a close tie with contemporary Korean literature. However, years of Chinese political and cultural influences have shaped Korean-Chinese literature into a rather unique identity in terms of literacy as well as readers. The development of Korean-Chinese popular novel has gone through a quite unique path under the major influence of Chinese communist ideology along with that of North Korean and Russian literature. Each stage of its development exhibits its “localcolor” which is more or less different from Chinese mainstream literature. Especially during the era of post cultural revolution and late 70s, as Chinese government launched its social reforms, Korean-Chinese literature has started to show its interest on the nature of human beings. After South Korea and China established an official diplomatic relationship in early 1990s, Korean-Chinese novel society has further witnessed the maturity and variety in its development via rigorous exchange with its South Korean counterparts. It is well known that years of Cultural Revolution came to an end in 1976 and China stepped into a new era of social reforms. Consequently, Chinese society has gone through political, economical, social and cultural changes to a great extend and it started to embrace some of the capitalistic values and adopt new life style that corresponds to the market economy-based social patterns. Accordingly, Korean-Chinese novel society started to come into shape as popular literature with the increasing demand of novel readers. The contemporary Korean-Chinese novel is characterized by adopting the features and techniques of mainstream Chinese literature as its main frame to portray the changes of Korean-Chinese communities. Through the emerging of novels with distinct features of “reality novel” (depiction of common people’s lives and the real world), “scar literature” and “repentance literature,” readers are exposed to various novels with great shape, both aesthetically and conceptually, of contemporary popular novel. The thematic scope of Korean-Chinese novel was further developed in great breadth and depth as Korean-Chinese community had came into contact with South Koreans, subsequently, the themes and writing styles witnessed the enormous development in its diversity. Novel writers shifted their focus not only to the Korean-Chinese community on its journey of searching its true identity but also the lives of Korean-Chinese people, their pains and joys, under ever changing new circumstances. Especially, the popular novels published recently in Korean-Chinese novel society attempts to meet the readers’ needs from a new perspective whichis rooted in capitalistic life styles. Despite the inevitable conflict in value system between Korean-Chinese and South Korean in the course of direct or indirect exchange of materials and human resources, Korean-Chinese popular novel was able to successfully embrace the new changes and gain the popularity of the readers. Korean-Chinese popular novel has been a faithful witness and recorder of the life style of one minority group in China Korean-Chinese people, in the course of choosing ways to survive in greater China area. It can also be seen as the literary solution for the problems that Korean-Chinese community is currently facing as China experiences rapid changes in ideology and economic development. The study intends to examine not only the arguments about the Chinese-Korean popular novel but also their theoretical foundations and the feature of development. And then I tried to analyze several novels concretely. The purpose of this study is to acquire the adequate literary perspective to popular literature and to grope for ‘open vision’ a... 이 글은 중국의 개혁개방시기 이후로 장착된 중국조선족 소설들 중에서도 현대 대중소설의 개념과 실제에 부합되는 일련의 소설들을 대상으로, 해당 작품들의 미적 가치와 문학적 의미를 구명해 보이고자 하는 것이다. 중국조선족 소설문학은 그 태동기 때부터 한국문학과 밀접한 연관성을 지니고 있었으나 변모된 정치, 문화적 환경 속에서 발전을 거듭하면서 문학적 독자성을 형성하게 되었다. 중국조선족 문학 고유의 특성과 문학적 성과를 거둔 것으로 평가할 수 있는 중국조선족 소설은, 비록 현실적으로는 중국 소수민족 문학 중의 하위 갈래로 인식되고 있지만, 민족문학적인 관점에서 파악할 때 우리 한민족 문학의 범주에 포함시킬 수 있는 ‘우리 소설’에 다름 아니다. 중국의 개혁개방 정책 이후 조선족 소설은 당대 중국사회의 시대 변화에 부응, 급변했던 중국조선족 사회의 변화 양상을 문학적으로 형상화하고 있는데, 이는 결국 생존 방식에 대한 기록이기도 하며, 특히 최근 들어 중국의 산업화, 자본주의화가 급속하게 진행되면서 부딪히는 현실에의 생존적 대응방식이기도 한 것이다. 개혁개방 시기 이후 현재의 중국 사회는 후발 아시아 산업국가 특유의 복합적인 사회 양태를 여실하게 경험하고 있다. 이른바, ‘전근대, 근대, 탈근대의 혼란스런 착종 현상’이 바로 그것으로서, 특히 한중 수교 이후 한국과 불가분의 관계를 맺고 있는 중국조선족 사회는 커다란 가치관의 혼란 상태를 겪고 있다. 개혁개방 이후, 중국이 서구 자본주의 시장경제 체제를 수용하면서 급변하는 조선족 사회의 변화 양상들은, 이후 조선족 소설들의 창작과 독자대중들이 향유하는 거의 모든 과정에 그대로 수용되고 있다. 바로 이 지점에서부터 재중 조선족 소설 문단 역시 대중소설적인 경향을 드러내고 있는 것이다. 특히 ‘도시’의 의미에 대한 천착, 현대사회와 여성의 의미에 대한 다각적 탐구, 변모된 성의식의 대중소설 수용 양상 등이야말로 중국조선족 대중소설들의 특징이라고 할 수 있다. 중국조선족 대중문학의 온당한 문학사적 시각을 확보하고 이를 통해 중국조선족 대중소설에 대한 문학적 가치 부여와 바람직한 기대지평을 모색해보는 것은, 결국 우리 자신과 우리가 살고 있는 현시대를 올바르게 이해하는 일이라고 바꿔 말할 수 있으며, 이 연구의 의미 또한 여기에서 찾을 수 있다.

