방정환의 민족주의와 어린이 문학교육

신정아(Shin Jung-a) 동아인문학회 2019 동아인문학 Vol.46 No.-

어린이들을 바르게 기르고 가르쳐야 한다는 소파의 일관된 정신은 1920년 그가 일본에 유학한 시기부터 본격화되었다. 방정환이 유학기간 동안 일본에서 받은 영향은 외국 작품을 번안하거나 전국 각지를 순회하면서 동화구연을 한 것, 그리고 개벽사의 일을 도우면서 『어린이』지를 발행하는 일이었다. 그러나 근대 일본 아동문학의 중심인물인 이와야 사자나미(栗谷小波) 혹은 오가와 미메이(小川未明)와 사상적으로 일치하는 부분을 찾기는 쉽지 않다. 당시 일본의 주요 잡지였던 『소년세계』(少年世界), 『아카이도리』(赤い鳥),『킨노후네』(金の船)등에서도 마찬가지다. 이유인즉 방정환의 어린이문학교육은 독립을 향한 의지와 투철한 민족주의에서 비롯되었기 때문이다. 한편, 그의 번안 작품집 『사랑의 선물』과 소년운동의 실천적 모체인『어린이』지에 선별된 작품은 식민지 상황과 일본의 영향에서 벗어날 수 없었다. 민족의 고통을 동반한 그의 작품은, 식민지 시대를 사는 어린이와 어른이 함께 읽고 느낄 수 있는 작품을 우선시했다. 특히, 어른에게 구박을 받거나 매를 맞는 주인공이 많이 등장하는데, 식민지 조선의 어린이를 동정하고 그들에게 위로를 주는 작품을 읽히는데 주력했다. 이것은 어린이와 어른의 관계이기도 하지만, 한편으로는 식민지 조선과 일본의 관계가 성립되기도 한다. 약자와 강자로 정리되는 관계는 시대적 상황으로 말미암아 이중적인 의미를 부여하는 것이다. Cheondoky`s council for children was established by Kim, Ki-joen, Bang, Jung-hwan, and Lee, Jung-jo on May 1st, 1921 but Bang, Jung-hwan was studying abroad at that time, not involving directly in it. Bang, Jung-hwan was responsible for tasks as a special correspondent in Tokyo for Kaebyeok, a comprehensive magazine which had been established in June, 1920, and for building Tokyo branch of Cheondokyo"s council for youth(Feb 13th, 2921)(Yeom, Hee-kyoung, 78). Since then, he organized Saekdongheo(Coloring Council) with other Korean students who shared his thought, and held the opening ceremony. In addition, early editing for the magazine, Children(Eorinyi) was made in Tokyo. So the Japanese influences on Bang, Jung-hwan during his study in Japan truly affected Korean modern children`s literature education. There have been quite many studies about the Japanese influences on the modern Korean children`s literature education. These studies are dominated with the evaluation that key role of Ywaya Sazanami(hereinafter Sazanami), the father of Japanese children`s literature with regard to the Japanese influences on modern Korean children`s literature education. However, in-depth analysis, Bang, Jung-hwan`s children`s literature education was derived from hope of salvation for Korean people to recover Korean sovereignty lost by Japan during Japanese colonial times, having clear difference from Japanese children`s literature education. Therefore, this study, focusing on Korean modern children`s literature education and the Japanese influences on it, aims at analyzing its truth, and reviewing Bang, Jung-hwan`s idea on children`s literature education through Gift of Love and the magazine, Children(Eorinyi). It is expected that it will be valuable study for building more accurate recognition about Bang, Jung-hwan`s children`s literature education.

버들치(Rhynchocypris oxycephalus)에서 에스트로겐류 물질에 의한 vitellogenin의 유도 및 단일클론항체 제작

신정아,송재영,임희영,장민호,이혜민,정규희,임윤규,윤병수,Shin, Jung-A,Song, Jae-Young,Lim, Hee-Young,Chang, Min-Ho,Lee, Hye-Min,Chung, Kyu-Hoi,Lim, Yoon-Kyu,Yoon, Byoung-Su 대한수의학회 2006 大韓獸醫學會誌 Vol.46 No.1

