오락성을 향한 여정: 챕북과 탄생기 아동문학의 발달 과정과 상호성
Progress of Entertainment: Chapbooks in Early Children’s Literature
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This paper explores the complex relations between the emergence of the middle class, commercial market and children’s literature as entertainment takes its place firmly alongside instruction. It is widely accepted that children’s literature as a separate genre of writing began in the eighteenth century as part of the modern idea of the child and childhood that emerged in the same period. John Newbury stands at the very beginning of this new development with the publication of his Little Pretty Pocket Book (1744), in which he states the two purposes of his book: instruction and amusement. The tradition of didacticism has always been strong in books that children were encouraged to read, and in the eighteenth century increasingly it served through education to meet the goal of the new middle class. But at the same time, popular literature that included fairy tales, medieval romances and fables, provided mainly through chapbooks, had been steady reading materials for children although they were considered dangerous as providing merely pleasure and amusement. However in the eighteenth century, pleasure/entertainment found a legitimate way into children’s literature as popular tales assimilated some didactic elements to become more respectable. Behind this change in favour of entertainment is the emergence of the commercial market in which children’s books became a highly valued commodity.
Abstract
This paper explores the complex relations between the emergence of the middle class, commercial market and children’s literature as entertainment takes its place firmly alongside instruction. It is widely accepted that children’s literature as a separate genre of writing began in the eighteenth century as part of the modern idea of the child and childhood that emerged in the same period. John Newbury stands at the very beginning of this new development with the publication of his Little Pretty Pocket Book (1744), in which he states the two purposes of his book: instruction and amusement. The tradition of didacticism has always been strong in books that children were encouraged to read, and in the eighteenth century increasingly it served through education to meet the goal of the new middle class. But at the same time, popular literature that included fairy tales, medieval romances and fables, provided mainly through chapbooks, had been steady reading materials for children although they were considered dangerous as providing merely pleasure and amusement. However in the eighteenth century, pleasure/entertainment found a legitimate way into children’s literature as popular tales assimilated some didactic elements to become more respectable. Behind this change in favour of entertainment is the emergence of the commercial market in which children’s books became a highly valued commodity.
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