중국 근현대 통속문학의 성격 논고

張乃禹(Zhang Naiyu) 중국어문학연구회 2021 중국어문학논집 Vol.- No.129

Chinese modern and contemporary popular literature was formed in line with the development and context of Chinese literature, established in the course of negotiation and convergence with full-scale literature, and is placed on an extension of Chinese traditional literature by utilizing Chinese characteristics in cultural ideas and aesthetic ideas. In accordance with the development of the times, numerous modern elements such as pop culture, electronic media and market operation are melted, forming another form of modern Chinese literature. So "modern city," "popular media" and "citizen consciousness" can be said to be three basic elements closely related to Chinese modern and contemporary popular literature. However, the phenomenon of "patterning" in the narrative and aesthetic expression of Chinese modern and contemporary popular novels, which have both been influenced and constrained by mass media and marketability, emerges as one of the prominent features. Popular literature is inseparable from popular culture. The formation of large cities with the background of the development of popular culture, the development of media, the emergence of civic groups, and the composition of civil society provided indispensable premises and foundations for the development of popular literature. Citizenship" is a basic component closely related to Chinese modern and contemporary popular literature. China"s distinctive urban pop culture has now been shaped by the huge Chinese citizen class, and the prosperity of popular literature has developed in this very stable yet rapidly changing pace of the city"s pop culture atmosphere. The mass media has changed the concept of creation and aesthetic form of modern and contemporary Chinese novels. The fact that mass media have mechanical characteristics of mass input and production affects popular literature. Thus, popular literature secures its identity as a media product based on the premise of mass production and distribution. The patterned popular novels are welcomed and loved by readers because, above all, the combination of patterns itself is full of joy. Patterns are an important means of expression of popular novels, which cannot be popular novels without formalized structures, certain creative patterns and formalized paradigms.