Vitellogenin (Vtg), a phospholipoglycoprotein precursor of egg yolk is synthesized and secreted from the liver in response to estrogens in female fish. Vtg is normally undetectable in the blood of male fish, but can be induced by exposure to chemicals possessing estrogenic activity. Thus, the presence of Vtg in blood of male fish can serve as a useful biomarker for assessing previous exposure to estrogenic compounds. In the present study, Vtg was abnormally expressed in Rhynchocypris oxycephalus using estradiol benzoate ($E_2$). As the result, it was found that the level of Vtg in blood from R. oxycephalus was increased by treated quantity of $E_2$ with dose-effect manner. Monoclonal antibodies were generated against Vtg of R. oxycephalus. The hybridoma were screened with an enzyme immunoassay for the production of specific anti-Vtg antibodies. Five positive cell lines with a high specificity were selected. Monoclonal antibodies against vtg of R. oxycephalus that was developed in this study, may be a useful bio-indicator for the detection of estrogenic contamination in the aquatic ecosystem.

LiF-maleic acid 첨가 calcium aluminate 골시멘트 및 CA-PMMA 복합 골시멘트가 백서 두개골 결손부 치유에 미치는 영향

신정아,윤정호,오승한,백정원,최세영,김종관,최성호,Shin, Jung-A,Yun, Jeong-Ho,Oh, Seung-Han,Baik, Jeong-Won,Choi, Se-Young,Kim, Chong-Kwan,Choi, Seong-Ho 대한치주과학회 2002 Journal of Periodontal & Implant Science Vol.32 No.4

The purpose of this study was to evaluate histologically the effect of LiF-maleic acid added calcium aluminate(LM-CA) bone cement & CA-PMMA composite bone cement on the healing of calvarial defect in Sprague-Dawley rats. The critical size defects were surgically produced in the calvarial bone using the 8mm trephine bur. The rats were divided in three groups : In the control group, nothing was applied into the defect of each rat. LM-CA bone cement was implanted in the experimental group 1 and CA-PMMA composite bone cement was implanted in the experimental group 2. Rats were sacrificed at 2, 8 weeks after surgical procedure. The specimens were examined by histologic analysis, especially about the bone-cement interface and the response of surrounding tissue. The results are as follows; 1. In the control group, inflammatory infiltration was observed at 2 weeks. At 8 weeks, periosteum and duramater were continuously joined together in the defect area. But the center of defect area was filled up with the loose connective tissue. 2. In the experimental group 1, the bonding between implanted bone cement and the existing bone was seen, which more increased in 8 weeks than 2 weeks. Inflammatory infiltration and the dispersion of implanted bone cement particles were seen in both 2 weeks and 8 weeks. 3. In the experimental group 2, implanted bone itself had a dimensional stability and no bonding between implanted bone cement and the existing bone was seen in both 2 weeks and 8 weeks. Implanted bone cement was encapsulated by fibrous connective tissue. In addition, inflammatory infiltration was seen around implanted bone cement. On the basis of these results, when LM-CA bone cement or CA-PMMA composite bone cement was implanted in rat calvarial defect, LM-CA bone cement can be used as a bioactive bone graft material due to ability of bonding to the existing bone and CA-PMMA can be used as a graft material for augmentation of bone-volume due to dimensional stability.

백서 두개골 결손부에서 입자 크기에 따른 Calcium aluminate cement의 효과

신정아,윤정호,오승한,백정원,최세영,김종관,최성호,Shin, Jung-A,Yun, Jeong-Ho,Oh, Seung-Han,Paik, Jeong-Won,Choi, Se-Young,Kim, Chong-Kwan,Choi, Seong-Ho 대한치주과학회 2002 Journal of Periodontal & Implant Science Vol.32 No.4

This present study was carried out to find the effects of calcium aluminate cement($CaO\;{\cdot}\;Al_2O_3$, CAC), which has been developed with bio-compatibility and mechanical properties, in biological environments. Two different particle sizes of CAC - 3.5${\mu}m$ vs. 212${\sim}$250${\mu}m$ which is recommended in periodontal bone grafting procedures-were filled in 8mm calvarial defect in Sprague-Dawley rat. The specimens were examined histologically, especially the bone-cement interface and the response of surrounding tissues. The results are as follows; 1. In the control group, inflammatory cells were observed at 2 weeks. At 8 weeks, periosteum and dura mater were continuously joined together in the defect areas. But in the center of defect area were filled up with the loose connective tissues. 2. In the experimental group l($212{\mu}m{\sim}250{\mu}m$ particle), immature bone was formed and outermost layer was surrounded by osteoid layer at 2 weeks. Osteoblasts were arranged between immature bone and osteoid layer. And, osteoid layer was remained until 8 weeks after surgery. 3. In the experimental group 2, periosteum and dura mater lost its continuity at 2 weeks. Scattering of CAC particles and infiltration of inflammatory cells were observed, which this findings deepened at 8 weeks. The result of this study shows that when calvarial defects in white rats are filled with calcium aluminate cement of 212${\sim}$250${\mu}m$, the materials are to be bio-compatible in growth and healing on surrounding tissues. When further researches are fulfilled, such as direct bone adhesion and bone regeneration ability, it's possible that CAC could be applied to various periodontology fields in the future.

