박태원의 아동문학 연구

Abstract

This paper tries to define the status of Park Tae-won as a writer of children’s literature. Park Tae-won is known as a writer of representative modernist writers in the literature history. However, it is needed to shed new light on Park Tae-won as a important writer of children’s literature. He created children’s literature constantly through penetrating Korean modern history of the end of Japanese colonization era, liberation, division etc from 1930s. This paper tries to show that Park Tae-won is a considerably important writer of children’s literature in aspects of creation’s sustainability, sizes of works, varieties of genre etc by making his list of works newly. The creation of his children’s literature covers the boundaries of adults’literature and children’s literature, classical literature and contemporary literature, and foreign literature and Choseon literature with flexibility. While early children’s literature made major progressing in unilinear direction of crossing the border from adults’ literature to children’s literature, crossing the border in Park Tae-won’s literature shows two-way features from adults’literature to children’s literature or from children’s literature to adults’ literature. Through this reestablishment of borders, Park Tae-won pioneered new prospect of children’s literature and challenged existing form and custom. In these major aesthetic strategies of crossing borders, there are intratextuality and classic re-writing. This paper considers these two aesthetic strategies are essential features that are penetrating Park Tae-won’s the whole children’s literature. The intratextuality of boy novel and autobiographical novel is effective indirect strategy of aesthetics’ standardization that was in conformity with fascism’s reinforcement of the late term of Japanese era. In addition,the writer pioneered the area of history novel from children’s literature of liberation period by re-writing of Chinese classics and Lee Sun-shin narration. Like above, he was settled as the writer that on the other hand, pioneered the own aesthetic area of children’s literature, which cannot be expressed in other genre, and on the other, inherited cultural asset or common theme consciousness, which is possible to share over other literatures’ genres through aesthetic strategy which is crossing the borders of literature.