중국조선족 대중소설 연구

안낙일 ( Nak Il Ahn ) 겨레어문학회 2008 겨레어문학 Vol.41 No.-

이 글은 중국의 개혁개방시기 이후로 장착된 중국조선족 소설들 중에서도 현대대중소설의 개념과 실제에 부합되는 일련의 소설들을 대상으로, 해당 작품들의 미적 가치와 문학적 의미를 구명해 보이고자 하는 것이다. 중국조선족 소설문학은 그 태동기 때부터 한국문학과 밀접한 연관성을 지니고 있었으나 변모된 정치, 문화적 환경 속에서 발전을 거듭하면서 문학적 독자성을 형성하게 되었다. 중국조선족 문학 고유의 특성과 문학적 성과를 거둔 것으로 평가할 수 있는 중국조선족 소설은, 비록 현실적으로는 중국 소수민족 문학 중의 하위 갈래로 인식되고 있지만, 민족문학적인 관점에서 파악할 때 우리 한민족 문학의 범주에 포함시킬 수 있는 `우리 소설`에 다름 아니다. 중국의 개혁개방 정책 이후 조선족 소설은 당대 중국사회의 시대 변화에 부응, 급변했던 중국조선족 사회의 변화 양상을 문학적으로 형상화하고 있는데, 이는 결국 생존 방식에 대한 기록이기도 하며, 특히 최근 들어 중국의 산업화, 자본주의화가 급속하게 진행되면서 부딪히는 현실에의 생존적 대응방식이기도 한 것이다. 개혁개방 시기 이후 현재의 중국 사회는 후발 아시아 산업국가 특유의 복합적인 사회 양태를 여실하게 경험하고 있다. 이른바, `전근대, 근대, 탈근대의 혼란스런 착종 현상`이 바로 그것으로서, 특히 한중 수교 이후 한국과 불가분의 관계를 맺고 있는 중국조선족 사회는 커다란 가치관의 혼란 상태를 겪고 있다. 개혁개방 이후, 중국이 서구 자본주의 시장경제 체제를 수용하면서 급변하는 조선족 사회의 변화 양상들은, 이후 조선족 소설들의 창작과 독자대중들이 향유하는 거의 모든 과정에 그대로 수용되고 있다. 바로 이 지점에서부터 재중 조선족 소설 문단 역시 대중소설적인 경향을 드러내고 있는 것이다. 특히 `도시`의 의미에 대한 천착, 현대사회와 여성의 의미에 대한 다각적 탐구, 변모된 성의식의 대중소설 수용 양상 등이야말로 중국조선족 대중소설들의 특징이라고 할 수 있다. 중국조선족 대중문학의 온당한 문학사적 시각을 확보하고 이를 통해 중국조선족 대중소설에 대한 문학적 가치 부여와 바람직한 기대지평을 모색해보는 것은, 결국 우리 자신과 우리가 살고 있는 현시대를 올바르게 이해하는 일이라고 바꿔 말할 수 있으며, 이 연구의 의미 또한 여기에서 찾을 수 있다. This study aims at uncovering the aesthetic value and historical meaning of Korean-Chinese popular literature through detailed analyses of Korean-Chinese popular novel. During the early immigration history of Korean-Chinese people, Korean-Chinese literature had a close tie with contemporary Korean literature. However, years of Chinese political and cultural influences have shaped Korean-Chinese literature into a rather unique identity in terms of literacy as well as readers. The development of Korean-Chinese popular novel has gone through a quite unique path under the major influence of Chinese communist ideology along with that of North Korean and Russian literature. Each stage of its development exhibits its "localcolor" which is more or less different from Chinese mainstream literature. Especially during the era of post cultural revolution and late 70s, as Chinese government launched its social reforms, Korean-Chinese literature has started to show its interest on the nature of human beings. After South Korea and China established an official diplomatic relationship in early 1990s, Korean-Chinese novel society has further witnessed the maturity and variety in its development via rigorous exchange with its South Korean counterparts. It is well known that years of Cultural Revolution came to an end in 1976 and China stepped into a new era of social reforms. Consequently, Chinese society has gone through political, economical, social and cultural changes to a great extend and it started to embrace some of the capitalistic values and adopt new life style that corresponds to the market economy-based social patterns. Accordingly, Korean-Chinese novel society started to come into shape as popular literature with the increasing demand of novel readers. The contemporary Korean-Chinese novel is characterized by adopting the features and techniques of mainstream Chinese literature as its main frame to portray the changes of Korean-Chinese communities. Through the emerging of novels with distinct features of "reality novel" (depiction of common people`s lives and the real world), "scar literature" and "repentance literature," readers are exposed to various novels with great shape, both aesthetically and conceptually, of contemporary popular novel. The thematic scope of Korean-Chinese novel was further developed in great breadth and depth as Korean-Chinese community had came into contact with South Koreans, subsequently, the themes and writing styles witnessed the enormous development in its diversity. Novel writers shifted their focus not only to the Korean-Chinese community on its journey of searching its true identity but also the lives of Korean-Chinese people, their pains and joys, under ever changing new circumstances. Especially, the popular novels published recently in Korean-Chinese novel society attempts to meet the readers` needs from a new perspective whichis rooted in capitalistic life styles. Despite the inevitable conflict in value system between Korean-Chinese and South Korean in the course of direct or indirect exchange of materials and human resources, Korean-Chinese popular novel was able to successfully embrace the new changes and gain the popularity of the readers. Korean-Chinese popular novel has been a faithful witness and recorder of the life style of one minority group in China Korean-Chinese people, in the course of choosing ways to survive in greater China area. It can also be seen as the literary solution for the problems that Korean-Chinese community is currently facing as China experiences rapid changes in ideology and economic development. The study intends to examine not only the arguments about the Chinese-Korean popular novel but also their theoretical foundations and the feature of development. And then I tried to analyze several novels concretely. The purpose of this study is to acquire the adequate literary perspective to popular literature and to grope for `open vision` and desirable ground for it. And I think, This task is finally no more than to understand honestly the age to which we belong and ourselves who live in there.