라신의 『페드르』를 둘러싼 세 가지 논란에 대한 고찰

신정아 ( Shin Jung-a ) 한국프랑스고전문학회 2008 프랑스고전문학연구 Vol.11 No.-

Cet ecrit a pour but de revoir les trois controverses autour de Phedre qui n'ont cesse de faire couler beaucoup d'encre, et ce, des le vivant de son auteur. La premiere concerne le fait que Phedre fut suivie d’un silence de douze annees avant que Racine ait mis au monde Esther sur la demande de Mme de Maintenon. Une telle rupture, consecutive a un tel chef-d'oeuvre est depuis longtemps consideree comme le tournant majeur de la vie de Racine. Pour expliquer cet evenement, de nombreux critiques et biographes ont avance une raison unique, a savoir sa conversion, selon la version donnee par son fils Louis Racine. D’autres comme Jules Lemaitre a l’epoque romantique sont meme alles jusqu'a y voir un renoncement total de l’artiste. Or les temoignages contemporains nous montrent sans ambiguite que si Racine avait quitte le theatre, c'etait essentiellement pour repondre a l’appel du roi Louis XIV d'ecrire l’histoire du regne. La deuxieme est etrcdtement liee a la precedente. Il s'agit d'une anecdote rapportee par Louis Racine. Selon lui, Boileau, ayant porte un exenplaire de Phedre au Grand Amauld aurait obtenu de lui qu'il reconnut l’innocence de la tragedie, prelude a une reconciliation entre Racine et Arnauld qui serait intervenue quelques jours plus tard. Mais cette anecdote bien enjolivee ne peut etre qu'une affabulation. En effet, il est invraisemblable qu’une haute figure du jansenisme comme Arnauld ait envisage un seul instant qu'une tragedie put etre innocente, dans la mesure ou les jansenistes comme tous les augustiniens, soutenaient une position inconciliable avec le theatre. Enfin, la troisieme controverse qu‘il faut mentionner a propos de Phedre fut soulevee par une tragedie de Pradon portant le meme titre. Si l’on en croit les panegyristes de Racine, celui-ci aurait ete victime d’une cabale d'envergure, nee dans l’entourage de deux femmes dont le point commun aurait ete leur hostilite a Racine. Cependant, en depit d’un antagonisme certain envers Racine dans quelques milieux, rien ne permet de parler d'une sombre machination qu'on a fait passer a la posterite. Par ailleurs, faire passer Racine pour la victime des attaques d'une coterie presentait l’avantage d’occulter ses propres manoeuvres contre la piece concurrente. En effet, meme si les manoeuvres de Racine ne sont guere a son honneur, il demeure certain qu'il est effectivement intervenu en haut lieu pour s'eviter la concurrence directe de Pradon. La revue de ces trois controverses ne pretend pas du tout fournir une nouvelle perspective aux etudes raciniennes. Mais a l’occasion de la parution recente d’une nouvelle biographie intitulee Jean Racine, ouvrage tant volumineux que complet, apporter une nouvelle lumiere a ces vieilles controverses autour de Phedre ne sera pourtant pas sans interet, dans la mesure ou la longevite et la diversite de la reception de l’oeuvre sont, en elles-memes, des temoignages de la qualite ou du sort heureux d'un chef-d'oeuvre.

