1920년대 『별나라』 동요 연구

Abstract

When first published by unknown teachers and rising journalists & publishers in the early and mid 1920s, ‘Byeolnara’ had weak literary ground. Even so, it was able to evolve into our of the top 4 children’s magazines in the 1920s thanks to strenuous efforts by the editor and publisher Ahn Joon-sik and found members (ex: Choi Hui-myeong, Yeom Geun-soo, Choi Byeong-hwa, etc.). As Modern Boys Club members, they took part in various children’s story and song events organized by juvenile literature organizations in addition to creative activities and magazine editing and strengthened their position as children’s book writers. In addition, they attempted to develop the magazine by inviting renowned writers. They also solidified bonding by founding Kkotbyeolhoe (1927),’ ‘Byeoltaphoe (1927)’ and ‘Joseon Children’s Book Writers’ Association (1929).’ To attract more leaders, ‘Byeolnara’ opened its branch across the nation. In addition, it opened a ‘Byeolnim Group’ column to discuss the future direction of the magazine with readers and offered a space to share public opinion by delivering regional juvenile movements and literary news. Furthermore, it would hold literary exhibitions and open ‘Special Coverage’ column to give readers an opportunity to participate in. As a result, juvenile writes treated as ‘dongin’ emerged as leading writers in children’s literature in the early 1930s. In the early stage of ‘Byeolnara’ in the 1920s, the main writers of the magazine (ex: Ahn Joon-sik, Choi Hui-myeong, Yeom Geun-soo and Choi Byeong-hwa) write children’s songs under their pen names. Since then, the following writers joined the magazine: Han Jeong-dong, Park Se-yeong, Shin Goh-song who was treated as ‘dongin’ with, Song Wan-soon, Seung Eung-soon and Hyeong Dong-lim. In children’s songs, it is important to pay attention to the followings: introduction of children’s song composition method (Han Jeong-dong); criticism on children’s songs (Kang Byeong-joo, Park Se-yeong); introduction to the world’s renowned children’s songs (Park Se-yeong); children’s songs with pictures (Yeom Geun-soo). Moreover, it was young students (age 15 thru less than 20) and members of the Juvenile Literature Organization who created and contributed children’s songs to ‘Dokja Mundan (Readers’ Contribution of Literary Works).’ They also released children’s songs in the newspaper ‘Eorini Chaji’ and honored to be awarded at Literature Contest. However, the children’s songs contributed to ‘Dokja Mundan’ had limitations in sentimentality in terms of theme and in schematism (7-5 rhyme) in terms of form. As stated above, the expression of exaggerated emotions by juvenile writers in the 1920s revealed the loss of artistic value. Even so, they personally had an opportunity to start their literary career and help people get over their grueling routine during the colonial period.