문학교육과 시가문학으로서의 대중가요

이영미 국어교육학회 2003 國語敎育學硏究 Vol.17 No.-

이 글은 문학교육에 있어서 대중가요를 어떤 고려의 대상으로 삼아야 하는가에 대해 생각해 보고자 하는 의도로 쓰여졌다. 학생들의 노래 환경을 지배하고 있는 대중가요는 학교 현장에 깊숙이 스며들어 있으나, 정작 문학교육에서는 이에 대한 적극적인 고려가 제대로 이루어지고 있지 않은 실정이다. 문학교육에서 대중가요의 수용은, 단지 하생들의 관심을 쉽게 끌어들이기 위한 수단으로 이루어지는 것은 바람직하지 못하다. 오히려 대중 가요가 문학의 중요한 한 영역이라는 점을 인정하고 이를 통해 문학교육의 내용이 더욱 풍부해질 수 있다는 사고가 필요하다. 이는 여태까지 지니고 있었던 문학에 대한 관점, 문학의 범주에 대한 사고의 변화를 요구하는 것이다. 20세기 초반 서구근대의 문학 개념이 도입된 이후, 국문학을 어디까지 포함시킬 것인가에 대한 논의는 계속 발전되어, 1970년대에 이르면 국문문학만이 아닌, 한국인에 의해 창작된 한문문학과 구비문학을 한국 문학으로 포함시키는 관점이 확립되면서, 단지 문자언어만이 아닌 음성언어를 표현매체로 한 것까지 문학이라는 점에 대한 인식이 보편화되었다. 필자는 이러한 관점을 예술 전 영역과 전 시대로 일관되게 관철하여, 문학을 글문학과 말문학으로 나누고, 글문학을 한문문학, 국문문학, 그림문학(만화 등)으로, 말문학을 영상문학(영화, TV방송극), 녹음문학(대중가요 등), 공연문학(연극 등), 구비문학으로 나누어 보고자 한다. 이렇게 보자면 대중가요(정확하게 말하자면 대중가요의 가사)는, 민요, 판소리, 시조 등 전근대시대의 노래들과 마찬가지로, 문학에 속한다고 이야기할 수 있다. 그에 따라 시에 대한 기본적 특성으로 이야기되고 있는, 이미지와 운율 등을 모두 대중가요를 대상작품으로 하여 설명할 수 있다. 특히 운율은 시의 음악적 특성으로, 음악이 결합되어 있는 노래에서 훨씬 강하게 드러난다. 특히 현재까지 노래로서 살아있는 대중 가요를 대상으로 하여, 그것이 만들어내는 소리의 질서, 독특한 리듬감이 어디에서 기인하는가를 탐구하는 일은 매우 즐거운 일이다. 이것을 통해 우리는 교과서에서 주로 설명하는 분석틀을 넘어서서, 다양한 운율적 요소들을 발견해낼 수 있다. 그에 비해 대중가요의 이미지와 비유는, 문자로 기록된 시에 비해 그 구조가 단순하고 약한 편이다. 음악이 만들어내는 절대적 시간 안에 수용자는 의미를 모두 파악해야 하기 때문에, 비유를 통한 복잡한 의미망을 형성하기가 힘들기 때문이다. 대신 구절마다 펼쳐지는 순간의 강한 느낌, 시간의 흐름에 따라 만들어내는 이미지의 긴장감이 훨씬 중요하다. 이 점은, 노래로 불려졌던 전근대시대의 시가문학들에서도 나타나는 특성이다. 대중가요를 문학교육의 재료로 삼는 것은 이제 시작 단계이다. 이것이 발전하기 위해서는, 대중가요 작품에 대한 진지한 문학적 연구와 분석이 축적되어야 한다. This treatise's purpose is how we have to deal with popular song as an object of literature education. Popular song, which is conditioned by students' music environment, spreaded out to the school widely, but on the aspect of literature education the study about it is not virtually sufficient. It is not desirable that under the system of literature education popular song is introduced as a simple mean to pay students' attentions. Rather we need to recognize that popular song is an important part of literature, and that through it literature education can be much richer in contents. It requires that we should converse the perspective and category of literature that we've ever had. After the concept of western modern literature has been introduced into Korean literature about the early 20th century, there has been constant controversy concerning the concept and category of Korean literature. By 1970s, an opinion that Korean literature should include literature written in classical Chinese and oral literature, not t o speak of literature written in Korean, was established, and then it drew a new idea, that is, the category of a medium of expression in literature. Since then the idea that literature has not only written language as a medium of expression but even spoken language, is generalized. So I applied this new viewpoint to all kind of arts through all ages, and divided literature itself into "written literature and "spoken literature: The one is subdivided into literature written in classical Chinese, literature written in Korean, and picture literature (comics. etc); The other is subdivided into film literature (movie, TV drama, etc), recording literature(popu1ar song, etc) , performance literature(theater, etc), oral literature. Suppose it is reasonable, like pre-modern ages songs such as Minyo. Pansori, Sijo, popular song(exact1y the words of it) can be said to be a part of literature. Subsequently, with image and rhythm(metre and rhyme) referred to as poetry's major basic characters, we can study and analyse popular song just the same as literary works. Rhythm is especially one of poetry's musical specifics. and then is expressed more strongly when it is united with song than when it is expressed by reading poem. It is very interesting that we make popular song that has ever been sung an object of literary study, and explore where an order of sound it makes and a specific sense of its rhythm come from. Through it we can find a variety of rhythmical elements, beyond the frame of a school book to analyse. On the contrary, image and metaphor of popular song have their some simple and weak structure in comparison with them of poetry. Because accepters must understand all meanings within absolute time music makes, it is very difficult for them to form a net of complex meanings by metaphor. Instead, for metaphor, a momentary strong feeling transmitted at each phrase and images tension felt as time flows are much more important. Poetry-songs literature has been sung in pre-modern age has this common characters too. Now it is only basic step to use popular song as an important material of literature education. Above all. to develop it, we must study and analyse deeply popular song as a material of literary work, and accumulate it's results.