소천 시 연구; 자연의 품에서 깨어난 꿈

신정아(Shin, Jung-A) 한국아동문학학회 2012 한국아동문학연구 Vol.- No.23

본고에서는 그가 남긴 동시집 『호박꽃초롱』에 나타난 ‘꽃’과 ‘꿈’의 이미지 중심으로 작품을 살펴보았다. 소천의 동시집은 ‘하늘, 구름, 달, 나무, 바람, 눈, 닭, 사슴, 민들레, 호박꽃 등의 자연적인 것이 동시의 주요어로 사용되었으며, 자연 안에서 자연의 밝고 생동하는 세계의 노래를 부드럽고 구김살 없이 자유롭게 구사하였다. 이렇듯 그의 작품은 거의가 아름답고 조용한 고향의 자연과 애정이 깃들어 있다. 직관 그대로 티 없는 표현을 하고 있는 「닭」이나 「달밤」, 「사슴뿔」과 같은 작품이 보여주듯, 그의 동시는 영원을 바라고 꿈을 그리며 조국과 민족에 힘을 실어주는 작품들을 주로 생산한다. 본고의 논제가 된 ‘꽃’과 ‘꿈’의 상징적 의미도 그의 동시 작품 전체 이미지 면에서 중요한 의의를 차지한다. 소천 동시에 ‘꽃’은 심심치 않게 등장하는데, ‘꽃’은 ‘피어난다’라는 의미로서 꿈과 희망을 상징한다. 「사슴뿔」에 피어날 ‘꽃’과 피어나야만 하는 ‘무궁화’와 「이슬비의 속삭임」에서 피어나기 위한 ‘꽃봉오리’는 모두 희망과 가능성을 지닌 존재인 것이다. 일제치하의 암울한 현실 속에서 아직 피어보지 못한 우리 조국의 꿈이 꽃 속에 담겨있다. 이러한 자연친화적 소재를 일반 활용해 작품에 극대화한 작가의 태도는 그의 작품에 꽃이 아닌, 또 다른 ‘꿈’으로 나타난다. ‘하늘’을 소재로 한 그의 작품을 살펴보면, 「조그만 하늘」에서 소나기가 안고 온 빈 독의 조그만 하늘은 비극적 현실을 안고 사는 민족들에게 한 줄기 희망의 공간인 것이다. 조그만 하늘이지만 잘도 떠도는 ‘제법 고오운 구름’은 작가를 비롯한 민족의 ‘고오운 꿈’을 상징한다. 아동의 세계를 통해서 이상의 세계를 추구하는 것은 소천에게 있어서는 꿈의 세계이다. 「가을하늘」에서 엄마를 기다리며 바라보는 파란 하늘도 ‘동그란’ 하늘과 ‘파란’하늘의 함축적 이미지가 결합해, 파란 하늘은 언젠가 돌아올 조국의 광복을 꿈꾸는 공간으로 제시된다. 「가을하늘」에서 화자가 엄마를 기다리듯, 대자연은 마치 ‘엄마의 품’과도 같다. 엄마 품에 안기면 어떠한 꿈이라도 ‘겁 없이’ 꾸어댈 수 있을 것만 같다. 그리고 엄마 품에 잠들면 겁 없이 꾸어댄 꿈이 꼭 이루어질 것만 같다. 소천에게 자연이란 그런 엄마 품과도 같은 것이다. This manuscript focused on the image of ‘flower’ and ‘dream’ which is from Kang, SoCheon’s children’s poem; 『Pumpkin flower a canful』. SoCheon used nature words in his poem such as ‘sky’, ‘cloud’, ‘moon’, ‘wood’, ‘wind’, ‘snow’, ‘hen’, ‘deer’, ‘dandelion’, and ‘pumkin flower’. His poem also had a good command of nature’s bright and vivid world. Like this, almost all his literature has a nature of beautiful and quite hometown and love. As is shown by SoCheon’s literature such as ‘hen’, ‘moonlit night’, and ‘antler’, he usually creates eternity, dream and power to Nations and Peoples in his literature. A symbolic meaning of ‘flower’ and ‘dream’ which are main words in this manuscript is also occupied an important meaning in his all literature images. A word of ‘flower’ appeared easily in SoCheon’s poem, the word ‘flower’ means ‘bloom’, which means dream and hope. For example, ‘flower’ which will bloom and ‘Mugunghwa’ which must bloom in 『Antler』 and ‘bud’ which is for blooming in 『Whisper of Drizzle』 are all existence which has hope and possibility. The flower has our nation’s dream which do not bloom in dark Japanese imperialism. SoCheon used nature-friendly words for maximizing his literature; the word ‘flower’ is not only just a ‘flower’ but also ‘dream’. As is shown earlier children’s poem, SoCheon’s literature draws a dream without exception. Whereas if we look at his poem which uses ‘sky’ as his writing material, small sky with shower is ray of hope to Peoples who lives with a tragic reality in 『Small Sky』. Even though small sky, a roving well ‘beautiful cloud’ symbolize Nation’s ‘beautiful dream’. Pursuing an ideal world through children’s world is a dream world to SoCheon. Seeing a blue sky while waiting a mother in 『The Autumn Sky』 is also colligating implicitness images; blue sky represents a dreaming space of nation’s independence which will come true someday. As narrator waits mother in 『The Autumn sky』, Mother Nature is like a ‘mother’s bosom’ When we hug mother’s bosom, we can make a dream fearlessly. Furthermore when we sleep in mother’s bosom, we feel like dream is almost come true. The nature is like a mother’s bosom to Socheon.

