아동문학가 최병화의 미담 연구

Abstract

Children’s literature writer Choi Byeong-hwa who was active in the Japanese colonial era and the liberation period concentrated on releasing impressive stories such as a moving tale on Suyang (修養, cultivation of spirit) and an impressive story on a love of animals in the 1930s, starting with a moving tale of boys in 1929. Choi Byeong-hwa was overshadowed by the previous evaluation as saying that he centered on fairy tales and boy novels. Thus, the evaluation and research on his work activities on the touching stories are in the real situation of being difficult to be found. Choi Byeong-hwa touted ‘fun’ and ‘informativeness’ as the central axis in the creation of work. As ‘informativeness’ places emphasis on the emotional and educational effects, it can be replaced by enlightenment and instruction. A moving tale is the genre that appeared with bringing the enlightening and edifying intentions to the fore while adjusting the focus on ‘benefit’ in the period of Japanese colonial rule. The purpose of this writing is to arrange and evaluate the impressive stories by Choi Byeong-hwa. The aim was to empirically analyze and examine the source of the moving tales and the status of the works by Choi Byeong-hwa, the literary world, and the new literary attempt. The impressive stories by Choi Byeong-hwa seem to have been greatly influenced by the moving tales by Lee Jeong-ho and Choi Gyeong-hwa, which were rolled out in “Children”. The impressive tale by Choi Byeong-hwa has a significance with regard to having summarized the touching stories, which were presented from various terms, into one impressive tale of Suyang (修養). As the moving story on a love of animals is a work that observes the world of animals and then shows it in a calm writing, it is increasing vividness and sensation. Choi Byeong-hwa appears to have pursued new literary world based on the critical mind about the existing touching stories. First, he unveiled a work that addressed ‘animal material’ without using the term dubbed a moving tale. Second, it is a case that applied the enlightening and instructive elements of the touching stories to a work such as fairy tale or boy novel. This may be considered to have originated from the intention of adding the depth of impression while abstaining from the enlightening intention that a moving story has, and of willingly seeking ‘enlightenment’ and ‘impression’ together. The genre terms of moving stories by writers including Choi Byeong-hwa in the Japanese occupation period are being literally used the considerable number of genres on Japanese impressive tales. Still, further research is needed in relation to whether it is genre term or translation and adaptation of Japanese moving stories.