근대 초기 『금고기관』의 수용 양상에 관한 연구

Abstract

In 1910s, the material and institutional condition surrounding the existing world of narratives changed rapidly. Consequently, the change of narratives was forced. The contents of every art form which are created, circulated and consumed in the society cannot be separated from the exterior conditions. As the capital and the government power became the most critical factor in 1910s, the category of fiction had to go through some variation too. On the other hand, in 1910s, fiction did not mean literature containing the modernized concept of art. In other words, this historical period nakedly reveals the nature of fiction. Also, there is the issue concerning the translated/adapted fictions appeared in this period. The influences of them had not been considered in the history of national literature so far. All these issues appear together in the acceptance of Geumgogigwan in early 20th century. In part 2, I examined the acceptance of Geumgogigwan. The episodes in it had been used as the original scripts of serial fictions since 1900s, and the publication of fictions adapting its episodes had prevailed since 1910s. In this period, the short stories of Ming Dynasty concluded in Samun and Ibak, not only Geumgogigwan, were accepted by various media such as newspaper, manuscript and book. The writers of Sinsoseol including Lee Haejo used Geumgogigwan as the source of rewriting, the publishers used it as the original script of translation or adaptation. As the fictions adapting the episodes in Geumgogigwan considered, it can be noticed that first, they were rewritten in the style of Sinsoseol and Gososeol, and second, they were accepted in the form of serial fiction in newspaper and book publication. On the other hand, different versions of adapted/translated fictions originated from the identical episode appeared. This rewriting practice is the feature of 1910s. In part 3, I examined the exterior condition surrounding the acceptance of Geumgogigwan. The market had been expanding since 1900s, but as the press law and the publication law were enforced, the production and the circulation of narratives had to face the restriction. With these two laws in force, the most damaged was the book market. Especially with the copyright law, the royalty became the critical criterion in selecting works to print. Short stories of Ming Dynasty including the episodes in Geumgogigwan had existed before the copyright law was enforced, as a result, its copyrights could be claimed by anybody. The publisher could exercise rights about non-creative works, which were not protected by the copyright law. In this period, the ghost writers made their living by selling the copyright of fictions. As Sinsoseol and Gososeol became the bestseller, the ghost writers, who are presumed as the pundit class, rewrote fictions to get the royalty. They adapted or shortened the original script and retitled it. To speak with asperity, the prevalence of adaptations and translations of the short stories of Ming Dynasty including Geumgogigwan is can be understood as those practice.