중국 근현대 通俗文學의 정립과정에 대한 고찰

장내우 중국어문학연구회 2019 중국어문학논집 Vol.0 No.119

Writers of the Chinese New Literature have been making great efforts to sinicize the Western literature since the modern times, while writers of the Modern Popular one have been striving to modernize the traditional literature. Continuing the tradition of the ancient Chinese literature, There are two main literary reference frames for the Modern Popular Literature-the foreign literature and the New Literature. It is through absorbing and referencing the foreign translation literature that the Modern Popular Literature pushed the Chinese traditional literature to modernization in the process of negotiating and integrating with the Chinese New Literature, which distinguished itself from the New Literature. In terms of the form, the popular fiction of the Chinese Modern times has completely continued the structure of the Chinese traditional chapter fiction and improved and developed it to some extent. When it comes to the content, it also reflects the Chinese traditional outlooks on the value, the ideology and the morality which are regarded as the basic criterion for telling the right from the wrong. At the same time, with the Western literature’s being introduced into the East, writers of the Popular Literature have joined in the team of translating the foreign fiction. Based on a large number of translations and introductions of the Western fiction, they actively introduced the creation devices of it into their practice, which accelerated the process of the establishment of the Modern Popular Literature. As for the relationship with the New Literature, the Popular Literature debated, negotiated, interacted and integrated with the New Literature at the same time of accepting the criticism of it, and it formed the creation style and aesthetic characteristics of itself on this basis. Due to the common influence of self-development, external reference and internal integration, the Chinese Modern Popular Literature was finally established.

『삼천리』에 게재된 문학대중화 담론 연구

정진경(Jeong, Jin-kyung) 부경대학교 인문사회과학연구소 2014 인문사회과학연구 Vol.15 No.1

대중잡지는 사회의 갈등과 투쟁을 반영하여 다시 그 사회에 영향을 주는 담론의 생산지이다. 일제강점기 대중잡지인 『삼전리』 에도 시대적 변화에 따른 담론의 전략이 들어 있다. 거시적인 차원에서는 일제의 문화정책에 따른 민족 담론과 반식민지 담론 그리고 따시즘 담론을 문화적 투쟁 전략으로 사용해 왔으며, 미시적인 차원에서는 당대 대중의 욕망과 일상의 흥빗거리 등을 통해서 근대적 시민의 사회ㆍ문화적인 문제들을 담론화해 왔다. 특히 『삼천리』 에서의 문학대중화 담론은 일제의 문화정책에 따른 잡지의 생존전략과 우회적 발언 수단이 맞물려 있다는 점에서 연구되어야 할 필요성이 있다. 따라서 이 논문은 잡지에 실린 문학 관련 글들을 담론의 주체 관점에서 논의해 보았다. 첫째로, 문학 주체를 대중화하여 기존의 문학적 힘을 키우고 저변확대를 하려는 양상으로 나타난다. 이것은 대중을 문학의 주체로 호명해서 편승시키려는 전략으로 그들을 문학창작자로 참여시키거나 문학 독자들의 관심을 촉구하는 방식으로 담론화된다. 이런 담론은 그동안 계층화되어 왔던 문학적 신분의 민주화와 문학의 저변확대에 기여했다 잡지를 읽은 대중을 기존의 문학에 호응하게 하여, 문학의 계층을 확대하고, 발전 심화시켜 다른 지위로 존재하게 하려는 담론이다. 