윤석중 동시에 드러난 낙천적 환상성 연구 -작품의 내적형식을 중심으로

신정아 ( Jung A Shin ) 단국대학교 한국문화기술연구소 2012 한국문화기술 Vol.13 No.-

Fantasy is made by children’s dream. There will be no fantasy world, if growing children do not have dream or hope. Children’s genuine honesty is really needed for expressing an optimistic childish innocence and presenting a fantasy world. Fantasy world shows something that gratifies children’s desire in literature. As I mentioned earlier, there are not only fairy tale but also many children’s poem which assumed a fantasy based on reality in juvenile literature. For this reason, I studied an optimistic fantasy in Yoon, SeokJung’s children’s poem. I focused on literary work which has fairy tale fantasy based on innocence of childhood, personified fantasy, spatial fantasy and transforming fantasy. There is given a world of fairy tale fantasy when we instill children’s imagination with childish innocence. Furthermore, a personified fantasy gives pleasure with an eccentric and wonderful world to the children who have animistic thoughts such as ‘Every existence has life in the world’. Especially, Yoon, SeokJung’s used ‘Moon’ as a material in his children’s poem. A crescent moon, a half moon and a full moon also appears in this manuscript as an imagery of spatial and transforming fantasy. It looks successful literary work to realize a fantastic image in moon’s shape. Factors of animistic, space time and transforming also helps children’s emotional development which is in Yoon, SeokJung’s children’s poem. Children suddenly realize that they cannot indulge their desire in real world and they start to find active ways to fill their desire. Yoon, SeokJung’s fantasy works have to be understood as an active way to indulge children’s desire. This shows a close correlation with Yoon, SeokJung’s mind which loves children. Children can have a hope by experiencing fantasy world in these literature works. On the other hand, Yoon, SeokJung’s got harsh reviews about disregarding a reality or drawing an unreality child. However, even if Yoon, SeokJung supports a positive childlike world and an optimistic fantasy world, every Yoon, SeokJung’s literature works is not optimistic and hopeful. A typical example, it can be found clearly in Yoon, SeokJung’s work, ‘Snail,’ Yoon, SeokJung also could not avoid reality in that time although he thought children do not have to know this tragic time. Children’s poems also express a realistic contradiction or problems indirectly by making these things materials or themes. However, we need to focus on how realistic contradiction is expressed in children’s poem. In those regards, Yoon, SeokJung’s many literature works which includes ‘Optimistic Fantasy’ proves effectiveness. As there are many literature work which children prefer and focusing on animistic thoughts. It also includes sky which is children’s everlasting dream. Children advanced in optimistic fantasy world. It is not far that the world is the one in children’s mind. We need to recognize the need of ‘Children’s poem fantasy’ for children now and forever, and we also need to continue our effort not only creation but also study. I left the task about ‘External Form’ in optimistic fantasy study in Yoon, SeokJng’s Children’s poem and I hope there is a steady result of children’s fantasy study in future.

