한국 청소년 소설 연구 = Research on Korean young adult literature

다국어 초록 (Multilingual Abstract)

The goal of this paper is to identify the intrinsic characteristic of ‘Young Adult Literature.’ Currently, adolescent novels are being actively created and distributed. However, research efforts to understand the unique identity of adolescent novels are lacking.
In order to establish the title of Young Adult Literature, it is necessary to first organize its relationship with the genre that’s provided to adolescents before it’s distributed as ‘children novels’ or ‘maturity novels.’ Thus, this paper will examine the various cultural and social elements that are related to adolescent novels, and based on these established relationships the paper will study its complex identity. Young Adult Literature in themselves are ambiguous concepts. So, the examination of its relationship to other literatures will be an effective way of understanding its foundations.
Preceding the actual research, chapter 2 studied the characteristics of modern adolescents’ maturity process. Also, the paper organized the various opinions related to the concepts of Young Adult Literature. In its broader implications Young Adult Literature can be defined as all literature that is recommended to adolescents; whereas, in its more condensed implications, Young Adult Literature can be defined as novels that depict the lives and daily happenings of adolescents aimed for adolescent readers. This type of discrepancy in perspectives towards Young Adult Literature occurred because originally during a time when there were no literature created specifically for the adolescent readership, any and all pieces that were suitable for the adolescents readers were classified as Young Adult Literature. Gradually however, with the passing of time, tendencies that geared towards adolescent readership were extracted and efforts were made to establish the identity of Young Adult Literature in a more detailed definition.
In chapter 3, the paper examined the relationship between Young Adult Literature and children novels and maturity novels, which basically fall under the same classification, as well as its relationship with regular literature and commercial narratives. Upon examining the history of literary pieces for adolescents in detail, it can be seen that there was no social consensus to establish the grounds for adolescent literature in the early stages of modern society. As a result, those children novels and regular novels that were evaluated to be acceptable for adolescent viewing started to be recommended primarily to adolescents. Among these literary pieces, children novels and maturity novels were most widely recommended and read by adolescents and this began to affect the internal grammar of Young Adult Literature. Still, ‘children novel’ was genre term that heavily emphasized the age factor, whereas ‘Young Adult Literature’ was a term that reflected the age factor and the adolescents’ social status simultaneously. Also, ‘maturity novel’ implied one format of novels that were born with modern novels, whereas ‘Young Adult Literaturel’ implied a deeper and wider meaning of topic and content in addition to maturity. Therefore, it seems more appropriate to use the new term, ‘Young Adult Literature’ over the previously used ‘children novel’ or ‘maturity novel.’
There is also a tendency for the adolescent readership to favor materials that the adolescents sought out themselves for entertainment, regardless of whether or not these materials were selected as recommended literature by schools or other institutions. In this case, it was more common that the adolescent readers chose narratives that were more commercial than literary. In addition, there were movie narratives that were aimed for adolescents even if these were not novels. This paper contemplated why commercial narratives appealed to the adolescent readership. The conclusion that this paper reached was that, because adolescents are a type of commercial group they preferred articles that were commonly commercially charged. Moreover, it was seen that literature that targeted adolescent readership from an educational perspective had the dilemma of needing to propose moral and philosophical issues as well as needing to consider adolescents as juvenile readership.
Through chapter 4, the paper examined the status quo and development of Young Adult Literature. Upon entering the intensely capitalist society since the 1990s, the Korean society started paying attention to adolescents and the adolescent’s culture as a consumer. Those adolescent novels that were created during this period are novels that carry the condensed meaning of Young Adult Literature. Adolescents had been grouped as the outside member of modern society just like children. Maturity novels carried the intention of including the existence of adolescents, which was immature and pertaining to the outside, within the modern social circle. On the other hand, Young Adult Literature emphasized adolescents as the main subject of the development of modern society and with this step invented a new identity to the genre.
Young Adult Literature have developed from a simple narrative with an adolescent narrator to a form where the position of the adolescent narrator was highlighted. Also, this tendency expanded the issue of the narrative’s overall perspective. Hence, the characteristic of Young Adult Literature is that it started to carry the intention of representing the lives and emotions of adolescents and in detail, it became a narrative headed by an adolescent narrator aimed for the adolescent readers. For this reason, although there are no limitations to the topic of the stories presented to adolescents, but there is a certain intention that these novels seek. The only concern is that if the concept of the Young Adult Literature is established within the frame of the condensed definition of the genre, then due to the indignant stories of a Korean adolescent’s lives there may be a limit in the material and topic of Young Adult Literature. Thus, the topic of Young Adult Literature should go beyond reenacting the lives of current adolescents and expand into a more widespread reserve of contents.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 문제제기 1
• 2. 연구사 검토 5
• 3. 연구방법과범위 13
• Ⅱ. 근대 청소년의 등장과 청소년소설의 개념 19
• 1. 청소년의 형성 19
• 1) 청소년의 탄생 19
• 2) 한국 근대 청소년의 형성 25
• 3) 학교 제도와 한국 청소년 31
• 2. 청소년소설의 개념에 대한 다양한 관점 38
• Ⅲ. 청소년소설의 상호텍스트성 43
• 1. 소년소설과 청소년소설 43
• 1) 소년소설과 청소년소설의 교차지점 43
• 2) 소년소설의 형성과정 45
• 3) 학생표상의 변화 양상 50
• 4) 소년소설과 청소년소설의 변별지점 56
• 2. 성장소설과 청소년소설 59
• 1) 성장소설의 정의 59
• 2) 성장의 내포와 특성 61
• 3) 성장소설과 청소년소설의 변별지점 67
• 3. 일반소설과 청소년소설 73
• 1) 일반소설의 교육용 전환과정 74
• (1) 청소년소설의 교육윤리적 기능 74
• (2) 독서교육과 청소년소설 77
• 2) 일반소설과 청소년소설의 접합양상 82
• (1) 긍정적 접합 82
• (2) 부정적 접합 89
• 4. 대중서사와 청소년소설 95
• 1) 청소년독자의 대중지향성 95
• 2) 대중서사의 종류와 내용 99
• (1) 명랑소설 99
• (2) 순정소설 105
• (3) 청소년용 영화서사 109
• Ⅳ. 청소년소설의 전개와 현황 119
• 1. 청소년소설의 등장 배경 119
• 1) 철학적 배경 119
• 2) 문화적 배경 122
• 2. 공교육과 청소년소설 126
• 1) 교과서수록소설의 변천사 126
• (1) 1차~6차 교육과정의 교과서수록소설 127
• (2) 7차 교육과정 이후의 변화 130
• 2) 교과서수록소설의 특징 및 한계 133
• (1) 교과서수록소설의 특징 133
• (2) 교과서수록소설의 한계 136
• 3. 2000년대 이후 청소년소설의 양상 140
• 1) 추천도서에서 청소년소설로의 변화 140
• 2) 성장서사의 계승 및 변용 144
• (1) 성장서사의 계승 144
• (2) 성장서사의 변용 148
• 3) 내용과 형식의 다양화 153
• (1) 당대성의 발견과 주제의 확산 153
• (2) 기법의 다양화와 대중코드의 수용 156
• Ⅴ. 결 론 167
• 참고문헌 170
• Abstract 178