둘째로, 근대 이전에는 경원시했던 타자적 문학을 복원하여 영역확대를 하려는 양상으로 나타난다. 이것은 여성 주체들의 신장된 위상을 보여주거나 농민이 문학주제로 참여해야 한다는 방식으로 담론화된다. 이런 담론은 많이 거론되지 않아 당대에 영향을 미치는 변혁의 주제로 서지는 못했지만 여성과 농민을 문학적 주체로 서게 하고, 문학의 영역을 확대하는 데에는 기여를 했다 시대의 재편과 독자충을 확보하기 위한 방면이 모색되는 과정에 생긴 담론이다. 『삼천리』에 실린 문학대중화 담론은 문학민주화와 저변확대 그리고 영역확대에 일정한 기여를 했다. 시대적 상황으로 인해 불가피했던 문학대중화의 상업 적 전략이 오히려 문학을 대중에게 알려 문학적 질서를 재편 확대히는 데에 기여하게 했다. A popular magazine reflects social conflict and struggle and then, it becomes an area of production which gives influence to the society again. 『SamcheoIli』, a popular magazine during the period of Japanese colonialism, had a strategy of discourse according to chronological change. From the macroscopic viewpoint, it fluidly adopted nation discourse, semi-colonial discourse and fascism discourse according to cultural policy of the Japanese Empire, and from the microscopic viewpoint, it treated socialㆍcultural questions of modem citizens through desire and daily enjoyment of the public at that time. Literature popularization discourse among various discourses of『Samcheolli』has the appropriateness of research considering that it is closely related to survival strategies of a magazine. First, the existing literature to popularize the subject of literary aspects of power appears to want to expand the base of raising. Interpellation to the subject of popular literature piggybacking literary creators want them to participate in strategy or the way that literature is calling the attention of the reader. Meanwhile, in this discourse that has been layered with the democratization of literary identity contributes to the expansion of the base of literature. Public to read the magazine in response to the existing literature, to expand the hierarchy of literature and the development you want to deepen the discourse that exists in a different position. Second, the modem batsman who previously gyeongwonsi ever want to expand the literary aspects of the restoration of the area displayed. This is the subject of women farmers extended phase of or participation in this literature should be subject to the manner damronhwa. This does not talk about a lot of contemporary discourse on the subject of change that affects the surge is mainly literary did not stand up for women and farmers, and should take literary contribution to expanding. Reorganization of the times and secure a readership in the process of looking for a way this discourse is shaped. Discourses of literature popularization on 『SamcheoIli』played a certain role for the public to be a new literature subject or to have ideology. A commercial strategy of literature popularization which was selected due to situation of the time rather contributed to making the public informed of literature and to reorganizingㆍexpanding literature order.