시대상에서 살펴본 소파문학의 형성과정

신정아 ( Jung A Shin ) 단국대학교 한국문화기술연구소 2013 한국문화기술 Vol.15 No.-

Pre-researchers who studied about Bang Jeong-hwan focused on analysis of his literature which gives children pleasure on the basis of Bang Jeong-hwan’s love for children. However, I focused on Bang Jeong-hwan’s love for children from his children’s song and educational efficiency of children’s story in my research. Sopa Bang Jeong-hwan chooses literature way which feeling children’s sadness together. At that time, children do not have their motherland song. Bang Jeong-hwan has few creative nursery rhymes, but they have rhythmical elements which makes children easy to sing along such as 「Old Dragonfly」. 「Old dragonfly」also represents Joseon-era people who suffer from Japanese Colonization. There are also many literatures which overcome a national sadness in Sofa’s children’s song. One of them is 「Mother」. The 「Mother」is seen as sympathy about sadness of oppressed nation and maltreated children. Sofa is also produced Gorae children’s story, not only, of course, adapted a foreign children’s story but also adapted an old story. There was no children’s literature development if we do not work on finding a Gorae children’s story or import a foreign children’s story even if it is an inevitable consequence. Bang Jeong-hwan put children’s story needs to give pleasure to children before children’s story is read by children only for educational purposes. For this reason, Sofa’s children’s literature is focused on contents than formalism. However, the meaning of pleasure at this time is not just for pleasure it also teaches the children. Bang Jeong-hwan considered three important things as his children’s story writing methods; first of all, makes story easy for children; second, makes children happy; third, consider educational meaning so do not exclude educational usefulness. Sofa also showed these things through his literature. A representative children’s story, Catching a Bear by Father and Sons in 1930s is storied by One of our proverb, Seeming like father and two sons catch a bear. Like a meaning of proverb; everything could be achieved if sticky power of blood band together; if our people stand together, we could do everything although our people live under the pressure of Japanese Colonization. This story was red widely which giving hope and brave to children in hard reality. Furthermore, the Prince character from one of the Bang Jeonghwan’s famous foreign children’s story; 「Prince and Swallow」, is similar to Sofa’s character. Sofa’s image is overlapped with the Prince who died after he had given everything what he has to disadvantaged children. In addition, every fact about Prince is known to people, so the statue of Prince is remade with all jewels. When Sofa wrote his literature lively, our country is suffered from Japanese Colonization. It’s natural that Bang Jeong-hwan’s literature person is never smooth. The most noticeable from his literature is 「Literature of Tears」that even though the character has obstacle, he never give up and do his endeavor. Although a child has superb display of talent, he is surrounded by a secluded mountain because of his poor conditions. As Bang Jeong-hwan wrote 「Literature of Tears」, he said about sadness of Joseon’s children. Sofa was always thought how to make Joseon’s children in great state and grow correctly. Most of Joseon’s children are poor themselves, even though no more their parents bully their children. Like a Sofa’s word, The power of extending children is dried up and reduced, it was time that country and word are dispossessed. Sofa always said that not scold and bully children but understand and treat them with compliments. These make children have confident and brave. There are lots of poor people in Sofa’s story adaptation or creative children’s story, and these people are described who excellently pass through their crisis. What Bang Jeong-hwan always wanted to say to children is overcome the difficulties with hope and brave. Like this, Bang Jeong-hwan’s literature is connected to educational undertone of Joeson reality recognition. Bang Jeong-hwan always regarded work for children is as a pleasure and what he has to do. The regrettable thing is Bang Jeonghwan made a poor living, but even he did not get a time for curing his disease. Bang Jeong-hwan worried only children when he fought with death until the very end. Even though Sofa passed away at the age of 30, his reputation is still diffused over the eighty years. Sofa’s billow will never dry up forever, and saturated to children’s mind.

