근대 조선의 한네레의 승천 수용과 방정환

Abstract

This study discusses about aspects of appropriation of the ascension of Hanneles and modern children's literature. Bang Jung Hwan translated the Germany naturalistic writer, Gerhart Hauptmann's the ascension of Hanneles and published it as the fifth story in Gift of Love(Gae-byuk-sa 1922). But he named the title of the translated fairy tale Death of Hanneles . Bang Jung Hwan already put on the famous foreign play for children, Death of Hanneles in ‘the Cheondogyo meeting for plays for children’(1923. 1. 14), before he published the play for children, a pocket of songs in the first issue of the magazine Children. This play for children was of great significance as the first performed play for children in the modern history of children literature, as it called the social alarm for child abuse and the protection of human rights on stage. Bang Jung Hwan adapted the Hauptmann's original work, the ascension of Hanneles , so close to children reader's levels and the reality of the Joseon dynasty. He also named the title of it Death of Hanneles . Death of Hanneles was the biggest work of changes in the ten stories which were contained in Gift of Love. Therefore this study pays attention to the adaption aspects of it and analyzes how Death of Hanneles changed the narrative of ‘the ascension’ to the narrative of ‘death’ and appropriated it. This study analyzes the change aspects as ‘differences in character composition’, ‘persuasive description of circumstances of Han-na-re's runaway’, ‘the narrative weakness for her stepfather, Matereun's punishment’, and ‘the deletion of the view of christian afterlife heaven’ in a big category. Most of all, the originality that was expressed as the most ‘like Bang Jung Hwan’ narrative in Death of Hanneles is the narrative of ‘Hanneles and her older sister’ and ‘Death of two sisters’. Bang Jung Hwan presented the third person, ‘the older sister of Hanneles’ who did not appear in the original work and gave her a role to speak for the child who was persecuted and felt pain in the Joseon society. The two little sisters completed the broader ‘divine nature’ of the bigger meaning as saviors who went through sacrifice and pain instead of children of the Joseon dynasty, although they did not come to be ‘saintess’ of the heaven world like in the original work.