한국 대중문학 범주에 대한 비판적 접근

김정숙(Kim, Jung-sook) 한국외국어대학교 외국문학연구소 2004 외국문학연구 Vol.- No.17

"Popular literature" is considered as a literary category. However, the idea which many reseachers assert does not seem to be valid, due to the lack of elements that constitute a particular literary genre. This article is going to show that the popular literature is not adequate to categorized as a literary genre on the basis of definitions of popular literature which critical discourses have proposed. First of all, popular literature refers to the literature of people, a social class with low level of cultural capital. But this definition can not be valid in modern democratic society where social classes exist no longer. Certainly, frivolous reading still exists, but it is not only for particular readers. It can be considered as an alternative choice to the serious readings. Attempts to categorize certain texts by the criterion of readers can not be justified. Secondly, the characteristics of popular literature, which critical discourses insist, consists strong commercial tendency to cater to the needs of readers. This reader-oriented attitude can be perceived; however, it can not constitute an objectively valid criterion since a literary text is a result of compromises between the expressive desire of an author and the expectations of the reader. An author is always conscious of his readers. It is difficult to determine how far an author satisfies the demands of readers in order to be categorized as a popular novelist. According to the textual analysis, distinctive characteristics of popular literature constitute strategic elements aiming to attract and maintain interests of readers, including obscenity and sentimentality. As it is present in "pure" literature, these thematic components can not be considered as specific elements of popular literature. In the popular literature, a system of unity and rule, based on the common textual qualities, is absent. If we want a serious discussion on literary genre based on rigorously textual elements, it can be possible only with texts of such sub-genres like detective stories, science-fiction, and love romance.

문학 문화의 지형 변화와 문학교육 : 대중문학 수용의 문제를 중심으로

김미혜(Kim Mi-hye) 국어교육학회 2010 국어교육연구 Vol.46 No.-

Recent literature education has made efforts to break away from the view of elitism by setting the comprehensive goals of enhancing learners' literary abilities and promoting the culture of literature in the community dimension. It is also a product of recognizing this problem that, together with the term 'culture of literature,' the view of culturology has come to the fore of literature education since the 7th National Curriculum. This paper examined whether the view of culturology is necessary in literature education and whether the current curriculum and textbooks reflect the view of culturology adequately and discussed the future direction of literature education in the topography of contemporary culture. It may be right to see the relation between literature and popular culture more as expansion than as crisis in that all literary works are the outcomes of writers' expression activities and, at the same time, of interactions with readers. In the 7th National Curriculum, a room was prepared for accommodating popular literature or media texts comprehensively from a culturological view by introducing the term 'culture of literature.' As literature is viewed from the viewpoint of culturology, literary works to be included in Korean language and literature textbooks under the 7th National Curriculum could be expanded not only to popular literature but also to popular culture texts such as TV dramas and musical scripts. However, the view of culturology has limitations. For it is more natural to use literary works, which provide learners with more valuable literary experiences, as the media of educational communication in the field of education. In conclusion, considering the current state of literature culture and the peculiarity of literature education, it will be reasonable for literature education: (1) to expand the view of culturology; (2) to switch its focus from literary works to critical activities; and (3) to provide learners with various experiences in creation using digital media and, by doing so, to maximize the effect of transfer and retention of literary experiences in classroom.

