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1960년대 아동문학전집의 문화적 상상력: 을유문화사 『한국아동문학독본』을 중심으로

In the complete works of children’s literature cultural imagination and the desire of the canon configuration -Focused on the Eulyu Publishing’s complete works in the 1960's

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한국아동청소년문학학회 (Korea Association of Literature for Children and Young Adults)|2012.12|아동청소년문학연구 (The Korea Association of Literature for Children and Young Adlult)|제11호|pp. 7-42

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참고문헌

키워드

을유문화사정전Canon방정환1960년대1960s전집Korean children’s literatureThe readerBang Jeong-HwanEulyu Publishing시민적 상상Complete workscivil imagination

초록

This article aims to examine how Korean children’s literature set up the borderline between the nation and literature in the aspect different from the colonial era’s after the emancipation mainly with Eulyu Publishing complete works and also analyze how the publishers or editing committee tried to build the mainstream of children’s literature with what sort of cultural imagination. Eulyu Publishing founded after the emancipation exhibited desire for new cultural space and civil imagination through extensive culture movement. In this period, literary works, the mental products of Korean children’s literature authors, were published, and they gradually had needs to organize it as a publishing company. Eulyu Publishing came to dream to publish and distribute good books for children through conscientious authors and publishers’ cooperation. In this process, Eulyu Publishing’s complete series show two kinds of desire. First, Eulyu Publishing’s complete works are to restructure literature among the nation/nationwide literature newly. Eulyu Publishing put up as its symbol Bang Jeong-Hwan, the starting point of modern children’s literature with volume 1 to 8 and arranged the eight, Ma Hae-Song, Yun Seok-Jung, Lee Ju-Hong, Lee Won-Su, Kang So-Cheon, Im In-Su, and Park Hwa-Mok, in the order of taking the rostrum. This excludes Yun Bok-Jin or Hyeon Deok, the author defecting to North Korea, and it shows it consisted of complete series of the national authors of a new country correspondingly to the codes putting up ‘Korea’. At the same time, volume 9 and 10 consisted of the ones that could include the nationwide costume, habits, or thinking styles with [Korean traditional children’s literature readers] and [Korean traditional children’s song readers] so that we can imagine the nationwide literature of the absent time and space with the symbol of Korean culture. Second, these complete works show the desire for canonization as post-textbook literature. Planning large-scale complete works of children’s literature, Eulyu Publishing named it as ‘the reader’. This was the Korean children’s literature publisher’s own strategy to insist it was in the status of the canon. In order to be the literature existing in the outside of national textbooks and also acquire the status of the canon as literature and draw social agreement, various strategies functioned in connection. For instance, ‘the outstanding children’s books’ system was used as the alternative term for ‘the masterpiece’. ‘Library Law’ that passed in 1964, ‘Village Library Movement’, all the criticism and articles of all sorts of media insisting those were the works verified by the experts’ supervision contributed to Eulyu Publishing’s complete works to be shared as ‘readable books’, ‘good books’, or ‘representative authors in Korea’. Moreover, those complete series affected the organization or system of other complete works of children’s literature published after that. Like this, after the emancipation, the discussion of national and cultural identity was the crucial keyword, and in the new cultural space, it became the drive for cultural development through civil imagination. The 50-year period of arrangement on Korean children’s literature started by Eulyu Publishing is the most significant in that the authors and works included in it are selected and arranged to build the canon as today’s

Abstract

This article aims to examine how Korean children’s literature set up the borderline between the nation and literature in the aspect different from the colonial era’s after the emancipation mainly with Eulyu Publishing complete works and also analyze how the publishers or editing committee tried to build the mainstream of children’s literature with what sort of cultural imagination. Eulyu Publishing founded after the emancipation exhibited desire for new cultural space and civil imagination through extensive culture movement. In this period, literary works, the mental products of Korean children’s literature authors, were published, and they gradually had needs to organize it as a publishing company. Eulyu Publishing came to dream to publish and distribute good books for children through conscientious authors and publishers’ cooperation. In this process, Eulyu Publishing’s complete series show two kinds of desire. First, Eulyu Publishing’s complete works are to restructure literature among the nation/nationwide literature newly. Eulyu Publishing put up as its symbol Bang Jeong-Hwan, the starting point of modern children’s literature with volume 1 to 8 and arranged the eight, Ma Hae-Song, Yun Seok-Jung, Lee Ju-Hong, Lee Won-Su, Kang So-Cheon, Im In-Su, and Park Hwa-Mok, in the order of taking the rostrum. This excludes Yun Bok-Jin or Hyeon Deok, the author defecting to North Korea, and it shows it consisted of complete series of the national authors of a new country correspondingly to the codes putting up ‘Korea’. At the same time, volume 9 and 10 consisted of the ones that could include the nationwide costume, habits, or thinking styles with [Korean traditional children’s literature readers] and [Korean traditional children’s song readers] so that we can imagine the nationwide literature of the absent time and space with the symbol of Korean culture. Second, these complete works show the desire for canonization as post-textbook literature. Planning large-scale complete works of children’s literature, Eulyu Publishing named it as ‘the reader’. This was the Korean children’s literature publisher’s own strategy to insist it was in the status of the canon. In order to be the literature existing in the outside of national textbooks and also acquire the status of the canon as literature and draw social agreement, various strategies functioned in connection. For instance, ‘the outstanding children’s books’ system was used as the alternative term for ‘the masterpiece’. ‘Library Law’ that passed in 1964, ‘Village Library Movement’, all the criticism and articles of all sorts of media insisting those were the works verified by the experts’ supervision contributed to Eulyu Publishing’s complete works to be shared as ‘readable books’, ‘good books’, or ‘representative authors in Korea’. Moreover, those complete series affected the organization or system of other complete works of children’s literature published after that. Like this, after the emancipation, the discussion of national and cultural identity was the crucial keyword, and in the new cultural space, it became the drive for cultural development through civil imagination. The 50-year period of arrangement on Korean children’s literature started by Eulyu Publishing is the most significant in that the authors and works included in it are selected and arranged to build the canon as today’s

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