동요의 문학성에 따른 어린이 수용양상과 교육적 함의 -신현득의 동요문학선언과 동요시집을 중심으로-

신정아 ( Jung A Shin ) 한국어린이문학교육학회 2014 어린이문학교육연구 Vol.15 No.4

한국아동문학의 역사는 동요에서 시작되었다. 글이 없던 시대에도 어린이들은 노래를 흥얼거렸으며, 그들의 입을 통해 전해져온 구전동요는 어린이문학교육의 시발점이었다. 이러한 동요는 격변기를 거쳐 왔는데, 1960년대 동시작가로 불리던 시인들은 문학성을 잣대로 예술성이 떨어지는 동요를 짓지 않았다. 이 시기 아동문학의 출발이 동요에서 시작되었고, 어린이들에게 동요가 뗄 수 없는 장르라는 것을 인식한 신현득은 몇 동시작가들과 함께 동요문학선언을 공표하여 동요부흥운동을 전개해 나간다. 또한 그가 출간한 동요시집에 실린 작품들은 그가 동요를 시적 경지에까지 끌어올리고 있음을 보여준다. 이후 동요시는 어린이들이 읽고 마는 시에서 문학적인 감동을 주는 성격의 것으로 변화한다. 어린이들은 언어적 표현에 의한 시적 형상화를 직접 체험하면서, 시의 아름다움을 맛보게 된다. 뿐만 아니라, 자연물을 통한 잔잔하면서도 동심의 색채가 강한 어조는 어린이들로 하여금 정서적 몰입을 가능케 하며, 안정되고 풍요로운 살아갈 수 있는 힘도 안겨준다. 이처럼 동요는 어린이의 정서 또는 가치관 형성에 적지 않은 영향을 미친다. 동요의 문학성 정립을 위한 꾸준한 노력은, 어린이문학 교육적 측면에서도 분명한 발전을 가져올 것이라 기대한다. Korean Children`s Literature started from children`s songs. When there were no letters, children sang a song, and children`s folk songs passed on by word of mouth was the starting point of children`s literature education. These children`s songs endured sudden changes, and the poets who were called writers of children`s poems did not compose children`s songs with low artistic quality with criteria of literarity. At that time, the starting point of children`s literature began from children`s songs, and Shin Hyeon Deuk who recognized it as a children`s genre, published a declaration of children`s songs as literature with other writers of children`s poems and conducted a children`s song revival movement. And the pieces in his own collection of children`s song showsraised the genre up to the poetic level. Since then, children`s songs changed from just poems read by children to those thatprovide literary impression. Children experience poetic formation through lingual expressions and enjoy the beauty of poems. Also, a calm but strong child-like tone with nature makes children emotionally immersed and provides a stable and abundant life force. Therefore, children`s songs have a huge influence on the formation of children`s emotions or sense of values. Continuous efforts to build literarity of children`s songs is expected to develop the educational aspect of children`s literature.

가브리엘 루아의 『싸구려 행복』에 나타난 유동하는 근대의 몇몇 양상

신정아 ( Jung A Shin ) 한국불어불문학회 2011 불어불문학연구 Vol.0 No.88

Le propos de cette etude consiste a montrer que Bonheur d`occasion, premier roman de l`ecrivain quebecois Gabrielle Roy, annonce ou denonce prealablement quelques aspects caracteristiques de la modernite liquide que formulera plus tard Zygmunt Bauman, l`un des sociologues actuels les plus influents. Bonheur d`occasion est considere avant tout comme une oeuvre qui a marque le tournant realiste du roman quebecois du fait qu`il symbolise tout a la fois l`arrivee de thematiques urbaines dans la litterature quebecoise et le moment fort du realisme romanesque. Or ce que nous avons souligne dans cette etude, c`est que ce roman nous fournit non seulement le portrait realiste de la societe quebecoise d`une epoque en pleine mutation mais il nous avertit egalement des mefaits a venir de notre societe contemporaine, societe qui fonctionne essentiellement sur le mecanisme de competition/exclusion, qui exige des individus d`etre flexibles et capables de changer de lieu, d`emploi, de valeurs et qui fait des exclus de la modernite autant de vies perdues ou dechets humains. A partir de cette hypothese de travail, nous avons d`abord essaye d`analyser l`espace topologique de la ville qui n`est autre que l`espace d`exclusion a travers la division sociologique existante entre Saint Henri(Basse ville pauvre) et Westmount(Haute ville riche). Ensuite, nous avons tente de montrer le mecanisme selon lequel, le chomeur, une fois exclu de la circuit, devient quelqu`un de superflu, a savoir un dechet humain a l`instar de la production incontrolee de dechets autour de l`episode de la dompe de la Pointe Saint Charles. Nous avons enfin ajoute que si un homme est categorise comme un surplus, c`est surtout parce que c`est un mauvais consommateur par manque de pouvoir d`achat. Certes, aucun personnage du roman ne se considere comme un surplus, ni comme un dechet, chacun est encore a l`etat d`occasion, susceptibles d`etre reutilises, recycles. Mais a l`issue de la lecture du roman, il nous semble que la distance entre les objets d`occasion et les dechets n`est pas si grande et que c`est bien ce message qu`on doit percevoir dans la vision quelque peu alarmante de Gabrielle Roy.