1980년대 민족·민중문학 논쟁 연구

홍성식 한국국어교육학회 2008 새국어교육 Vol.0 No.78

In this writing, I will study regarding the debates about the comments on the race, popular literature of 1980s. In the age of post-nationalism, post-ideology, the discussion about race and popular literature will accompany the significant adverse criticism about the validity of that discussion. But, this debates, in an era of the absence of the critical discourse, can be the base of the getting the alternate with the reconsideration, and it will find the meaning of the recovery of the critical writing which struggles in the variety of the area of reality. Entering 1990s, with the collapse and sudden end of the communism, I consider that the check of the race and popular literature that was intent to give up and dela! y is necessarily needed. I did study, with critic, the theory of the race, popular literature especially concentrating on the context of real change and the change of race literature that were distinguished from the late 1970s. According to the characterization of Korea's culture and a literal prospect, the problem of the subjectivity is operating on the essential premise. Specially, I considered that the problem of the subjectivity is the meanigful subject matter according to building new orders of the literature. This debates, however, have the limits of the aim at the ideology did not adhere to reality and necessity, with the logic reproduces logic itself and becomes self-extinguished. There are unnecessary debates caused by leaning on the biased a necessity jumping on the current of the times or the mechanical  eclecticism. But it has great meaning that confirms the variety of the changeable possibility and gets the democratization of creative writing, urging the i! mmense self-reflection of the intellectual-centered race literature an d professional writer-centered literature subjectivity. It had been very meaningful debates at that time, it provides an important issue these days. 이 글에서는 1980년대 민족·민중문학론을 문학주체 논쟁을 중심으로 총체적으로 검토하는 자리를 마련하였다. 탈민족 탈이념의 시대에 민족문학과 민중문학에 대한 논의가 여전히 유효한가에 대해서는 상당한 논란이 수반되어야 하겠다. 하지만 이 논의는 비평적 담론 부재의 시대에 반성적 사유로써 작동하여 대안을 마련하는 토대가 될 수 있다는 것과 다양한 현실의 영역에서 사투하는 비판적 글쓰기의 회복이라는 측면에서 그 의의를 찾을 수 있다. 90년대 접어들어 사회주의권의 몰락과 더불어 갑자기 종결되어버린 이후 의도적으로 방기되거나 유보된 민족·민중문학론에 대한 진지하고도 비판적인 점검은 반드시 필요한 작업이라고 본 것이다. 이 글에서는 특히 70년대 후반부터 두드러진 현실적 변화 상황과 민족문학 주체의 변화에 주목하면서 민족ㆍ민중문학론을 비판적으로 점검하였다. 한국사회의 성격 규정과 현실적 문학적 전망과 관련하여 주체의 문제가 핵심적 전제로 작용하고 있기 때문이다. 특히 주체의 문제는 새로운 문학 질서의 구축과 관련하여 매우 의미 있는 문제 제기라고 보았다. 그러나 이 논쟁은 현실에 밀착되지 못한 이념 지향성과 당위론에 치우쳐 논리가 논리를 재생산해내는 자기진화에 매몰되어 버린 한계가 있다. 시대의 흐름에 편승해 편향된 당위론에 기대거나 기계적인 절충주의로 논의의 핵심을 비껴가는 한계가 노정되어 결국은 공소한 논쟁이 된 면이 없지 않다. 그럼에도 당시 지식인 중심의 민족문학과 전문문인 중심의 문학 주체에 심대한 자기 반성을 촉구하며, 민족문학의 다양한 변모 가능성을 확인하고 창작의 민주화를 획득했다는 점에서 상당한 의미가 있다. 이는 당시로서도 의미 있는 논의였지만, 현재의 시점에서도 중요한 시사점을 던져주고 있기 때문이다.